Kannada Book Authority to document Karnataka's publishing history in a book. The authority has set up a five-member committee comprising M H Krishnaiah, Apparao Akkodi, A V Navada, Ramakanth Joshi and Sujnana Murthy that will document facts about the book with help of regional committees and PhD scholars in state universities. Kannada is a highly inflected language with three genders (masculine, feminine, and neuter or common) and two numbers (singular and plural). It is inflected for gender, number and tense, among other things. The most authoritative known book on old Kannada grammar is Shabdhamanidarpana by Keshiraja.

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Advertising The publication of the Kannada classic Kusumabale was a milestone in Kannada literary history. By the time it was written in 1984, the Dalit-Bandaya (or Rebellion) school had established a robust presence.

Its author, Devanoora Mahadeva, had already been recognised as the most talented Kannada writer of his generation, despite his modest literary output. Along with other early Dalit writers, Mahadeva had made Shudra and Dalit lifeworlds appropriate subject matters for literary exploration and had fashioned a new literary language to describe them. Yet, despite emerging from within the mainstream Dalit literature, Kusumabale is a major departure, as it constituted a challenge to the form of the novel itself. In this slender novel, Mahadeva attempted to imagine the political through the aesthetic, thus reversing the basic tenet of Dalit literary imagination. Since its inception, the Kannada fictional imagination had been guided by realism.

Writers had fashioned an appropriate literary language to go with this. Kusumabale constitutes a challenge to this realist tradition of writing fiction and short stories. Here, Mahadeva eschewed a linear narrative, created spirits and other extra humans as significant characters and introduced an element of the fantastic to the narrative. He dissolved the boundaries of poetry and prose, with the narrative language and descriptive style being quite similar to the rhythm and language used in folk epics, particularly the Male Mahadeshvara epic.

[related-post] Moreover, when Mahadeva sought to capture the social life of caste relations, social mobility, cheating, and adultery, he did so in a non-ideological fashion. He didn’t limit himself to the portrayal of the experiences of untouchability and caste relations from the perspective of the exploited.

The novel is ostensibly about the murder of an untouchable young man, Channa, who has an affair with Kusuma, an upper-caste girl. But the plot is more complex as it introduces numerous characters and describes social reality through the perceptions of these characters; even Channa’s murder is narrated through mythical retellings and not through a realistic portrayal of what happened to him. It could be argued that Mahadeva reintroduced realism into his novel by scrupulously projecting the folk worldview of that region. In doing so, he departed from the fierce commitment to hyperrealism in Dalit writing. Progressive writers accused Mahadeva of prioritising the aesthetic over the political. Hence, they branded Kusumabale as a work written in bad faith.

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