" Anirban Roy and His Protean Literary Aesthetics: An Exclusive Interview With Ikechukwu Otuu Egbuta."

  

1. What would you like to say about your background, given your protean literary aesthetics as a novelist, poet, and playwright?

Ans: I have evolved, transformed, endeavoured and realised. I have been continuously experiencing these for the last two and half decades while teaching English to students at the High School level. Perhaps, teaching and interacting with students have made my intellect more dynamic, my perceptions sharper, and my penchant for creativity more intense. It is trying something, partially succeeding and then moving forward with passion and an inexplicable conviction. More than anything else, I have been propelled to write, think, speak and express something original at all times.

2. Do you see the poetic art as essentially unnerving and alluring demanding in relation to other art forms that you have delved into?

Ans: Personally, poetry comes to me with an effortless ease. This of course, has been a recent realisation. I can express myself poetically better than otherwise. The very idea of expressing things with rhyme and rhythm, with the liberty of emotional and intellectual music is quite enticing. There is a certain uninhibition, a sweet unperturbation, and a subtle intoxication in indulging in poetic fancies, for whatever it is worth.
Even when I have written plays, almost instinctively, I have been encouraged to write in rhyming couplets, irrespective of the character and situation. Even in my novel, critics found my language to be poetic.I can look at an image or a picture, and words start flowing in poetic cadence.


3) As a writer of repute, how do you get pen to paper and what is your driving muse?

Ans: Memories and emotions attached to them always inspire me. I often live more in the past than in the present. Memories of dear ones who are no more, of situations which were profoundly defining, of places with endearing charm and sentimental associations are ones which make me think about writing. I feel writing about them is the only way I can express my love and respect for them.

 I         am also religious, and is fascinated by the presence of an invisible thread which binds all religions of the world together.

It is my belief that the unification of religions will one day lead to man's realisation of God in the deepest and truest possible manner.

4) Owing to your track record as a poet, playwright, novelist, teacher per excellence, literary commentator, etc, which of these would you choose as your primary concern and area of speciality?

Ans: Primarily, I am and will always be a teacher. I love being a teacher. This is what I am. Teaching a classroom full of adolescent students is the ultimate consummation of my inherent self; it is the expression of my soul. Rest is corollary. Rest is what I have added as I have learnt and evolved. It is the teacher that brings out the best in me; it is the teacher which inspires me to be righteous, uncompromising and resolved in the quest for excellence.

5) Which poet, playwright and/ or novelist do you admire the most as a probable mentor and stark pole of emulation?

Ans: I have been greatly influenced by poets like Alfred Lord Tennyson, Robert Browning, William Wordsworth, John Keats and William Blake.

Of course, Shakespearean drama has been quite fundamental to my understanding and appreciation of literature. So have been quite a few others.

6) "A Black Moon Odyssey" was critically acclaimed by fine literary critics such as Dr Shashi Tharoor and Ms Anita Nair. How difficult was it to wedge the necessary line between facts, fiction, literary aesthetics and literary criticism? 

Ans: "A Black Moon Odyssey" was an intensely personal experience. It is a fiction which has its genesis on the bouquet of memories, each of them fondly and passionately treasured, of my childhood days in my maternal grandparents' home in Jamshedpur. My wife invested as much time in editing it as I had done writing it before it was sent to the publishers. It is a work that will always offer me profound satisfaction as I have paid a fictional tribute to a house which still dominates the core of my creative conscience. 

The lukeworm commercial response to the work notwithstanding, it will always assure me with the confidence of being a writer of quality prose. 

I have learnt by now that anything written with passion, conviction and spontaneous flow of thoughts is bound to have its own reward, if not commercially, then spiritually, emotionally and intellectually. 

My wife says that the work is something that she prides upon and is quite scathing in her criticism if I ever endeavour to initiate something out of desperate commercial considerations. 

7) What is the mytho-poetic and symbolic representation of "In the Footsteps of Eternity" that you find most thought provoking?

Ans: "In the Footsteps of Eternity" is based on Nobel Laureate Romain Rolland's "Ramakrishna - The Younger Brother of Christ." The book was suggested to me by Dr Deboshree Majumder, a senior teacher in our school. Back in 2017, it was perhaps first ever theatrical presentation based on such a profound spiritual subject. Based on the life and teachings of Ramakrishna Paramhansa, a mystic from Bengal, who is at times regarded as the reincarnation of Jesus Christ.

It was one of the best writing I would ever do in my life, something that would give me a sense of joy and content till my last breath.

The production of it, involving over three hundred students, was an incredible, overwhelming, all consuming journey.

I will always be grateful to the management of my beloved school DPS Megacity, Kolkata and Mrs Indrani Sanyal, my Principal for believing in and supporting such a venture. It was a tremendously ambitious thing to do at the school level. Mrs Sanyal, who is one of the best Principals of our country, has always been a mother figure to me, and I can say for sure that no other principal and management would have supported such a profound topic to be presented on a school level with such whole-heartedness.

Even my Headmistress Mrs Sharmila Mitra was so exemplary and committed in her support. It was months of rehearsals and so many teachers and students missing classes intermittently.

There were individuals who worked tirelessly for months to make the production possible. Creative director Nivedita Bhattacharya, teachers Baishali Ma'am, Gurmeet Ma'am, Debopriya Ma'am, Manjula Ma'am, Ruchira Ma'am, Shraddha Ma'am, Poushali Ma'am and many others put their heart and soul into it.

The props were made in house by the teachers.

The music composed by our music teachers Steven Rebeiro and Arnab Chakraborty was outstandingly original and haunting.

It was an experience of a life time.

My writing was inspired by the music of Hollywood music composer Maestro John Debney in the "The Passion of the Christ". His music has been the anchor of my spiritual creativity. And I was so fortunate to be blessed by him during the production.

Though we overshot the time on stage yet we received a prolonged standing ovation.

8) What in your view is the current state of literature and literary practices in India?

Ans: Well, the literary scene in India is always incredibly rich and exquisitely thriving. I am fortunate to be born in a great country of writers, intellectuals and philosophers who have made the world so spiritually empowered and intellectually enriched.

Everyday, there is a new writer, a fresh voice, an outstanding intellect and a new stream of consciousness. The amount of intellectual talent we have in our country is simply unbelievable and it is my privilege to read their work and learn from them.

I am learning so much from my students. The fearlessness of their expression, the novelty of their manifestations and the uniqueness of their thought structure.

9) Where do you consider the place of Indian cultural tradition in Indian Literature?

Ans: Indian cultural tradition is the womb that nourishes Indian Literature. India is a great country with an astounding diversity, brilliant effusion of colours, and a most splendid harmony of emotional effervescence. Our literature is a reflection of that. From Kashmir to Kanyakumari, from the mountains to the valleys, from the oceans to the streams, there is such rich spectrum of life, emotions, sentiments, cultures, traditions, rituals, languages, accents, dialects and passions - each impregnated with a million mesmerizing tale. There is the scope of creating endearing literature in every state, every district, and every little town. There is so much imagination, music, emotion strewn across the writer's path.

10) Considering the upsurge and influence of Bollywood in the new Indian movie industry, what do you think is the greatest challenge of the writer in a society arguably dominated by television movies?

Ans: Bollywood is one of our greatest strengths. It is something we are so proud of. It not only gives actors a chance to become superstars but also to thousands of technicians and writers to calve a niche for themselves. The ever evolving Indian society and its incredibly dynamic dimensions give rise to the need for more entertainment, information, style, improvisation and talent. There is so much happening all around us, so much transition, so much change, such brisk metamorphosis, such instantaneous revolutions, such unexpected amalgamation of cultures, such magnificent harmonization of contrasting currents that the writer or the creator is plunged into an ocean of opportunities with immeasurable depth. There is such amazing scope to explore, investigate, understand, interpret and express.

The television is mighty. It defines, governs, and even controls lives. It also provides opportunities, scope, employment and a forum for uninhibited self expression to millions of talented individuals.

For a writer, the greatest challenge is to find himself or herself; to be convinced of his or her own mission; to be intoxicated by his or her sublimity of passion. And surely, success and acclaim will follow sooner or later.

11) At present, poetry appears to hold sway as the most popular genre in Indian Literature, but it has been argued that much of this is usually not properly baked. What is your take on this?

Ans: No creative indulgence is ever a drab. It erupts due to a reason, a passion, a necessity or even without any of the mentioned spurs. It is manifested just for the mere shake of it.

Let there be a deluge. Let there be even chaotic, cacophonous raptures. A certain sense, a definite pattern, an endearing charisma, a constructive influence will surely have its genesis.

Each and every creative soul needs to be encouraged; each and every intellect needs to be supported; each and every initiation needs to be empowered.

Being a teacher, I do that. I firmly believe in that. Nothing is nonsense, nothing is insignificant. There is no simplicity that cannot be intriguing, there is no complexity which cannot be simplified.

Let's sit back and enjoy this torrent of poetic manifestation. Let's learn from it and grow. That is the way of the Lord. And that is the way of poetry. 

12) What would you have to say about literature, the city of Kolkata and the globalisation of your poetic imagination?

Ans: Kolkata is very special place. It is an extraordinary city with an enriched culture, a formidable history, a most magnificent people and a most infectious and endearing culture. The city is friendly, accommodating, embracing, warm and ever alive. It gives the soul a creative succour, it embalms the intellect with gentle caresses, and foments the imagination with gentle strokes of undiluted fancy.

The city is so local, yet, amazingly global. It is so clustered yet, vast. It is so chaotic yet, serene. It is so ordinary yet, so exhilaratingly extraordinary.

I can stand in an alley and imagine the world; I can sweat in a crowd yet inhale the aroma of solitude; I can have simple street food yet reach a gastronomical heaven.

Kolkata for me is the place of Ramakrishna Paramhansa, the mystic, who embraced the world spiritually from the sanctimonious precincts of the Dakshineswar Temple. He was universal. So are Bengalis. So is Kolkata. And so is poetry.

13) Sir, if you have to single out one characteristic that is missing for each of the genre of literature you have delved into, which will it be and why do you consider it as a shortcoming?

Ans: Literature is a vast and immeasurable ocean and I am a petty boatman trying to keep afloat on it. The shortcomings are in me.

I need to be more well read, more persevering, more diligent and disciplined in my effort to create quality literary efforts.

I need to be more subtle and economic in my use of expressions in poetry. More disciplined and diligent in writing prose. And more intense and researched in creating drama.

I have the passion but I need to empower it with more sincerity of effort and diligence of reading. I am way too casual and do lack ambition.

14) Do you think that writers are still relevant to the Indian National Development Plan, given what appears to be an unfortunate prioritisation of the science art?

Ans: Yes, writers are relevant and they will always be relevant.

Prioritisation of Science is not unfortunate. It is good and welcome.

Where the domains of science end, there, the frontiers of imagination begin. There, the realms of creative writing commence.

This is the beauty, this is the challenge. The demands of science stretching the horizons of imagination, the restrictions imposed by facts liberating the ambitions of fantasy.

15) In 2010, you guided DPS Megacity to being National Champions in Debating Matters Debate and represented India in the International Finals in London. What major influence does this bring you?

Ans: I was privileged to be associated with six foremost Champions of a great institution called DPS MEGACITY, KOLKATA. Abhisek Ghosh, Devvrat Poddar, Akash Goenka, Rohit Mukherjee, Shaunak Shashmal and Kushagra Agarwal did something that would provide such tremendous impetus and instill incredible measures of self confidence and self expression in a six year old educational institution. They debated with exemplary conviction, with stunning originality of style, such effortless ease of manner, and such fragrance of unpretentious charm.

I learnt so much from them. They believed in me with such pristine innocence and unaffected spontaneity of trust that have continued to nourish my soul and assure my own faculties. Amazingly, four of the six had never taken part in a debate before that!

It was an unforgettable experience. They were moments to cherish, live and relive. It was surreal!

It was an experience which proves that rather a teacher creating students, it is a group of exceptional students who go on to make a teacher.

16) Sir, given your track record as a teacher of English per excellence, what do you think is the greatest challenge of teachers who teach English as a second (L 2) language?

Ans: I have been, throughout my career, teaching in ICSE and ISC Schools, where English is the first language. I have never really taught English as a second language.

In India, the standard of English at the ICSE and ISC Schools, as well as the English Medium schools is one of the best in the world. We speak and write English with a proficiency and passion that is second to none. English is being spoken at every corner of our great country, and the language has been a great unifying factor.

17) Can you make a sharp contrast between English Literature and Indian Literature, and what do you think is common to both?

Ans: These are reflections of two different culture, history and people.

Indian literature is more vibrant, vivacious, emotional, colourful and spiritually effervescent. It has a music at its core; the music of ingenuity, sentimental belligerence, immeasurable emotional depth, an endearing reliance of culture and tradition, a rich aroma of history running through its veins. It is still busy with the themes of struggles with poverty, its rapid acclamatisation to rapid social and economic transition, its accommodation of the spirit of every increasing number of youth, and its unshackling itself from the cumbersome shadows of the past.

English literature does have same currents. Of course, its era of colonization and world dominance had greatly made the literary fabric more varied and global than any other language can boast of. Also there is this tendentious urge to be more succinct, compact, emotionally more restrained.

But essentially, literature is a reflection of life, a manifestation of the soul. So both Indian and English Literature are perhaps nourished in similar intellectual wombs.

18) Can you discuss intensively the problem of pronunciation amongst learners of English with a class sample, and how have you been able to tackle this situation over the years?

Ans: In our country we speak in different languages and dialects in different regions. So there is a presence of multiple accents. It is really an interesting situation. So pronunciations differ region to region, state to state, sometimes even district to district. But such differences are easily accommodated and adjusted with, given the incredible diversity which forms the quintessence of our great nation.

Over the years, we listen to English and figure out for ourselves how best we can speak the language, even with the nuances of pronunciation. 

As a teacher, I have never tampered much with the natural accent of a student, which has depended on which part of the country he or she is from.

What I have consciously done as a teacher over the years is to try and pronounce with clarity, without bringing in any imitation or artificiality.

The stress upon the right syllable, the conscious twirl of the tongue, all these come with time and patience, and constant exposure to the language in its original form. 

I have made students listen and talk, engage in conversations and debates and find a way out of the compulsions of their mother tongue induced accents to a more liberal and internationally accepted one.

19) On a general note, what is your understanding of literature, given the fact that most universities in the world offer literature as a combine honour with English Language?

Ans: I think Philology and Linguistic deserve as much our attention as Literature does. A student of literature should also indulge in exploring the depths and measures of the language in its formative and original states.

A balanced study or research of the two would only go on to augment the shores of our comprehension and make our appreciation more elastic. The genesis, evolution and consolidation of a language need to be studied, investigated and interpreted as we do of a civilisation. The formation of a language is embryonic to the eventual dissemination of the seeds of literature.

20) Finally, we have an impression that you are far from even the climax of your multifaceted personality. What more should we expect from you in the coming years?

Ans: I am deeply honoured by your editorial team to have given a humble individual like me to express myself.

I wish to keep on writing. Poetry, prose, drama, whatever I can within my limited ability. While writing, hopefully, I can keep on learning from the masters of our time and beyond.

God has given me the ability to write and express myself and I am so grateful for that. If He so wants then, surely I will be able to write something good, influential and endearing.

I am a simple and humble school teacher. Students have been my greatest teacher. Teaching them has made me an immeasurable amount from them.

I wish to write poetry and novels. I hope they get the liberty of getting published. I wish my writings give people happiness and hope and bring them closer to God.

I earnestly desire to make a concert out of 'In the Footsteps of Eternity' and have Maestro John Debney conduct the music.

I wish to create " Beyond Eternity", a musical drama of epic proportions, based on the lives of Lord Krishna and Jesus Christ. And the students of my beloved school DPS MEGACITY, KOLKATA present it on a grand scale guided by our magnificent teachers.

Above all, I want to be a good human being and sing the glory of God till my last breath.