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Don’t evoke me…

Eshantha Peiris, piano, Lionel Wendt Theatre

A piano, a pianist, and a soft white light. Good, I think. Good. Neat. Clean. Then I see the banner projected onto the backcloth. It is 15ft by 6, at least. It says ‘EVOCATIVE’. 

The pianist begins to play. The banner remains. Sort of. Now it plays a slide-show of scenes from Italian cities – a dusty turreted horizon here, a homoerotic statue there – the postcard shots zooming in and out like very slow MTV, and all to the melodious strains of Bach’s Italian Concerto. I glance around nervously, in case Dr Lecter is sitting nearby.

To be clear: Peiris’ playing is excellent. Phenomonal, in parts. And his programme involved a courageous and daunting array of (lesser-known) pieces. The Bach – practically an exercise in not being a virtuoso – was played with measured precision, quicksy-tricksy without being robotic, just enough rise and swell to make Bach himself sound vaguely human (not the easiest feat). The first movt. was crisp and clinical; the ‘Andante’ beautifully taut; the ‘Presto’ keenly busy.

Likewise, Debussy’s Images (book 1) – the impressionist nature of the three pieces drawing on the performer’s every resource in terms of both emotional colour and technical skill – and Manuel de Falla’s Fantasia Baetica, a work of often fiendish activity.

But here’s the demur. Evocation is a show-don’t-tell kind of business. If the music is (so) evocative – ‘evoke, v. tr.: to produce or suggest through artistry and imagination a vivid impression of reality’ – then the images (or Images) are, by definition, unnecessary (yes, I also think it’s cheating to name impressionist works). And even if one isn’t taking QUITE such an ascetic stance, surely it is in the nature of musical interpretation that the punters be permitted to generate their own visuals? The artistry may be the composer’s; but the imagination, at least in part, must reside in the listener. The slide-show seemed like an assault on the freedom of the audience. Even if it doesn’t suggest that the performer doesn’t trust the crowd as far as he can spit [and there’s a perfectly good argument for that, if you’re bold enough to make it], between the Monets and the mood-lighting the work’s all been done for us.

A second problem. Debussy’s neo-tonal structures and refusal to settle make his music ideal for ‘depicting’ water, certainly (item one, duly: ‘Reflets dans l’eau’). But, sooner or later, everything ends up sounding like the one babbling brook. And there’s only so much water you can take on before you need the bathroom. [Debussy’s own view? “I am trying to do ‘something different’ – in a way reality – what the imbeciles call ‘impressionism’ is a term which is as poorly used as possible, particularly by art critics.” So.]

Same goes for the de Falla – because it goes the same: a rather inevitable hazard if you programme a concert full of pieces designed to have the same effect. The result was at least 20 minutes of cadenza without a satisfying cadence. The disappointed auditory expectation grew tiring, and suddenly the graphics were not distracting enough for the endless swell and crash and drift. It was getting like Lord of the Rings 3. Nearly there. Oh, hang on, one more sub-plot. Ah, this is it. Oop, no, bloody hell, there’s more.

Interval. (Did I say 20 minutes?) Colour Study in Rupaktaal, by Dinuk Wijeratne – and still nothing verging on the cadential. Slowly but surely, the shuffling, throat-clearing and sweet-eating began. Needless to say (well, no; but I feel I should reiterate…) Rupaktaal was expertly played, and Peiris kept it alive with dynamic range and audible transfer of action from the bass/rhythm line to the melody – often with a ‘middle’ line, too. But. This was hardly the Bolero, the local flavour just wasn’t getting through, and you don’t get that sense of drive and power when you’ve already begun to wonder if the piece will ever end.

Things picked up smartly with Astor Piazzolla’s L’Histoire du Tango (arr. for piano by Kyoto Yamamoto). With its flickering fin de siecle footage of chorus girls and romancing couples the whole AV business acquired some workable zest just when the music became interesting enough not to need it. But here, at least, the effect worked, in a nostalgic, flea-pit cinema kind of way. Even Peiris’ red shirt made sense. (It’s hard for concert pianists to exude much stage-presence without turning into Liberace. But Peiris wasn’t exactly push the boat out.) The second movement, with its light and gloom, both on stage and in the music, was actually quite… evocative.

My heart sank, I confess, when I saw The Nokia Variations on the menu. But Rohan de Livera’s ringtone-poem was a smart commission, and the more credible, essentially, for not being a musical prank. (So much not, in fact, that several people grumbled they couldn’t pick out their favourite jingles.) I’d quibble that it was none too easy to distinguish the ‘Rag’, ‘Fanfare’, ‘Mauricesque’ (?) and other movements – honestly, that aspect of things all seemed a bit spreading and splashing and Debussyesque again. Still, no trivial performance, this: akin to Christopher O’Riley’s hyper-specific Radiohead reductions, and markedly the most interesting piece of the evening.

But the most adroit move was saved for last: Beethoven’s ‘Moonlight’ sonata. The still, small voice of calm. The ultimate evocation. Which I maintain we’d have figured out for ourselves without the moon on the OHP.

From the Sunday Times (SL)

O worship the Lord with the beauty of… oh, Mendelssohn.

te Deum veneramur – A Celebration of Sacred Music 

Last Saturday’s Colombo Philharmonic Choir gig was sold to me almost solely on the strength of the acoustic in Ladies’ College chapel – being as it is not the Ladies’ College auditorium. But I confess I was also in a hurry to hear some good church music sung properly. In a church.

In which respect, I reckon the evening scored 2/3. 66%. Near enough full marks for being in an ecclesiastical venue (NB open doors destroy the natural resonance of the building), and about half each for the nice repertoire (mostly) and the singing (ditto). Also, a good length (albeit see ‘repertoire’).

The Philharmonic is/are a relatively young bunch, with some very nice individual voices (which oughtn’t, of course, to be audible). But there are a few things they need to work on in order to do themselves justice.

The male ranks, basses especially, make a way dark sound. They seem to be trying too hard with the Anglican RP (try too hard, period), and come over sounding like Art Malik with a head cold. Their opening number, John Travers’ psalmic O Worship the Lord, took a hit here. The second piece, Byrd’s aggressively chromatic Ave Verum, suffered from straining tenors. Again, the remedy: try less hard. The third, Fauré’s Cantique de Jean Racine, was unforgivably sundered in the leading – and renownedly moving – entry by the basses lowing like beeves…  

The Cantique has a near-Pavlovian power over me (long story involving a happy life as a chorister and a long weekend on a South African beach), and will never fail to bring a tear to mine eyes. But I was riled. This isn’t just a matter of vocal taste – I mean, have you heard recordings of singers from even 20 years back? Cloudy singing actually interferes with The Word(s). Literally. Racine’s opening line is (in Rutter’s workmanlike translation) ‘O divine word above…’; it took me about 30 seconds to work out which language the piece was being sung in. [And how’s this for a billing? ‘Cantique de Jean Racine (words by Jean Racine)’] In the context of sacred music, verbal incoherence constitutes a problem.

Did they chicken out of Beethoven’s The Heavens Are Declaring? No declaration forthcame. And so on to Stainer’s ‘God so loved the world’. The Crucifixion is no work of genius, but it was nicely sung – that sense of mourning and grace and gratitude combined. The text, though (stop me when you see where this is going…) was not helped by earnest over-enunciation in the soprano/alto lines. ’God sent not his son into the world to con-DEMN the world.’ Yes, that is where the stress falls; but it falls there naturally. If there’s one thing the Victorians composers do well it’s making sure you can’t possibly miss a syllable of their blatantly sentimental text. Hammering the words home sounds like kids reading verse.

Lord God of Hosts Eternal is pastiche Brahms, but since it’s actually by Brahms… what to do? There was some lovely harmonic wash, but also some jerky passing of the tune from part to part. This may have been Brahms (age 16)’s fault; but the choir did not sound confident dealing with it, and this took its toll, in terms of both pitch and the clarity of entries.

Charith Peris tackled Bizet’s (inevitably) operatic Agnus Dei with youthful vigour and a clean tone. In that order, I think. His voice is promising, and comfortable enough in the higher range; but it’s also a young voice, with correspondingly little projection or sustain. Plenty of time to work on that; but meanwhile someone ought to tell him that he can’t just give it beans on the high notes, Domingo-style, and expect the audience to clap. (Oh, whom am I kidding… Course he can.)

Mendelssohn’s Nunc Dimittis. Again, despite the exceptionally well-known text, I honestly couldn’t tell English from Latin (and/or vice versa). And – again, again – too much bombast: ‘AND to BE the GLOry…’ These words ought to sing themselves.

Some more Mendelssohn. ‘The Lord Hath Commanded’, from As Pants the Hart. Another vulgar Victorian heart-wrench, for Tommy’s spinster aunts to weep over. O for the wings of a dove! etc. Or a pair of ear-plugs. The male chorus harmonised clumsily like a 1920s glee club. The soloist – Manique Goonewardene – had a sweet, clear voice, full of the innocence (vocal, anyway) of a boy treble. Which was nice; but my eyes and ears were telling me different things. (If you want a treble, why not book a treble?)

Mendelssohn. AGAIN. O God Look Down From Heaven – another masterpiece of uninspiration. In four parts!

A  Eponymous. Sounded like it was coming apart. Choir out of time with organ and with each other. Suspensions have to be taut (cf. ‘heart strings’) or the musical edifice can’t sustain its own weight. Here was spaghetti. Wet spaghetti. Sops hit too hard on entries, at cost to the tone.

B  Sanjeev Niles’ solo, ‘The Lord is Compassionate’. Perhaps those in the front row knew what was going on here. But recitative = WORDS. The recit., put bluntly, is where the story is. The Lord may well be compassionate, but I only knew because the programme told it so.

C  ‘As Silver sev’n time in the fire is tried’. Cut? Or did I nod off?

D  ‘Do thou, O God, protect us all’. Good effort from the choir to provide a rousing finale, but the Clavinova-style organ packed little punch (in general, neither organ nor organist contributed much). Without huge motivating force, cantatas are rudderless vessels, half-finished oratorio. This one drifted, becalmed, until the ending came out of nowhere, so abrupt that I forgot to be glad of it.

A ranging celebration of (the complete history of) sacred music doesn’t really justify more than one piece by any composer. But three bits of Mendelssohn is at least two too many – and it began to feel like we’d been listening to the same piece on a loop. In short, 34% deducted for 34% of the concert being ropey Mendelssohn.

Ah! Herr Beethoven, I presume? They’d rehearsed this one, and it was a good sing, confidently delivered. Not quiet, or subtle (no coincidence there); but a solid, tuneful, hearty chorus, which just about served to pull the Colombo Philharmonic Choir back from the brink. If only it had all been like this.

From the Sunday Times (SL).

SOSL steppes up

In a programme frankly unimaginable by any orchestra not at the very top of its game, it was depressing to see the Symphony Orchestra of Sri Lanka open last Sunday’s concert with a return to ‘form’, another slack and soupy rendition of their own national anthem.

The second national anthem was rather rousing – the Norwegian, in honour of the sponsors of this gig, the unfailingly generous Norwegian Embassy. Alas, not so the two extracts from Grieg’s Peer Gynt Suite No.1 which followed.

‘Morning’ was lacklustre and naïve. ‘In the Hall of the Mountain King’, though it entertained a certain glowering momentum (built, fool-proof, into the score), had a different misfiring cluster of notes in every punctuating chord. The result was not evocative. (It was not even, in the technical sense, noteworthy.)

In the grand scheme of things it seems unlikely that the Norwegian government really expects a rousingly pro-Scando musical kick-back every time they sponsor an event; but, by this ham-fisted gesture of appeasement, right on the Ambassador’s nose, the SOSL surely turned the outside chance of causing offence into an iron-clad certainty. (Grieg himself famously came to hate his Norgie-nostalgia smorgasfjord: so programme notes highlighting that Peer Gynt is now principally the stuff of bad TV jingles seemed an unnecessary low blow to the evening’s benefactors.)

As the orchestra plinked and prepped for the Rachmaninov and soloist Harsha Abeyaratne settled at The Ugliest Concert Grand Ever (obscuring half the orchestra) I’d swear the woman next to me crossed herself – though she could have been swatting a mosquito.

But the Piano Concerto No.1 (F#m) was melodious enough. Abeyaratne was technically solid, and there was fire in his heart (if no lower). Not every note was right, but most were righteously intentioned. And Rachmaninov himself, with his mauling paws, wouldn’t begrudge a mere mortal a couple of clipped keys so long as the mortal was giving it both tins of elbow grease.

Of greater concern was that the pianist seemed to be constrained by the orchestra, as though waiting for them (rather unfair since the orchestra’s parts are significantly easier than his). Ananda Dabare, at the podium for the evening, ought to have done more to cut the orchestral cloth according to Abeyaratne’s pocket.

At times, the ‘Vivace-Moderato’ first movement exhibited the loose tonal ‘spread’ of a ‘30s movie soundtrack (at one point disparate sections conspired to rejoin the piano simultaneously flat and sharp). But for their part(s), the orchestra, too, turned out to have guts when they really needed ‘em, and even the brass section – cf. ‘horns’ – stayed on track, on key and on cue. The ensemble was altogether better in the ‘Andante’ (slow movement, innit), and there was a good bite on the beginning of the ‘Allegro Vivace’ third.

Romanticism being the not-so-light motif for the evening, the Rachmaninov landed its punch squarely enough. But it’s a small step from ‘hitting home’ to ‘domestic abuse’ – and expectations for Tchaikovsky’s megalithic Symphony No.4 were, I confess, not high.

Things began badly, the opening brass blast absent of any clarity or commitment, the whole section apparently lacking the will to screw their courage to the blowing place. By the second phrase, though, our huntsmen had found their mojo, and matters began to progress.

Barring a ‘moment’ early on, it was clear that serious rehearsal had gone into this piece. Though the brass section could hardly be accused of overconfidence, the trumpets gave a good lead and at least they all generally sounded like they knew where they were (‘the Most Improved Player Award goes to…’). The brass-and-timpani motif is a focal point of this movement, and they nailed it. The woodwind mini-solos were very tidy, and the strings performed a steady underpinning role with their expansive Russian theme.

Nineteen minutes in (ahem…), there was inter-movement applause. For once, I didn’t mind.

Kudos to the oboe soloist who opened the song-like ‘Andantino’ second movement, and to the cellos (still consistently the most assured unit in the SOSL, with a uniform and sonorous style) who bolstered him with their warm lyricism. The short slow movement struck just the right balance between mellifluous snatches of descant and rolling-Vltava-style melody.

The words ‘Scherzo. Pizzicato ostinato. Allegro.’ are not ones string-players care to see in any combination, and the third movement loomed ominously (a potential pizz.-fall, so to speak). The strings don’t set hair to gut the entire time, instead having to pluck away at a hectic pace – which they didn’t, quite. But the woodwind kept things perky; the brass were pugnacious; and the whole was notably accurate. No great dynamic range, mind, but otherwise pragmatically managed.

The strings, wilting a little, wisely ceded the high ground of the ‘Finale’ to the trumpets, who valiantly led the charge to the finishing line. Even the horns got in on the act, and the cumulative zeal was such that I found myself actually grinning. In the good way.

Thus did this mighty symphony reach its seismic conclusion and – guess what? Not a single soul stood up, and the clapping died out as soon as Dabare left the stage. Audiences can be so contrary.

Having struck themselves in the face with the gauntlet of the Tchaikovsky, the Symphony Orchestra did the only honourable thing and picked it up and got to grips with it. Just. I gather the last three months have been… adventurous… over at SOSL, and one might humbly suggest that the next concert not feature Mahler’s 9th. For the time being, however, congratulations are in order.

From the Sunday Times (SL).

The greatest Googly (n)ever bowled?

Chinaman: the legend of Pradeep Mathew – Shehan Karunatilaka

Chinaman is brilliant. Brilliant, I tell you. If you don’t have a spare Rs. 800 to rush out and buy it right now, then starve yourself/rent a trishaw/sell your grandmother – whatever it takes to raise the cash.

Can we leave it there? No, I suppose not.

But Chinaman is that good. Very possibly the best novel to have emerged from Sri Lanka since… well, since Sri Lanka became Sri Lanka. And it’s not just me that thinks so. When the novel won the Gratiaen Award 2008, it was unanimously selected by a panel who commended it for widening the definition of Sri Lankan literature while still dealing in contemporary realities (polite code for ‘we were overwhelmed by a substantial book [500+ pages] that didn’t once mention mangoes, jak fruit, walauwas, monsoons, destructive marriages, declining dynastic fortunes, or the humorous difficulties inherent in putting on a saree’).

Chinaman is the story of the little-known Sri Lankan test bowler, Pradeep S. Mathew, as researched and narrated by washed-up sports journo WG Karunasena. To hear WG tell it, though, you’d think Mathew wasn’t simply Sri Lanka’s most underrated spinner, but the greatest cricketer who ever lived: apparently, he skittled every noteworthy batsman of the 80s/90s, counselled Murali not to change his (allegedly questionable) action and taught Warne the skidder, and generally made a habit of notching up figures that sent the statisticians scurrying for their copies of Wisden. And then he vanished.

Some attribute Mathew’s ill-fated career to his being Tamil. Others accuse him of match-fixing and other shady dealings (because of his being Tamil?). WG’s summary (p1): ‘Wrong place, wrong time, money and laziness. Politics, racism, powercuts and plain bad luck.’

As for WG himself, when he’s not trying, single-handed, to resurrect the legend of Pradeep Mathew he’s busy worrying about his drink-ravaged body, his estranged son, and whether his arrack supply will run out before his wife does. (It is one of the great strengths of the novel that WG is not a man who eats much fruit, feels moved by the rain on his face, or appreciates the inherent humour in tangly ladies’ garments.)

Set against Sri Lanka’s post-‘96 cricketing euphoria/hysteria, Chinaman is worked up to be variously ironic, hapless, humorous, sad, touching and grim, the novel very naturally incorporating both men’s stories – one mercurial has-been searching for redemption and vicarious fulfilment in the story of another – as well as a fair dose of what might (but need not) be chaos-in-paradise metaphor for the state of the nation in the last two decades.

Perhaps more surprising, given the traditionally arcane nature of cricket and cricket-writing, the book is fully comprehensible to anyone with even the vaguest awareness of the sport. There’s plenty to occupy the cricket geek, certainly, including some classic trivia (The first test match was between which two countries? How much do you know about the Israeli cricket team?); but it is to Karunatilaka’s credit that the cricketing nerdathon always comes second to the story of WG and his best friend, school-teacher-turned-amateur-statistician Ari(yaratne Byrd), as they fumble through their late middle-age, trying to see their great passion to some kind of conclusion before their innings is chalked up on The Big Scoreboard in the sky.

What sustains the plot – crucially, given its basic grounding in the detective genre – is the practical fact that, even for the most extreme follower of the sport, proving or disproving the existence of an erstwhile minor cricketer is no mean feat. Those whose first reaction is to ask, hearts a-pounding, whether Mathew is real – and if so how they could have missed him – will find no easy answers here. Mathew’s near-invisibility, statistically and in the flesh, is entirely consistent with the mysterious context of his life (and the whole point of the novel). His 10-51 against New Zealand at Asgiriya – best ever test bowling – was scrubbed from the record books when the match was denied test status. The best ODI bowling – 8-17 against the mighty Gibraltar (source: fan site, thegreatpradeepmathew.com) was not recognised, perhaps unsurprisingly, by the ICC. Accusations of ball tampering in SL club games saw other astonishing figures expunged. Plus the fact that he began his career, at school level, playing illegally and in disguise for schools he did not attend: perforce, his success was attributed to other players.

This is a fully mature Sri Lankan novel – by which I mean a fully mature novel which happens to come from Sri Lanka. Chinaman is world class, in the sense that it not only bears its own quite considerable weight, but could be read by anyone anywhere in the world, as modern and international as a novel need be. And if there are a few references that are a little opaque to the foreigner, then they are infinitely preferable – both with regard to reading pleasure and the health of the national literature – to yet another ‘Sri Lankan’ novel narrated by someone with one foot in Tooting or Toronto.

It also concerns real, or at least realistic, people. Urban types with not a great deal going for them. People who drink. People who swear when they drop things. People whose cars (and livers) break down. By filtering WG’s extraordinary search through the next-door and everyday – rather than straining for semi-mythical resonance, constructing transparent allegories or wheeling out limp facsimiles of heroes from ancient texts – Karunatilaka finds a short-cut to expressing what lit. types deem to be ‘universal truths’ (i.e. things we’d all like to think we might have expressed given enough moments of clarity). These are people with whom we can sympathise: in the wonderfully cantankerous chats between WG and Ari; the cheery cameos by the likes of doyen Tony Botham (can you see what he’s done there?); the pricking sketches of various cricketing personalities, like the obnoxious wife-beating Yorkshireman who will not be named but who I believe played for England c.1740, sees no merit in any player since (unless they too hail from Yjöorrrk-shee-err), and whom anyone who’s ever listened to test commentary will, at least once, have dreamt of punching in the face.

In terms of its prose style, though, while Chinaman is again commendably contemporary (which is to say that no-one speaks like a civil servant out of a Kipling story), it is, I feel, slightly over-salted with Singlishisms – not of the aiyo and aney type, but of the ‘put it, no, Uncle?’ variety. There are a couple more references to tsunamis than I considered strictly necessary (either metaphorically, or THE…). And I’m not too keen on Karunatilaka’s rather unfussy punctuation. I’d buy the argument that this is how normal folks speak and even write if the bulk of the text were not ‘written’ by its lead character, the professional, prize-winning writer WG Karunasena. (Karunatilaka/Karunasena? Yes, you might be on to something there…)

These are fairly minor reservations. I mention them not because I have any forceful objection to Singlish in representative, characterful speech (or because I fear how quickly these things get off the page/screen and into the classroom, which I do and it does), but because I suspect the book may have done itself out of a chunk of the potential international market as a result. I hope I’m wrong; but we shall see.

One of the best and most striking features of the novel is its very canny double-coda ending (one might even be lured into calling it ‘post-modern’). After the substance of the novel – WG’s research on Mathew – there is a series of appreciations from various of WG’s fellow-characters, followed by the misadventures of WG’s son as he attempts to complete his father’s quest (yes, sorry, the ailing WG doesn’t make it) and get his tome published, amid confusion, obstruction and threats from the seamier side of Sri Lankan cricket.

It’s all cheeky in-jokes and shamelessly self-serving references to, amongst other things, the Gratiaen Award and various publishers with whom the author (Mr Karunatilaka-Karunasena) may or may not have had dealings. So in the spirit of the thing I thought I’d drop Karunatilaka a line confessing my limited knowledge of SL cricket over the decades, and ask that he give me some pointers as to what’s strictly true and what’s not. ‘It’s all true’ came the reply. (Uhuh. You know you’re in the 21st century when a novelist wants you to think he’s writing non-fiction. Also, the copyright page states otherwise.)

So, I resorted to the internet – and imagine my surprise when I discovered that in the last couple of months the web (by which I mean Google) seems suddenly, miraculously, to have registered the existence of both Pradeep Mathew and WG Karunasena.

Of course, in the context of the novel, the real-world existence of any of the characters doesn’t matter one way or the other (though cricket lovers will doubtless spend many hours wrangling over the minutiae of each and every rumour and implication). But literary seekers after truth will be intrigued to note that, in the month or two since I proofed Chinaman, not only has WG Karunasena risen to prominence on the net but so has Kreeda, the sports magazine for which he once penned a noted series of pieces on Sri Lanka’s best cricketers. The Kreeda website offers 11 of WG’s articles, all bearing on Pradeep Mathews, all ostensibly published in the early ‘90s. One is illustrated with a diagram – on ‘flight’ and ‘drift’ – that bears a remarkable resemblance to the illustrations in Karunatilaka’s book.

If it seems improbable that a defunct magazine which, in its heyday, ‘had the circulation of an illustrated [sic.] porn rag’, should suddenly be up and archived on the internet, just try clicking on any of the links. The same goes for a Daily News’ article by Elmo Tafeeq (another sports writer cited, with variant spelling, both in the text – or indeed ‘text’ – of Chinaman and in the Acknowledgements), in which Tafeeq reveals his late colleague was writing a book about Mathew, the manuscript of which was not complete upon his death and which Mrs Karunasena says needs heavy editing.

Then there is pradeepmathew.com – all articles © WG Karunasena – and, of course, thegreatpradeepmathew.com. The latter is ‘Under Construction’ – and let’s assume the ‘s’ on the end of Mathew’s name is one of things they plan to change. Likewise the fact that the 8-17 stat against Gibraltar, is – ahem! ‘8-17 against Bermuda’ – contradicted by the extensively-researched Chinaman (by WG Karunasena, available now in all leading bookshops).

It requires some considered application of time and know-how to ensure that a man who doesn’t exist – or at least whom the internet had never heard of until very recently (which these days is the same thing) – tops the page of half-a-million search results. And it’s a tribute, in a sense – above and beyond being further evidence of the ambition and seriousness of purpose behind the novel. Only in a country this cricket-mad could writing a novel about a cricketer also require one to actually breathe life (albeit retrospectively) into the man. Of course, it’s also a tribute to the power of the web: 20 years ago Karunatilaka could have written this novel and only feared reprisals/fan mail from a handful of statistics-obsessed loonies who couldn’t find the requisite scorecards verifying Mathew’s existence.

Still, there’s not much point becoming a novelist if you’re uncomfortable about making your own truths come true. And in the land where, as the Gratiaen’s founder-donor, Michael Ondaatje, once wrote, ‘a well-told lie is worth a thousand facts’, it is high time we saw a first-class novelist emerge as guardian of that sacred flame. On the strength of this book, it seems Shehan Karunatilaka may just be that man.

DISCLAIMER. Beady-eyed members of the reading public will observe that my name appears on Chinaman’s Acknowledgments page. I am proud to say I contributed some basic proof-reading to the project. Impressed by the neat publicity pamphlet distributed at January’s Galle Literary Festival, I requested, and received, an electronic draft of the full text, for review in these pages. Quickly appreciating both the scale and quality of the book – but perturbed by a couple of glitches – I offered my services. End of story. No money changed hands. Most of my suggested changes were not implemented. No, I don’t think my critical judgement was undermined by several close readings of the text.

As featured in the (SL) Sunday Times.

Æsop revised

I

I was walking in the desert outside the city when I saw, coming towards me, a woman. She was alone, her face veiled against the whip of the sand.

‘Who are you?’ I asked, ‘and what are you doing out here on your own?’ 

‘I am Truth,’ she replied. ‘I came to live in the desert to escape the taint of lies that is everywhere in the cities.’

I realised later she’d said her name was Ruth. (The rest was pure coincidence.)

 

II 

The traveller had been in the desert for 10 days, and was relieved to see the walls and date palms of the town not far off.

As he came out of the emptiness, he caught sight of a solitary woman, sitting on a rock, unsheltered in the burning heat of the mid-day.

He offered her some water. She accepted it wordlessly, then returned the flask.

‘Who are you?’ he asked.

The woman replied, ‘My name is Alëtheia, goddess of truth.’

The traveller was troubled. ‘If you are a goddess, why are you out here, alone, in the desert?’

‘The town is full of lies, untruths, and malicious gossip. Before, these were known only to a few men – but now they are everywhere, and with everyone you speak to. I had to leave.’

The traveller walked on, and, entering the gates, asked the townsfolk about the strange woman he had met. The told him her name was Joyce, and she had been a prostitute before her husband had her committed.

Drowning in a tsunami of cliché?

The Gratiaen Prize 2009

The Gratiaen Prize – for those of you not up on your South Asian literary gongs – is an annual award given to Sri Lankan writers for creative writing in English, f(o)unded in 1993 by Michael Ondaatje, with his English Patient Booker winnings.

Writing-in-English is a small crowd here – ‘here’ being a few postcodes of Colombo, principally – as evidenced by the number of past Gratiaen winners who have subsequently become Gratiaen judges (and vice versa). Especially in the predominant fiction category, standard output tends to involve small concerns (gallery openings, affairs, playing cricket in the street) as none-too-subtle metaphors for the big issues (civil war, tsunami, political corruption, colonial legacy). There can be a lot of earnestness. And a lot of cliché.

Until last year, anyway, when Shehan Karunatilaka’s matchlessly ballsy Chinaman: the legend of Pradeep Mathew appeared to recalibrate the entire business overnight. The citation for Chinaman made a totally unambiguous point of praising it for talking about contemporary realities in contemporary, realistic parlance. And it has just, finally, been published – thanks to the Rs. 200,000 prize-money, awarded for that explicit purpose.  

Result: high expectations at last week’s British Council shortlist announcement.

Since January, the triumvirs of the Gratiaen’s reader-writer-academic judging panel had waded through 29 novels, 8 books of poetry, 9 collections of short stories, a few hybrids, a couple of fantasies [sic. as though a separate category], 1 memoir, 0 plays: a grand total of 52 submissions from the last calendar year.

The judges weren’t sparing any blushes. Their opening remarks – ‘moments of rare pleasure in picking out the rare gems, very rare’ – suggested a significant proportion of the 2009 submissions didn’t warrant finishing, let alone re-reading. Clearly, they said with a certain tone, many writers felt obliged to represent the Sri Lankan ‘zeitgeist’ (War – check. Tsunami – check). They noted the abundance of Ceylon-era nostalgia novels: ‘only a few of these, depending on the historical research, were convincing.’ They lambasted the continuing strain of mango-and-monsoon village tales. I was quite cheered.  

That said, I also inferred an important unspoken criterion: viable submissions needed not only to be by Sri Lankans but about Sri Lanka. Macro: a disconcerting remark about the absence of any ‘Muslim perspectives’ this year, as though the Gratiaen were ideally a collect-the-set deck of Happy Ethnic Families. Micro: a potentially-ominous fixation on ‘meticulous research’. Competitive authors, it seemed, need to deal with issues – and in Technicolor historical detail. The judges’ concern that Sri Lankan readers might not get certain international references (for example, to such exotic locales as the Campo di fiori or Knightsbridge), seemed actively to encourage parochialism, rather than inspiring the island’s writers to compete globally. A bad idea even if it were not wrong (the Colombo literati know Knightsbridge better than I do). 

So, given these demanding-yet-slightly-contradictory criteria, who made the cut?

The Whirlwind – Santhan Aivadurai. War novel. Villagers in a northern internment camp, run by the ill-starred Indian Peace Keeping Force. Clunky prose, shoe-horned literary references;

Tangled Threads – Premini Amarasinghe. Past-and-present emigration novel. Funny in places, and written in real, spoken English (not the wistful Brahmanic tones of an all-seeing Dickens-type narrator). A serious contender;

Singing of the Angels – T. Arasanayagam. Short stories, ‘reflecting the traditional and religious aspects of life in the North.’ One begins, ‘The peaceful afternoon is rocked by a mine blast.’ Foreigner-proof vocab – chembu, pooja, Thambi;

Mirror of Paradise – Asgar Hussein. Short stories, domestic scale, wryly humourful. In one, somebody unwittingly drinks a urine-sample (guffaws all round). Ceylonese pseudo-poetic standards (rain, fruit, etc.) cheerily sent up. But punch-lines sadly hammered home.

Mythil’s Secret – Prashani Rambukwella. Children’s novel (published). Fantasy, involving a yaka, or demon, and a boy finding his way in the world. Light dusting of satire, but overwrought prose: ‘sweet-smelling smoke billowed from the shell-shaped holder.’ (All SL writers think they are poets first and foremost. Blame Uncle Michael.)

Pity the judges. They can only work with what they’re given. but two of these manuscripts are not publishable, let alone prize-winners. Are the panel obliged to find 5 shortlisters (10% of total entries)? The unofficial remit of the Gratiaen – ‘Encouraging creative writing in English’ – is not, I feel, specific enough. Perhaps some pointers (not to say rules)?

As for the writers – and at the risk of ending up with a short-term surfeit of Colombo-centric urban tales – many would do well to focus on what they know, and worry less about trying to empathise with the war-afflicted in the Vanni triangle (this goes double for under-employed, ex-pat NGO workers – not that they’re eligible for the Gratiaen).

In his speech for the inaugural award, Michael Ondaatje stressed the importance of supporting serious literary talent, lest Sri Lanka be ‘known only by the clichés of a tourist board and by the nature of our politics.’

Lesson not learned. Alas for Sri Lankan writing in English, Chinaman – already flying off the shelves – begins to look like a fluke, a one-off rather than the start of a new trend.

Meanwhile, and purely on the basis of audience laughometer, my money’s on Hussein’s piss story to win – by a nose.

The winner of the Gratiaen Award 2009 will be announced on Saturday, May 8th.

So far, So-malia*

Somali Islamists go to war – against each other.

For The First Post.


* no, that line didn’t make the edit.

Incommunicado – a very short story

My mother writes to say that no-one understands my writing.

What can she mean?

The Devil is in the DJs

Crazies ban music in Mogadishu (and the Somali ‘government’ attempts to ban the ban).

For The First Post.

“Is Ash [sic.] bereft of normal human feelings?”

First Post article on rising racial tensions in South Africa, following the murder of Eugène Terre’Blanche (in which it transpires that the present author is a vile racist for not mourning the death of… a vile racist).