Title – ‘GUIDE TO FICTION’
Author – D.C.R.A. Goonetilleke
Publisher – Sarasavi Publishers (Pvt.) Ltd.
In this collection of some of the most memorable works in English Literature down the ages, titled ‘Guide to Fiction’, Emeritus Professor of English of the University of Kelaniya, D.C.R.A. Goonetilleke, could be said to be yet again underscoring the need for consistently upholding quality standards in literature.
‘Professor DCRA’, as he is popularly known, has stuck admirably to this task over the years through his substantive contributions to the field of literary criticism and evaluation, besides other works of note, and his ‘Guide to Fiction’ could be described as having immense potential to further sharpen Sri Lankan and international readers’ skills in the declining but all-important discipline of literary criticism.
In a vital sense, this collection is a ‘wake-up call’. It is some time since informed and serious public discourse in English on literature and the humanities went into decline in Sri Lanka and perhaps to a degree, even abroad. The fact thatworks of very questionable literary merit are currently winning what are projected as prestigious international awards, bears the latter point out cogently.
‘Prof. D.C.R.A’s’ collection shouldtake the minds of more discerning readers to the central tenets of classical literary criticism.
It ought to be obvious to the latter category of readers that these principles could on no account be allowed to be eroded or compromised amid the current ‘blizzard of best sellers’, as expressed by some commentators,whose general content tends to bear closer affinities to the murky nether region of ‘pulp fiction.’
A case is not being made in thisreview of ‘Guide to Fiction’ for the blindadulation of what is ‘traditional’ in literature. Rather, it is hoped that reviews such as these would facilitate the process of bringing outcreative literature of quality. A fundamental criterion of the latter is the ability of the writer to explore important areas of human experience with all the engaging creative skills at her command.
The majority of humanity should be in a position to connect vibrantly and empathetically with a literary work of merit, such as the above, through a recognition of what is timelessly important in it. Those works which fail this test cannot be regarded as creative literature of any consequence.
This is the principal reason why Kalidas, Shakespeare, Dante, Tolstoy and Dostoevsky, to name just five literary greats, are read and enjoyed by readers the world over to date. They will be read by discerning people with great interest even in the future and that is the reason why they are considered all-timegreats or classical icons in the field of literature.
In ‘Guide to Fiction’ we have complete works and extracts from some of the greatest practitioners of the art of fiction writing in English.
‘Prof. D.C.R.A.’ does not confine himself to writers of only English and American origin but goes outside the Western tradition, so to speak, to the Indian and African continents as well, for instance, for quintessential creative writing in English. By commenting on, lucidly analysing and evaluating the works contained in his collection, ‘Prof. D.C.R.A.’ re-establishes their literary eminence. In the process, he elucidates the highest principles in literary criticism.
Some of the non-Western writers featured in the collection are: R. K. Narayan, Kamala Markandaya, JhumpaLahiri and Adichie Chimamanda. Consequently, the creative writing contained in the collection is wide-ranging and imparts to the reader a broad and updated understanding of the evolution of the novel and short story in English over the decades.
Moreover, thanks to the collection, the reader is enabled to drink deep once again of the creative genius evinced by the forever- vibrant creative writers in the Western tradition, such as, Jane Austen, D.H. Lawrence, Thomas Hardy, Ernest Hemingway and Oscar Wilde. ‘Pride and Prejudice’, the Jane Austen classic, for instance, is brought to life, so to speak, by ‘Prof. D. C. R. A.’ through his insightful and lucid analyses of the social life of the relevant times.
The novel could prove to be of tremendous importance to the sociologist but it is mainly on account of Austen’s profound understanding of the ‘things of the heart’ that we tend to value ‘Pride and Prejudice’ most.
It is with rare genius that Austen details the evolution of the Elizabeth-Darcy relationship through a series of ‘ups and downs’ but by the end of the novel the reader is likely to vouch for the fact that she has never ever been treated before to a more authentic account of how a woman and man of considerable maturity fall in love.
Among other Western writers of repute in the collection, the reader isenabled to also have an insight into the exceptional story telling capabilities of Thomas Hardy in the evaluation of the latter’s ‘Tess of the D’ Urbervilles’.
We learn why Hardy could be considered to be ahead of his time. Essentially, Hardy combined social content of the first importance with a gripping story line and this marks off his sensibility as modern although he wrote in Victorian times. We are reminded that plot and content cannot be viewed in isolation from each other. In fact, ‘Prof. D.C.R.A.’ indicates to us that all the principal elements of a good novel, such as plot, theme, character portrayal, setting and style are symbiotically linked.
Thanks, once again, to ‘Guide to Fiction’, we also begin to understand why relatively newer writers, such as, Alice Walker, JhumpaLahiri and Adichie Chimamanda merit being mentioned among the foremost creative writers of world literature. ‘Everyday Use’ by Alice Walker and ‘Interpreter of Maladies’ by JhumpaLahiri, for example, take us to the heart of present day living in both West and East.
Basically, these short stories highlight the impact of modernisation, urbanisation and migration on current society. To a degree, the stories outline the dehumanising impact of these contemporary forces. The young in particular are, from the viewpoint of elders, ‘changed beyond recognition.’ Here too, deftly handled, absorbing story lines combine with thought-provoking thematic content. It is of special interest that the reader is spared any moralising or authorial comment in the telling of these stories. The stark realities of life are allowed to speak for themselves.
‘Guide to Fiction’ by Emeritus Prof. D.C.R.A. Goonetillekecould be recommended as compulsory reading for undergraduates and secondary school students studying English Literature for their courses. The timely compilationeminently qualifies as well to be popularizedamong the wider public desirous of understanding and appreciating the best of modern English Literature and the central writing skills that go into its making.
Reviewed by GILO
