(Indian Literature మాజీ సంపాదకుడు, త్రిపురనేని గోపీచంద్ రెండు నవలలు అసమర్థుని
జీవయాత్ర,, మెరుపులు-మరకలు ఇంగ్లిష్ లోకి అనువదించిన డాక్టర్ దుగ్గిరాల సుబ్బారావు
గారు చింతకింది మల్లయ్య ముచ్చట కథాసంపుటి మీద నాకు నవంబర్ 11, 2017న ఈ-మెయిల్
ద్వారా పంపిన అభిప్రాయం ఇది. ఆయన అనుమతితోనే ఇక్కడ పోస్ట్ చేస్తున్నా.)
Raji Reddy Garu,
I have read all the twelve stories
in Chintakindi Mallayya Muchchata, Itara Kathalu.
The one I liked most is ‘Rendadugula
Nela’: Telugu satire at its comic best, without a Mulk Raj Anand gibe, ‘They think
we are mere dirt because we clean their dirt’ (Untouchable, 89),
but with a delicious Swiftian bite: ‘Inni vyavasthalu okkasaariga
stambhinchipote desaaniki zarige nashtam gurinchi pramukha aardhikavetta Ananda
Sen vishleshistunnattu’ (97); ‘entavaarikaina tappadu, anna headingto lota
pattukunna Soundarya Roy photonu Midnightpatrika
prachurinchinattu’ (97).
The tone of the story is captivating
from the very beginning: ‘Dinchi vunna lungini eththi kattaadu. Malli eththi
kattina lungini kindiki dinchadhu’ (83), leading through comedic desperation:
‘Aidaaru software sambandhalu chooste kaadannaru; evaraina paakivaallunte
cheppandi’ (99), to ultimate equality: ‘Manushula madhya ellalu
karigipotunnattuga, samajam oka anoohya samatasthitiki cherukobotunnattuga
anipinchindi’ (99).
Some of the lines I loved are:
‘Waste ata waste… ee sunnitamaina vishayam artham kaani vaallato vaadinchadam
waste’ (88); ‘Mari aa panilo vunna kashtam, asahyam, jugupsa gurtinchaana? Koti
iste maatram nenu chestaana aa pani?’ (93); ‘Viluva rahitam ga kanbadutoone
ardhavantamaina pani, jeevitam laage. Viluva unnattu kanabadutoone, ardhamleni
pani, malli jeevitam laage’ (94).
The metaphors in ‘Rekkala Pellaam’
continue to haunt me: wings, plumes, horns; imagination, romance, ego; besides
overlapping layers of desire, despair, reality. The story treads a welcome
middle path between ancient Indian way and western magic realism, inviting a
comparison to Tolstoy’s ‘Porcelain Doll’.
Experiments with language,
particularly regional variations, with a natural mix of the local with English,
add spice to the dish, reminiscent of the Hyderabad biryani.
The book is beautifully produced,
with the stories well placed, opening with ‘Aame Paadaalu’, a romantic
invocation of her feet, ending with ‘Srimati Certificate’, an understanding of
the homemaker.
While suicide theme in ‘Marana
lekhalu and ‘Tammudi maranam 1’ is a trifle repetitive, a welcome foray into
the stream of consciousness relieves ‘Manta’.
Wishing you a fruitful, creative, literary
career,
DSRao.
