Damodar Mauzo on winning the Jnanpith Award: It is not for me but for the Konkani language, in which I write

Goan Short-fiction writer, novelist, literary critic, and scriptwriter in Konkani, Damodar Mauzo , is now the recipient of the 57th Jnanpith Award and only the second Konkani writer after Ravindra Kelekar to receive this honour. At 78, he has the same curiosity and enthusiasm as a young writer, who never shies away to speak his mind and at the same time manages to win your heart with his words. This soft-spoken, son of the soil who resides in the quaint village of Majorda, South Goa, is writing for 50-odd years now and has immensely contributed to Konkani literature with his works. His novel, ‘Karmelin’ for which he received the Sahitya Akademi Award in 1983 is one of the well-translated works that explore topics like patriarchy, femininity, and sexuality. His popular short-stories titles include ‘Teresa’s Man and Other Stories from Goa’, ‘Tishthavani’, ‘Sapon Mogi’, ‘Bhurgi Mhageli Ti’; novels like ‘Tsunami Simon,’ ‘Jeev Diun Kai Chya Marun’, to name a few. In a candid chat about his journey as a writer, he speaks about the award, his writing process, reading habit, translation, Konkani script row, and how writing can make you a better person Congratulations on winning the Jnanpith Award, which is the highest literary award. What are your emotions right now? The one thing I always say is that I never write for awards. However, Jnanpith Award is different, unlike Sahitya Academy Award where the award is given for literature in each regional language. So, it gets restricted to that language. But Jnanpith Award or Saraswati Samman selects the best among all the languages. So, that makes me happy. This award is not for me but for the Konkani language, in which I write. So, it is the honour of the Konkani literature, society, culture, and also of the state at large. How would you like to define yourself as a writer? Do you think you are now a full-fledged, accomplished writer after winning this award? First of all, I don’t think any regional writer in this country can afford to be a full-time writer. For many years I used to juggle between my business and my writing. However, there may be an exception to it. I think I am a writer because I am a good reader. As a reader, I am always attracted to something new. Also, I have a habit that if I liked a particular book by a writer, I will read all his works. For me reading is also a form of learning, for example through Nevil Shute’s novel ‘A Town Like Alice’, I learned so much about that town, people, etc. Are you a disciplined writer who writes 1000 words per day? What’s your process? I am anything but a disciplined writer. I don’t follow the routine of writing every day. The story comes to me organically. I conceive the end of the story in my mind first and then I just write it down in a stretch, especially the short stories. Sometimes I struggle to write the introduction or finalise the names of the characters. My first draft is read by my wife, Shaila. She then reads and suggests changes, if there are any. I never write 2-3 drafts, which other writers may find surprising. When I told this to fellow Goan writer, Victor Rangel-Ribeiro, he was puzzled. He then told me that it is because there’s a copy editor within you, and both work simultaneously when you are writing. In my writing career, I have written around 25 books, this is quite less compared to other writers. For me, the inspiration has to come from within. In your writing, the main focus is on the characters, their complexities, their relationship with their land, and overall the Goan ethos. How far this world is a direct representation of you and your thought process? Do you keep yourself away from your writing? You may find me in every story of mine as it is difficult for a writer to keep oneself away from his/her story. In my writing, my ideology, my take on life, my perspective on women, children, my neighbours, and my worldview will get reflected. If a writer is not honest about it then it will show in his/her work and a smart reader will easily get it. In my recent novel, ‘Jeev Diun Kai Chya Marun’, if you start searching for Mauzo, then you will not get it. However, when Mangalore based writer, Melwyn Rodrigues, read this novel he told me that my ideologies are well reflected in this book. For me, creative writing is also a tool for self-discovery. Many times when I write a particular character that has negative shades, at that time I think, do I also react in the same way in that particular situation? In that whole process, I also try to correct myself and my behaviour. So, writing also helps me, to become a better person. In your stories like ‘Karmelin’ or ‘Teresa’s Man’ or for that ‘Bhurgi Mhageli Ti’, which are based on women, we discover the hardships these women face in this man’s world and their internal struggles? How do you get into a woman’s head? And do you think that your writing is feminist? I believe that within me there are my father and my mother. Also, I was more attached to my mother while growing up. Probably that’s why I may be in a better position to understand their situation. Speaking about my literature, I don’t make a conscious effort to have a female protagonist but in most of my works, I have strong female characters. It is the job of a critic to find the reason behind it. Also, when I was writing the short story, ‘Teresa’s Man’ I never intended it to be feminist. The female character was based on the woman whom I came across in my day-today-life. For any regional language, translation becomes an important tool to reach the masses. Are you happy with the translations of your works? The translation is very important as it helps to reach wider readers. But, I am not very happy with my Hindi translation as it is very less compared to the English translation. Here the translator who is well-versed with Hindi should also have an understanding of the Goan way of life, its culture, etc. as translation is not only technical but also a creative process. Having said that, I did manage to get some good Hindi translators. We need more Hindi translation as it becomes easier to translate further into other regional languages. The one important aspect of creative writing or for that matter any form of writing is the freedom of expression. But in current times due to various factors, this is under threat. You are yourself is a victim of it, as you have been given police protection due to the threats to your life. What’s your take on it? In my viewpoint, the writer should not think much about it. This does not mean that one should take any threats lightly, take all precautions related to them. But, I can’t compromise my writing due to that. Also, I feel, now that the responsibility of the writer is increased. Literature is also a reflection of the times we live in. A writer must ask questions, and raise issues, and for that, there is no need to be aggressive about it. One can do it subtly and more responsibly. I hope that in times to come the people who are opposing such things will realise that was nothing wrong with it. The one thing that bothers me is the ‘othering’ factor that is entering our literature and I think the writer should not fall for it. The one main issue that comes with the Konkani language is the script. It is one of the few languages which are written mainly in four scripts (Devnagri, Romi, Kannada, Malayalam), which should have helped the language, but the reality is different. In Goa, there’s always a debate about the Romi and Devnagri script. What’s your take on this issue? When we are speaking about the script, it usually gets associated with identity, and then it gets political. The script is not identity, language is. Speaking of Konkani scripts it has indeed helped the language to survive and flourish to some extent. In the year 1939, a Konkani Parishad was held in Karwar, Karnataka, to which Konkani writers of different scripts were invited. At this Parishad, it was decided that Konkani should have one script and they nominated Devnagri Konkani. But, after that, the same thing continued. We should finalise the script once and for all. Also in the year 1963-64, writer/educationist Manohar Rai Sardesai had written the first textbook in Konkani and both scripts – Devnagri and Romi. But, at that time the Diocesan priests raised objections as in their opinion such an act would divide the community and the idea of dual scripts was dropped. Are you optimistic about the Konkani language? I think we have to overcome the difficulties with the help of technology as now we have e-books, audiobooks, etc. Also, I want to appreciate Tiatr (Goan musical theatre) as it has played a very important role in promoting the language amidst the masses. What we need especially in Goa is more participation in promoting the literature. The government’s job is not just to build bridges but also further the cultural progress of the state. We still don’t have Konkani Bhavan in Goa. We need such spaces to nurture and promote the language. How do you look at the new-age Konkani writers? There’s always a scope to hope. I am not very happy with the writing, as I can see that they are not reading much. One day during my interaction with Acharya Kakasaheb Kalelkar,(Dattatreya Kalelkar, social reformer), I told him that I don’t get much time to write and I feel bad about it. He said no problem at all, as you have to take time to read first. Writing can happen at any time. Arti Das is a freelance journalist based in Goa. She writes about art, culture, and ecology. Read all the  Latest News ,  Trending News ,  Cricket News ,  Bollywood News ,  India News  and  Entertainment News  here. Follow us on  Facebook ,  Twitter  and  Instagram .