By Bhaskar Parichha
Odia literature is characterised by a profound tradition of classic narratives, with notable examples such as Fakir Mohan Senapati’s timeless Chha Mana Atha Guntha[1]. This literary corpus is further enhanced by an array of mythological and folk narratives that hold significant importance in the cultural legacy of Odisha.
These narratives persist through time because they reflect universal human experiences, encompassing themes such as land, power, family, and morality, all while being intricately linked to the historical context and cultural identity of the region. They serve not only as stories but also as reflections of society, having been shaped and refined over the years.
Readers are consistently attracted to these literary works for reasons similar to those that draw us to the writings of Shakespeare or the epic narrative of the Mahabharata: their themes are enduring, and the insights they provide remain pertinent. Similarly, publishers and curators, even at the national level, often revisit these classic tales, a trend that is entirely justifiable.
However, it is the transition to contemporary matters that strikes a significant chord. Odia literature has been progressing, albeit perhaps not as prominently or visibly as certain other Indian literary landscapes. Modern voices are addressing current issues—urban isolation, the influence of technology, caste relations, and environmental deterioration. The change is evident, yet it remains less pronounced than it has the potential to be.
What accounts for this? There may be multiple reasons.
The literary tradition of Odisha is profoundly embedded in its heritage. Classic literature is not only revered and taught but frequently eclipses modern works. Both publishers and readers exhibit a conservative inclination, preferring established texts. This trend is not unique to Odia literature; for example, Tolstoy remains a central figure in Russian literary discourse. As a result, this inclination obstructs the acknowledgment of new authors.
Modern Odia literature faces considerable challenges in its distribution. In contrast to Bengali or Tamil literature, which benefits from larger urban readerships and established translation networks, Odia books often struggle to reach broader audiences.
While digital platforms are making significant strides in this domain, the overall development is still sluggish. Without a strong market, numerous authors may opt to concentrate on more conventional themes that are viewed as more commercially viable.
The demographic composition of Odisha is primarily rural, where numerous readers find a stronger connection with stories that delve into village life or ethical dilemmas, as opposed to genres like cyberpunk or themes focused on existential angst. Although there are urban Odia authors, their readership is frequently limited in range. As a result, contemporary themes may seem alien to those who maintain a deep bond with traditional cultural settings.
The literary language of Odia typically possesses a formal tone, significantly influenced by its classical roots. This can lead to a conflict with modern terminology and global themes, posing challenges for writers who wish to innovate without jeopardising their connection to the audience. In contrast, languages such as Hindi and Malayalam readily incorporate colloquial expressions, which thrive in contemporary literature.
Nonetheless, modern Odia literature is dynamic and progressing. Short story writers are exploring a variety of topics including religion, science fiction, feminism, leftist ideologies, and climate change. Prominent authors such as Sarojini Sahu, Satya Mishra, Rabi Swain, Sadananda Tripathy, Jyoti Nanda, Bhima Prusty, Janaki Ballabh Mohapatra, Ajaya Swain, Biraja Mohapatra, Sujata Mohapatra and young writers like Debabrata Das are actively investigating these contemporary themes. Publications like Kadambini, Rebati, and Katha are offering platforms for these creative narratives.
Despite this, the main obstacle remains the need to improve visibility. Social media and over-the-top (OTT) platforms have the potential to revolutionise this landscape—just picture an Odia adaptation of Black Mirror[2]!
There is an immediate need for greater investment in Odia storytelling to effectively bridge the gap between traditional and modern narratives.
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[1] Six acres and a Third, a novel by Fakir Mohan Senapati(1843-1918) published in 1902
[2]Black Mirror is a British dystopian science fiction television anthology series that started in 2011 and is still on the run.
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Bhaskar Parichha is a journalist and author of Cyclones in Odisha: Landfall, Wreckage and Resilience, Unbiased, No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.
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2 replies on “Can Odia Literature Connect Traditional Narratives with Contemporary Ones?”
Bhaskar Paricchha’s analysis of traditional and contemporary narratives in Odia literature is spot on. He has focussed mostly on short fiction in this article, but his observations equally apply to all genres of Odia literature.
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Sri Bhaskar Parija’s article is thought-provoking and demonstrates a deep understanding of both classical and modern Odia literature.
Some contemporary short story writers have attempted to deviate from the traditional pattern, either knowingly or unknowingly. The problem lies in their acceptance by a large readership. Some other Indian languages have managed to balance the old and new patterns. It may take some time for this to happen in Odia literature, but authors should continue to experiment with different styles.
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