06 January 2026

Gananath Obeysekere’s ‘foolishness’ and the liberation from complicities


One of the most fascinating lectures I’ve attended is the one delivered by Gananath Obeysekere at the Royal Asiatic Society of Sri Lanka on the Vädda, more than twenty years ago. It was based on research conducted in the Bibile region with H G Dayasisira in 199-2001. Further research had been conducted between 2007 and 2009. The project apparently was one that ‘envisaged a critique and a follow-up of ‘The Veddas,’ the classic study by C G and Brenda Z Seligmann who believed they were dealing with one of the world’s most ‘primitive’ hunting and gathering groups. The outcome of the exercise was Gananath’s 2002 book ‘The Creation of the Hunter.’

The title has the following rider: ‘The Vädda presence in the Kandyan Kingdom: A re-examination.’ The keyword is ‘re-examination.’ Obeysekere revisits the wild man thesis offered by the Seligmanns and of course his own research a decade or so before. Indeed, Obeysekere’s academic life is essentially filled with revisitations of one kind or another.  

Liyanage Amarakeerthi, in a speech delivered in August 2023 on the occasion of an event where Obeysekere handed over his personal library, the Obeysekere Collection, to the University of Peradeniya, details instances where Obeysekere has challenged received knowledge. For example, he cites Obeysekere’s engagement with Edmund Leach in ‘Medusa’s Hair,’ with Marshall Sahlins in ‘The apotheosis of Captain Cook,’ with Western rationalism in ‘Awakened Ones: Phenomenology of Visionary Experience,’ and with what Amarakeerthi sees as ‘nationalist forces that brought the county down, [by] promoting extreme chauvinism and xenophobia,’ in ‘The many faces of the Kandyan Kingdom.’ One could add to this, ‘Buddhism Transformed: Religious Change in Sri Lanka,’ which Gananath co-authored by Richard Gombrich.

These revisitations certainly generated debate and fuelled much academic forays into the fields that Obeysekere explored. Revisitation of re-examination as Obeysekere puts it is obviously a key element in the social sciences in general and in history and anthropology (and related fields) in particular. Theses are generated by the examination of and reflection on information available or unearthed. Further discoveries compel scholars to revisit theories and make necessary adjustments or even abandon them altogether.

Obeysekere acknowledges the import of reconsideration, even of his own work. In an interview with Jayadeva Uyangoda aired on YouTube in 2016 titled ‘The foolishness of Gananath Obeysekere,’ when he was already close to 90 years of age, the anthropologist admits that he ‘made errors of fact and errors of interpretation.’ He quotes Friedrich Nietzsche: ‘One must be very humane to say I don’t know that.’  He asks (and answers), ‘How many of us are capable of pleading ignorance? I am. That’s why I praise foolishness.’

He eloquently summarises the dilemmas of the social sciences. ‘Human sciences are vulnerable. The human sciences have an adolescent character. That is, he (Nietzsche) calls it the fate of our times. With these kinds of work there’s a kind of incompleteness. We can’t produce a finished product. All of anthropology is like that.’

He adds, ‘ours, as against the kind of natural sciences, are argumentative disciplines. And as argumentative disciplines they are also vulnerable. You can’t produce some kind of inter-subjective consensus that everyone will agree to. We may claim to be objective. You have to balance yourself, produce your empirical investigations which require evidential support. We are creatures who are basically argumentative. There is truth-value, otherwise we won’t be writing, but truth, as I always say, should be in inverted commas.’

This is why Obeysekere probably revisited his work and that of others. He was relentless. Truth, as received, comes in inverted commas. Unfortunately, there are certain truths which those who champion Obeysekere choose to write without the qualifier, as Obeysekere himself has done on occasion. That’s a disservice to Obeysekere, obviously, and one likes to think that Obeysekere, if such errors of commission and omission, i.e. of both fact and interpretation, were pointed out, would have engaged with such theses in the spirit of the foolishness that he praises.

It is important to examine the truths (without inverted commas) that seem to have pervaded Obeysekere’s work, especially on two important scholarly interventions, his explorations of the Vädda and related and preceding narratives, and his essay on Dutugemunu’s conscience, the latter ‘truth’ being reiterated by like-minded scholars in the social sciences and humanities, again without inverted commas.

‘Duṭṭhagāmani and the Buddhist Conscience’ was an essay derived from a lecture by the same title delivered by Obeysekere at the 13th conference on South Asian Studies at the University of Wisconsin, Madison, USA in November 1984. It was included in a collection titled ‘Religion and political conflict in South Asia,’ edited by Douglas Allen in 2004. The text was translated into Sinhala in the early 1990s by Sunil Gunasekera and published by the Social Scientists’ Association in the magazine ‘Yathra’ and later in the website www.kathika.wordpress.com by the ‘Kathika Sanvada Mandapaya.’

The truth (or otherwise) presented by Obeysekere in his essay was comprehensively reviewed by Ishankha Malsiri in ‘Dutugemunuge Harda Saakshiyata Pilithurak (A response to Dutugemunu’s Conscience),’ in 2016. Malsiri examines Obeysekere’s sources and in some instances points out errors of omission and commission, especially with regard to the ‘true’ location of Elara’s grave and the purported mischief indulged in by archaeologists, as representative of the state, implying of course some ideological bent and outcome preferences subscribed to by some at the time. He points out the contradictions, inconsistencies, ambiguities and witting or unwitting obfuscations in the text and concludes that the thesis is untenable.

Interestingly, Malsiri includes in his book, as addendum, the Sinhala version of Obeysekere’s talk/essay. Obeysekere’s angst is evident therein, as it is in his work on the Väddas, the contemporary expression of Buddhist practices and the intrigue associated with the Kandyan Kingdom. He correctly and importantly points to the danger of a single narrative and the tendency of such positions to concretise or, as he would put it, remove the inverted commas of ‘truth,’ and thereby argues for a more nuanced, tolerant and humane reading of history, in particular the caricatured versions as touted by the politically inclined, including certain scholars. Nevertheless, Obeysekere cannot seem to divest himself of his own reading of the antecedents of the crises or turbulences he was born into and lived through, especially after political independence was obtained from the British. It is a malady that seems to have infected his ideological fellow-travellers who, interestingly and in contradistinction to Obeysekere’s conscious embracing of foolishness, appear not to have the wider-gaze, if you will, of the anthropologist.

Whereas Obeysekere uses Dutugemunu’s ‘avowed’ discovery of a conscience towards the end of his, Dutugemunu’s, life in order to champion multiple and even contradictory narratives, his, Obeysekere’s, acolytes remain uncritical and ‘un-foolish’ even as they rant and rave against the alleged foolishness (not in the vein that Obeysekere uses the word of course) and even mischievous ways of those who are ideologically and politically opposed to their point of view.

Amarakeerthi, for example, while claiming, probably correctly in the main, that ‘Obeysekere was turned into a national villain in [the] extremely one-dimensional nationalist/racist press,’ and that Peradeniya university produce[d] scholars who argue that Dutugemunu, by extension Sinhala people, has no sense of guilt in their conscience,’ inexplicably jumps to the following conclusion: ‘No wonder that Sri Lanka has descended into the political, ethical, cultural abyss that it is in right now.’ He opines that ‘nationalist forces’ are promoting extreme chauvinism and xenophobia, a claim that can be defended in the case of certain nationalists but not all, but his assertion that it was nationalist forces ‘that brought the country down,’ is a frivolous, mischievous, unsubstantiated and reductionist claim. Obeysekera, for all his problemetisation of identity and pluralisation postulates, does descend to the kind of monolithisation, if you will, that such claims are predicated upon. We shall return to this presently.

Malsiri proposes that Obeysekere’s objective is to denigrate contemporary Buddhist society which, admittedly, Obeysekere often treats as a monolithic entity and frivolously implies is lacking in conscience. In this, as Malsiri points out, Obeysekere is not alone. Malsiri offers a list of academics whose work is premised similarly, i.e. the Sinhala-Buddhist is the villain of the piece not only for what is erroneously or at least incompletely described as ‘the ethnic conflict’ but all major ills that has plagued the island nation for many, many decades. They include Bardwell Smith, Sachi Ponnambalam, S J Thambiah, George Bond, Jeyaratnam Wilson, Stephen Kemperer, David Littleton and H L Seneviratne.  

The ontological error is most evident in Obeysekere’s work on the Väddas. The text reads as an illuminating narrative on who was who and when of peoples in the island, pertaining to the Väddas and the Sinhalas and the overarching factor of Buddhism, Buddhist (society) and related othernesses. He not only rubbishes the notion of the Vädda as a wild character as described by the Seligmanns and others, but problematises identity and relatedness of both the Väddas and the Sinhalas in the areas he focused his research on.  Obeysekere forces the reader to consider the likelihood that the Vädda-trace, if you will, even if ever they lived in isolation, was not and, as importantly, is not absent in ‘Sinhala’ DNA. Nevertheless, and surprisingly, he is flippant when it comes to the origin of the Sinhalas and, inter alia, the Tamils, in this island.

Obeysekere, referring to legend of Vijaya as chronicled in the Mahavamsa, notes that this adventurer from across what came to be known as the Palk Straits developed a union with Kuveni, the Yakka princess who helped him vanquish her kinfolk, and then ‘abandoned her for what was considered legitimate union with a princess from Madurai in the Tamil country.’ Then he slips in the following: ‘As for the Sinhalas they are a product of the union between Vijaya and his followers and the women of the Tamil country which of course means, according to the Mahawamsa, that the Sinhalese are a genetic intermixture between a possibly north or eastern Indian (sic) group of men who landed in Sri Lanka and Tamil women from Madurai.’

An entire race, the Sinhalese, then, grew out of a union between Vijaya and this princess from Madurai, and that of Panduvasdeva, Vijaya’s nephew, whose father, Sumitta had married a Tamil princess from Madda, which Obeysekere offers is possibly ‘Madras in today’s nomenclature.’  He concludes without substantiation that ‘ordinary Sinhalas were directly descended from the marriage of Vijaya’s followers with Tamil women.’

Obeysekere proposes that the Mahavamsa is a frank recognition of Sinhala hybridity that was the empirical reality at the time the Mahavamsa was first composed, i.e. in the 5th Century of the Common Era, that is almost a millennium after the purported arrival of Prince Vijaya. By this time, note, there had been several invasions by various groups from the southern part of what came to be known as India who ruled parts of the island for a total of a little over 100 years. Hybridity of one kind or another is a plausible conclusion. Indeed, Obeysekere is probably correct about hybridity in the early centuries following Vijaya’s arrival, but what is important here are the dimensions of that hybridity and even more so the composition.

Just as the Mahavamsa chronicler, Reverand Mahanama, may have projected into the past some of the empirical realities of the day, so too may have Obeysekera, especially given his antipathies to Sinhala Buddhist nationalism and some of its advocates who floated and still float the idea of a pure race ‘unadulterated’ by Tamils, Väddas or others including non-Tamil speaking Dravidians from across the Palk Straits. Obeysekera perhaps inadvertently acknowledges that the dominant entity in all hybridisation happens to be the Sinhalas or at least it is the Sinhala identity that triumphed in the respective encounters, indicating the probability that those with other and even contending identities were either small in number or weak politically. Indeed, Raja Raja 1, the Chola Emperor who ruled from 985 to 1014 CE, when listing the lands he plundered in inscriptions at temples built with the loot refers to this island as ‘The land of the warlike Sinhalas.’  This indicates the erroneous nature of the flippant use of terms such as hybridity. It is, to use a more contemporary example, akin to descriptions of the Sri Lankan polity as being ‘multi-ethnic’ and/or ‘multi-religious’ without mentioning numbers and percentages. It also brings to mind the tendentious use of terms from 1983 (or even before) to the present such as ‘North-South’ indicating a 50-50 division of territory, and that of ‘border villages’ which is a tacit positing of some boundary established historically or legally.

There are other problems associated with Obeysekere’s thesis regarding the evolution of the Sinhalas. There’s nothing to say that the princess brought down from ‘Madda’ or Madurai was ethnically a Tamil. Neither is there any reference to Sumitta having married a Tamil princess from Madda. More seriously, those who draw heavily from Obeysekere’s truths (without inverted commas) frequently rubbish the Mahavamsa and yet do not object to Obeysekere using the very same Mahavamsa to support an arguably problematic narrative of how the Sinhalas came to be.

Obeysekere’s conjectures maybe questionable, but this does not necessarily mean that there were no Tamils involved in the genetic evolution of the Sinhalas. What, we need to ask, are the references to ‘Tamil’ either in archaeological artefact or historical tract?

First let us consider the inscriptional evidence. Senarath Paranavitana, in his ‘Inscriptions of Ceylon, Volume 1’ covering cave inscriptions from the 3rd Century BCE to the 1st Century CE, claims that the word ‘Dameda’ found in four inscriptions is the prototype of ‘Damela’ or ‘Demala.’ However, Ven Ellawala Medananda disputes this claim. His contention is that it is derived from ‘Drameda’ which is one of 25 Brahmin sects, 24 of which were found in the island. The word is used to refer to traders as well, Ven Medananda points out in an article titled ‘Girilen pidu janavargaya kavareda? (What ethnic groups gifted caves?),’ published in the ‘Divaina’ in March2002.

Let us assume that Paranavitana was correct. The question is, ‘why the qualifier, “Dameda”?’ Consider an inscription found in the southern part of present day India where there is reference to someone from this island, ‘Eela Kutumbika’ or ‘the householder from Eela (or Lanka).’ The ‘ethnic’ qualifier is required simply on account of the fact of the particular individual being from somewhere else. Similarly, if indeed, the word referred to Tamils, the insertion indicates ‘foreign’ at some level. Hence, we get references such as Dameda Samana (shramana or monk), Dameda Vanija (trader) and Dameda Grahapathi (householder). We don’t get such references in the southern part of the Indian peninsula and neither is there any equivalent to ‘Eela Kutubika’ in the island. Damila, note, has been used as a word equivalent to ‘foreign(er)’ even in the Rajavaliya, where even the Portuguese were referred to by that term, a reference to non-Sinhala or simply ‘not from here.’ as pointed out by D Obeysekera in ‘The History of Ceylon.’

How about the characters in inscriptions? There are Brahmi inscriptions which contain the random Tamil Brahmi character, but even these are rare, just one or two dating back to the 2-1 BCE. It’s a weak claim and one that is disputed. The indisputably Tamil Brahmi characters appear only inscriptions dated to the 8th Century CE. It must be mentioned that in the northern part of the island, most inscriptions are in Sinhala Prakrit and go back as far as the 2nd Century BCE.

There are references outside the inscriptions of course. Rev Mahanama, in the Mahavamsa, uses the word ‘Damilo’ in reference to Elara: ‘Elaro namo damilo’ or ‘the Damila (Tamil) named Elara.’ It must be mentioned that Rev Mahanama does not inscribe any negative traits upon this particular Tamil, Elara. According to the Mahavamsa, there had been no less than 32 fiefdoms north of the river Mahaweli, with Elara heading just one of them. Some of the rulers had Sinhala names but are referred to as Damilas, further supporting the idea that the word was used not to refer to a particular ethnic group but ‘enemy’ or ‘foreigner.’ Dutugemunu either defeated in battle or subdued in other ways 31 of them before taking on Elara. The process took 15 years. While this does not deny the existence of a Tamil community, it shows that the use of the name is more complex that implied in the Sinhala and even anti-Sinhala nationalist discourses.

In any event, what Dutugemunu did, then, is to erase regional political entities and replace them with centralised rule. This is evident in the exchange with one of the ten generals, referred to as the ‘dasa maha yodayo (literally, ‘ten great giants),’ Theraputtabaya. When offered a position, Theraputtabaya says that he has a war to fight, to which Dutugemunu replies ‘what war now that we are under a single flag (or a single king), the term used being ‘ekachchattan karento.’ Theraputtabaya then responds that his war is that of defeating the kleshas, the emotional obscurations such as ignorance, hatred and desire.

The political intricacies of the time have since been ignored or completely erased to leave us with grand Sinhala-Tamil antipathies in the nationalist discourse which Obeysekere understandably laments. Sinhala nationalism drew from this easy portrayal and, it can be argued, contributed fuel to inter-ethnic mistrust and worse. What is pertinent here, however, is the worth of the Tamil-factor or trace in the peopling of or more correctly the peoples of the island. The 50-50, so to speak, that Obeysekere proposes (inadvertently and not mischievously we should believe) by referring to the Vijaya legend and his unwarranted insertion of a Tamil strain is not supported by either transcription or historical tracts he draws from, selectively and uncritically. Evidential support is woefully lacking.

To understand the propensity for error, in fact and interpretation, such as those Obeysekere was prone to, perhaps we should revisit the monolithisation referred to above. In what was common parlance in the 1990s and the early years of this millennium, we saw the liberal use of terms such as the ‘Sinhala Buddhist State’ or simply ‘the Sinhala state,’ and ‘Buddhist Society.’ Obeysekere’s work, paradoxically, questions such sweeping categories but seems to have relaxed analytical rigour when it came to the configurations of contemporary polities, which he acknowledges preoccupied him. Amarakeerthi alludes to Obeysekera’s focus on complexity in the speech referred to above, when he touches on the knowledge-power axis.

‘Obeysekere’s work shows a much more complex picture of that “knowledge/power” axis,’ he says. Amarakeerthi is referring to the work of Edward Said’s ‘Orientalism’ where ‘representations of other people, Asian, African, American, and so on, in colonial discourses is mediated by power, and that power to represent overlaps with power to govern, power to punish, and power to murder.’   Once a discourse is constructed around a subject and a knowledge is produced within that discourse, many people contribute to sustaining it and giving it a life of its own, as “The Doomed King” amply demonstrates.’

This, clearly, is most apparent in discourses that are unarguably dominant. However, it is not a malady that contesting narratives or discourses that contest the dominant ‘truth’ are immune to. The reiteration of tendentious claims clothed as truth or fact is not the preserve of the powerful. Selective and uncritical use of sources, sweeping generalisations, surreptitious insertion of terminology that is at best problematic and at worst untenable are readily available tools that tend to come into play when certain narratives are privileged on account of, for example, outcome preferences, or if prompted by a desire to deconstruct non-existent monoliths or ‘constructed monoliths.’  

For example, Sunila Abeysekera at a penal discussion during the Galle Literary Festival about 15 years ago lamented that ‘some people conflate the LTTE (Liberation Tigers of Tamil Eelam) with ‘Tamils.’ It was pointed out in the Question and Answer session that followed that ‘when some people say “the LTTE is the sole representatives of the Tamil people,” then we need to ask “who is doing the conflating here?’  Both conflations are not only problematic but are in fact pernicious, dangerous and anti-intellectual. That’s the natural and frequent product of monolithisation.  

So, if exclusivist historiography is problematic, so too is Monolithisation of whatever kind, whether proposed by majority or minority, the hegemonic (or perceived to be hegemonic) or those contesting dominant (or perceived to be dominant) narratives. Obeysekere’s work is fuelled by a need to contest what is perceived to be an exclusivity shared by nationalists in toto, never mind that neither Sinhala Buddhist Nationalism nor Sinhala Nationalism nor Buddhist Society is monolithic. Regardless of the political and ideological need that framed his research focus, Obeysekere did succeed in challenging exclusivist historiography. What he makes of it is not without problems though. The extrapolations, for example, are tendentious. As always, it’s the value attached to factors that can skew a reading. That which has been excluded needs to be included, yes, but what is included should be inserted in proportions that make sense given existing information. Again, evidential support is key.  

Amarakeerthi offers an interesting and valuable insight into Obeysekere’s approach and style. He says ‘His psychoanalytic approaches and extremely agile and fluid readings of classical historical narratives and historical characters have rendered them much richer than they had been represented in some colonial, nationalist, or postcolonial readings.’ Referring to Obeysekere’s ‘The Work of Culture,’ Amarakeerthi opines that it is a rich summary of the author’s previous work ‘and a demonstration of how a great thinker can work with already familiar materials and yet come up with new insights with surprise, delight and wisdom.’

There is certainly surprise and that can be good and bad. Delight of course on account of offering new and more compelling interpretation, at best, in a purely academic sense, but also because of affirming some dearly held version or buttressing prejudice. As for wisdom, Obeysekere might find it an odd word, especially given that for him it was honest engagement that hopefully yielded something that could inform involvement in more meaningful and productive ways with the objective of producing more wholesome outcomes.

Agility and fluidity, however, are certainly useful skills for an anthropologist or historian to have, especially if such scholars work on the premise that what is seen may not tell the whole story or indeed that it might very well obscure or twist what really happened. In such exercises, an obvious handicap is the burden, if such exist, of ideological and outcome preferences and of course treating one’s own and not necessarily true understanding of contemporary (or even previous) social formations as fact and not as, at best, hypothesis.

Obeysekere was clearly not impressed by neat, uncomplicated stories which unfolded neatly and produced neat outcomes. Life is not that clinical and neither is history, historical persona, event, metaphor or narrative. Such appreciation of complexity befuddles political activists (academics, NGO workers, journalists included). It is so much easier to have things in black and white and to wallow in untenable dichotomies. One could argue that such caricaturing not only makes for poor political decision-making but subverts sober, humane and truly transformational engagement.

In an article titled ‘Towards liberating ourselves from the complicities of stereotyping,’ published in the Daily Mirror in 2018, I offered the following ‘notes’ (more measured than the flourish implied in ‘agility and fluidity’) on the propensity of the allegedly subaltern or groups perceived to be or perceive themselves as being subjugated and their champions to indulge in caricature, might illustrate elements of this malady (note, again: caricature is not the preserve of the dominant).

‘If you talk about ‘Sinhala Only’ (as you should) and not talk about G.G. Ponnambalam’s ’50-50’ or Chelvanayakam’s ‘a little now, more later,’ or the ‘Tamil State Party’ or Ponnambalam Ramanathan’s Tamil chauvinism that detracted from his struggle with the Sinhalese and others against the British, if you talk about Anagarika Dharmapala and are silent about Arumugam Navalar, all of which preceded ‘Sinhala Only,’ then you are being mischievous at best.

‘If you talk of multi-ethnic and multi-religious (as you should) but don’t talk numbers and percentages, you are being mischievous, at best.

‘If you talk about all the failed agreements between Sinhala and Tamil politicians (as you should) but don’t talk about the implementation of important articles despite these ‘failures’ then you are being mischievous, at best.

‘If you talk about ‘Sinhala Only’ (as you should) and ignore the ‘English Only’ that preceded it for more than a century, if you talk about alleged ‘Buddhist hegemony’ and ignore the ‘Christian hegemony’ that had existed for 450 years and which included the destroying of temples and Kovils, murdering of bikkhus and the burning of manuscripts, you are being mischievous, at best.

‘If you talk about secularism (as you should) and leave out the fact that there are more holidays for Muslims than for Buddhists and that the number of Christian holidays are four times more than that for the latter and that the Hindus have just 3, then you are being mischievous, at best.

‘If you talk about a Sri Lankan identity (as you should) but balk at the idea ‘one country, one law’ you are being mischievous, at best.

‘If you talk about the contribution of all communities to the achieving of independence (as you should) and forget that in terms of percentages (since percentage-free numbers can be misleading) it was the Sinhala-Buddhists who sacrificed most by way of lives lost and properties destroyed, you are being mischievous, at best.

‘If you talk about the heroism of Muslim members of the security forces (as you should) in the defeat of the LTTE and ignore the fact that the freedoms enjoyed in a terrorism-free land were obtained at the cost of much higher percentages of the majority community giving their lives and limbs, you are being mischievous, at best.’

Amarakeerthi seems to be convinced that Obeysekere was not handicapped in this manner: ‘He has been an inspiration in speaking truth to power, in keeping a critical distance from all centres of  power, and in feeling at home in the loneliness that often comes to you when you keep that distance.’

Power, however, is a problematic term here. There are of course structures of power and there’s resistance too, narrative and counter-narrative, version and contestation. Being at odds with perceived hegemonies of whatever kind, however, does not automatically confer greater truth-value to the contestant nor grant relatively higher moral high ground, whether the protagonist is a raw political animal or a scholar.

Obeysekere was certainly aloof vis-a-vis ‘power,’ more so than many who seem to be euphoric about his ‘findings’ and may indeed have been amused by and not necessarily approving of the encomiums. His agility and fluidity produced fascinating literatures, forced revisitations of many fields, events and personalities which in and of itself is not necessarily bad. He was probably right on many counts but dead wrong in others, as he himself admits. There were few bold enough to take issue with him and those who did were hampered by their own ideological and political trappings. Malsiri was an exception, but his work was published when Obeysekere was well over 80 years of age. It is incumbent, then, on the Obeysekerists to engage with him.

Obeysekere acknowledges the adolescent nature of the human sciences and is ready to say ‘I didn’t know’ and by extension, ‘I was wrong.’ It is unfair to castigate Obeysekere for being humble enough to acknowledge error and thereby admitting error and an adolescent engagement at times and to strut as adult at other times. Given the nature of his lifelong engagement with the world and indeed worlds around him, it is perhaps not unfair to presume that if he had the time and energy to engage with readings that are at odds with his own such as Malsiri’s critique, he would have, in the very least, offered elaborations to support his theses or admit error or place himself somewhere between these two extremes. He would do so with a smile that only a student deeply conscious of the complexities of the human condition and the adolescent nature of the human sciences can sport, at least according to those who worked closely with this unarguably tireless, relentless and engaging scholar who was as rigorous as he believed he could be.

Obeysekere, as Amarakeerthi contends, was agile and fluid. He delighted as much or more as he may have dismayed. He was meticulous in the gathering of information and there was flourish in his reading of the same. What he produced was not ‘neat’ in the sense referred to above, but it was certainly pretty. If indeed his narratives or interpretations seemed like finely crafted embroideries, one must not forget that embroidery rests on and is enhanced by spaces or gaps. Sometimes such gaps are deliberate and at times accidental. They are not ideology-free. They have that inescapable adolescence Obeysekere alludes to which is often inevitable when primary sources are ignored or just glossed over. Of Obeysekera it could be said that he was conscious of complicities and in his work there is a conscious effort to liberate himself from such as there may be.

Obeysekere was prolific. As prolific as he was it is unfair to expect him to have answered all unanswered questions regarding history. He shed light on the Väddas but at best only dabbled when it came to the Sinhalas and Tamils in terms of how they came about and how they transformed over time. There was truth-value but truth was always within inverted commas. He didn’t remove them and others should not either. He left gates open and those who wish to take the long and often arduous road into the matter of seeking information and interpreting the same do not have to pay a toll.

After delivering the Ludowyk Memorial Lecture of 2000 at the University of Peradeniya (“Voices from the Past: An Extended Footnote to Ludowyk’s ‘The Story of Ceylon’”), Obeysekere paused and offered, not academically but certainly with poetic license, that he felt the spectre of Ludowyk in the hallway outside the conference room.

Gananath Obeysekere passed away a few months ago. His spectre is likely to remain and inform the fields he made his tracks upon. Such fields are more fertile thanks to him, even when he erred, even when he was foolish. Had he not, we would have been that much poorer. That said, his legacy would certainly be enriched if there is greater acknowledgment of ‘foolishness.’ His humility, more than agility and fluidity, more than maintaining the critical distance from centres of power or being snug in resultant solitude, is perhaps the most endearing quality about the anthropologist. May it endure.


02 January 2026

Nandani Warusavithana’s sorrow

[Disclaimer: neither I nor Ruwan Bandujeewa know of a Nandani Warusavithana. If such a person does exist, please note that none of what follows has anything to do with her. It was a random name that the poet, Bandujeewa, came up with perhaps in the part-delirium of a persisting fever sometime in March 2025]

I’ve mostly met Ruwan Bandujeewa at the ‘Kavi Poth Salpila’ run by poet, novelist and publisher Mahinda Prasad Masimbula. That’s at the annual Book Fair. That’s the only stall I visit and I do so because for many writers, especially poets, it is a meeting point. I know that I will meet a few, whatever the time of day. We talk. I cherish the conversations because I always learn something from poets, especially those writing in Sinhala.

So we talk. Have tea.

We meet randomly at book launches, either at the Library Services Board auditorium or the Mahaweli Centre. Talk. Tea.

It is rare that we plan to meet. We did last week. At some point he told me about Nandani Warusavithana. Yes, the fictional character. I asked him how he came by that name. He laughed, almost in embarrassment, and said he did not know.

Here’s the context. As mentioned, he had a fever that kept him home for several weeks. On a whim, he had explored AI and tried his hand at fusing African and Chinese music. As he fiddled around he discovered that he could ‘sing’ as in, he would voice some words and the engine would generate melody and music. It would correct the obvious flaws of rendition. So he had written a few songs.

One was about the palaa-pala of moonlight, drawing from the superstitions related to geckos, i.e. what is portended by the place on the body that a gecko might fall. In Sinhala it is referred to as hoonu-palaa-pala or simply hoonu-saasthara. ‘Moonlight’ was the poetic twist. If it fell on the right eyebrow, what would it mean? If it fell on the shoulder, then? Such questions he answered in the song. I told him that he could publish a collection of these fever-day songs and call it ‘handa-eliye palaa-pala.’ He laughed.

Then he mentioned Nandani Warusavithana. Here goes:

Having visited Dambana
and met the ancients there
she noted they weren’t ancient enough for her
Miss Nandani Warusavitharana was inconsolably distraught

At the elephant orphanage
since not a single elephant smiled at her
Miss Nandani Warusavitharana was inconsolably distraught

At the museum
upon seeing a taxidermy mount of a bear
weeping like a female bear that had lost her cubs
Miss Nandani Warusavitharana was inconsolably distraught

At the planetarium
unable to find in the sky
that one star she loved the most
Miss Nandani Warusavitharana was inconsolably distraught


Simple stuff. Hilarious too. And that’s how this ‘works,’ at least for me. It reminded me of a conversation I had with my Grade 6 class teacher, Sunimal Silva. I wasn’t his best student but not the worst either. I did nothing noteworthy in that Grade 6 classroom.

Anyway, more than thirty years later, I happened to take my daughters to the school’s swimming pool because I had heard of a coach who was kind and grandfatherly. It was him. We had met many times over the years, so the recognition was immediate.

‘Are these your daughters? I will coach them!’

I didn’t even have to ask.  

‘Is this your wife?’

So I made the introductions. Then he declared, in Sinhala, ‘of all the students I’ve taught throughout my career as a teacher, he is the one who did absolutely nothing with the skills he had.’

I couldn't help but smile. That was the way he expressed affection, I now feel. And now, thinking of that moment, it occurs to me that Sunimal Sir actually believed I had skills.

I just responded, ‘sir, aathma thrupthiya neveida vadagath vanne (isn’t contentment what matters most)?’

His tone and demeanour changed immediately: ‘ow, ehemanam hariyatama hari (yes, if that’s the case, it’s all good).’  

I think I was just being clever. Somehow, over the years, I had acquired some decent level of competence when it comes to repartee.

Nandani Warusavithana is a random name that came to my friend from who knows where, but her grief is common to us all to the extent that we are enamoured with expectations, the splendour that’s in the advertisement but is less than promised, and sense of the exotic in place, artefact and love that is anticipated with such relish but disappoints and the promised land that’s non-existent.  

Contentment. That seems to be the key factor.

In Uruvela, a long time ago, the Buddha Siddhartha Gautama, elaborated on this to the Kassapas. It’s in the Santuṭṭhi Sutta (ref the Anguttara Nikaya or the Numerical Discourses of the Buddha).

‘When you’re content with what’s blameless, trifling, and easy to find, you don’t get upset about lodgings, robes, food, and drink, and you’re not obstructed anywhere,’ the Kassapas were told.

Not becoming agitated is what it is about. For example if a monk does not get a robe he should not be agitated, and if he does get one he should use it ‘without being tied to it, un-infatuated with it, nor blindly absorbed in it, seeing the danger in it, understanding the escape.’

Do we? Can we? Miss Nandani Warusavithana couldn’t. Her fascinations were mild, ours may not be. Ruwan Bandujeewa, as usual, touched a nerve. And laughed about it. At himself, at me, at all of us. I am enriched. Fascinated. Time to ‘see the danger.’ Time to stop.


30 December 2025

The three lettered poet Sunil Sarath Perera

 
 
A couple of years ago, Sunil Sarath Perera published a collection of essays titled ‘Mathaka Nimnaya,’ or ‘The valley of memories.’ Memoirs, essentially. The author of course is best known as a lyricist, although he’s had a considerable and productive career as an administrator in various media institutions and state departments. Naturally, there was lyrical blush in his prose. Both in subject and style.  

I didn’t review that book, but the dedication ‘sumadura kuru thuna, maha kava, ammaata (to [mother] the epic and sweetest three-letter poem)’ inspired a comment that was published in the Daily News. The book, by the way, was also dedicated to his father: ‘dayaaloo ivasana gunaethi thaaththaata (for [my] father, kind and patient).

The note of dedication to his mother was also the title of one of the essays. Naturally, it made me think of my late mother, and I did mention the fact.  

Sunil Sarath Perera’s essays are informative. They speak of a life lived and reflected on. The reader is swayed by the poetry, like a gentle breeze across a valley. There are mountains too, and they take aeons to move. Usually. He takes us to view points and doesn’t have to say ‘look!’ Later, though, he directed me to a particular note, one on the haiku form of verse: Tikak kiyaa hungak hangavana haiku (Haiku, says little implies much).

Now it must be mentioned that this pithy form of verse has persuaded both poets and critics to pin the name on ‘verse’ that is half-way poetic and adequately opaque. ‘Haiku vagei,’ they say (it’s like haiku). But it is or is not, for the structure is pretty rigid: three lines, seventeen syllables in a 5-7-5 count.

Anyway, Sunil Sarath Perera opines that there’s a fourth line in a haiku poem, only it is invisible. Silent. That’s for the reader and it’s for reflection in the manner of as-you-will.

The essay itself speaks of Japanese culture, the disposition to reflect, following long, strong and deep Buddhist influences and that which the author is most fascinated by — the natural world. Culture, literature and literary devices, places visited, memorable encounters — things made for a memoir — abound in the collection.

Sunil Sarath Perera’s latest book, ‘Soba sondura’ or ‘Natural beauty’ is a poetry collection that reflects a lifelong fascination with the landscapes he encounters as well as his enduring love for his island home, it’s natural splendour, culture, heritage and the philosophy that has informed them all. He reveals in a lengthy preface his philosophical and literary journeys across the valleys and over the hills of his concerns.

A significant number of these poems read like thumbnails of familiar places, some iconic on account of historical or cultural significance. We are given new sight to see the Dalada Maligawa, Kataragama, Somawathiya, Nuwara Wewa, TIsaa Wewa, Tissa Wewa, Sri Pada, Ruwanweliseya, Sri Maha Bodhiya, Kumana and Bellanwila. The poet, though, is not fascinated with only the grand, for he has eyes to notice the wayside. Such delights he has versed as elegantly. We are taken thereby to the everyday or extraordinary ‘ordinary’ lives and nondescript delights.

As interesting is an afterword written by Jayantha Amarasinghe of Ruhuna University, who speaks of the ‘stamp’ of Sunil Sarath Perera in the corpus of Sinhala poetry and lyrics. Amarasinghe offers interesting insights into the poet’s use of imagery and the way he works them into lyrics that are easy-to-read and easy-to-listen to and yet profound in thesis.

‘His [poetic fervour] grew in the rich soil of tradition. It took centuries for this soil to become fertile. It took just half a century to make it barren. Today, in those fallow lands weeds grow in abundance.’

That’s Amarasinghe’s conclusion which is at once a salute to Sunil Sarath Perera as it is a lament on a bleak present and future. I do not share the pessimism, although Amarasinghe insists that Sunil Sarath Perera is the last of a generation of literary greats capable of crafting lyrics of high literary worth, it is generally inadvisable to make definitive predictions. Barren lands, in time, can be turned around. Soils can be enriched. Poetry didn’t perish in long, dry and even toxic centuries. Indeed, one could argue that Sunil Sarath Perera by the very fact of having written keeps cultural, traditional and literary soils moist. Others will come.

But I digress. This is about three-letter poetry: Ha-i-ku, Su-ni-l, Sa-ra-th, Pe-re-ra, A-m-maa and an honorary doctorate, a p-h-d, one might say. He was recently honoured this way by the Ruhuna University. Late, one might say, but then again what's ‘time’ for a man who concerns himself with things timeless? He was, is and will be, regardless of accolades or insults, intended or otherwise.

Today I remember the lines of the theme song that wafted through doors and curtains to wherever I happened to be in my grandparents’ house in Kurunegala, the melody that simultaneously announced the beginning of a children’s programme and the day’s passing through dusk to night: ‘manakal hada vil thalaye pipi nivahal mal…ratata pipena mal api vemu punchi kekulu mal [the unfettered flowers that bloom upon the waters of a heart-reservoir…(these) flowers, tiny blooms all, bloom for the nation and the nation alone]. I didn’t know who wrote those words back then. Today, I do. People forget. Melodies and lyrics remain. Especially three-lettered ones, for they spell ‘essence’ of that which nourishes a mind, a heart, an individual and a nation.

29 December 2025

The wages of absolution

 Fidel Castro

‘History will absolve me,’ was the title of Fidel Castro’s speech in court when he defended charges brought against him after leading the attack on the Moncada Barracks in Cuba. This was way back in 1953. The text of the two hour speech later became the manifesto of the 26th of July Movement.

Not too long afterwards Albert Camus, in his essay on capital punishment, ‘Reflections on the Guillotine,’ observed that perpetrators of crimes of passion tend to absolve themselves of guilt from the get go. They’ve justified the act.

In general, absolution, especially self-absolution, obtains from a moral universe which of course can vary from person to person. The law, which Lenin famously said ‘is the will of the ruling class,’ might judge, establish guilt and convict, but the convicted always have this moral out. The perpetrator can be convinced of innocence and toss the absolution time bomb in the belief that it will shatter misconception, misrepresentation and false verdict.

This is not to say that penitence does not exist. There are people who are remorseful. People do repent. In the moment of passion, however, there appears to be absolute conviction of moral righteousness. Unless of course the protagonist is a sham artist intent on misleading the audience.  

Those aggrieved by dramatic outbursts as such are typical of the ill-intentioned take refuge in phrases like ‘the truth will out, eventually.’ Could happen but may not too.  

But let’s take the matter away from the spotlight, those public moments of self-righteous assertions. People in the everyday act rationally. They choose a particular course of action, whether or not it has social or legal sanction. Why? Because it’s ‘the best things to do,’ or even ‘it’s the only option left.’

And so, the audience, large or small or even if it is a single person, assesses. People can get carried away. People may pause and dig deeper. They could consider the substantiation offered or, if none has been laid out, dismiss it all as hot hair. They could also ask, ‘is this the truth, the WHOLE truth and NOTHING but the truth?’  

People do tend to offer ‘facts’ that support a particular argument. The eloquent (like Castro) can sway an audience with turn of phrase, argumentative flourish and even stage presence. Conviction help. It helps if you think you are absolutely right, at least in terms of say ‘the larger good’ where that which is disconcerting is labeled ‘trivial’ and duly dismissed or at best footnoted.

There’s danger in all this. Revolutionaries or rebels pride themselves for possessing critical faculties. Criticism is therefore a powerful weapon in rebellions. The more sober and, in the end, the more serious about transformative political action, are not only given to criticism but they place a high value on self-criticism. That makes for course-correction.

In the case of individuals, the anonymity edge that is available to the collective, is non-existent or vague. ‘I speak for all,’ is often claimed. ‘He speaks for all,’ that cheer too will be heard. When the moment passes and other news sweeps aside moment, personality and cheering squad, you are left standing alone.  

The pendulum swings. You are no longer the hero of the moment. It could be worse. The general consensus could be that you are in fact the villain of the piece. All you have for comfort and consolation is the notion of absolution. Enough? Perhaps.

‘I was wronged!’ Is a silent scream that echoes in the lonely caverns of the mind. Even if one were not. It’s all about self image. All about ego. A weight unnecessary and yet carried throughout one’s life; only, no one sees it. There’s no validation.

Time reduced all the momentarily glorious things to their true dimensions. Time corrodes — the frills fall off, the paint cracks and one is left with the skeletal residue of that moment erroneously assumed to be shining forever.


Humility is expensive. It is often a lightweight fighting against the heavyweight Ego. Sooner or later, that fight will take place.  Whoever wins, in the end, moral high ground so perceived will be secured. For better or worse, in worldly or spiritual terms.

There are wages, always. Sometimes we are willing to pay and sometimes we have to pay whether we like it or not.  

‘I’ve absolved myself,’ one can claim and feel good about it. ‘History will absolve me,’ one can say with absolute certainty. History does. For in the end, death will unburden us of such crippling weights. At least in with regard to this lifetime. 

 [This article was published in the Daily News under the weekly column title 'The Recurrent Thursday']

25 December 2025

Christmas with Timran Keerthi and Ruwan Bandujeewa

 

 

Ruwan Bandujeewa and Timran ‘Tima’ Keerthi are among the finest poets of their generation. Tima lives in Ratmahara, somewhere close to Guriulla. Ruwan lives in Kolamunna, near Piliyandala. I did not have Christmas plans. I don’t, usually. I wanted to meet Ruwan simply because we are in the midst of getting a translation of his collection, Meelanga Meevitha or ‘The wine hereafter’ printed. Technical things needed to be sorted out.

Ruwan is busy with a teledrama he is writing even as some episodes or scenes are being filmed. Being a holiday, I figured he would be at home. He was. He simply informed me that Tima had also come to work on the script.

They told me about their writing struggles in this teledrama business, which was new to them both. They were quite impressed by a few short poems from Pablo Neruda’s ‘A book of questions’ I had translated into Sinhala. It meant a lot to me.


Why don’t immense airplanes
fly around with their children?


They had OMG looks. Ruwan kept repeating the Sinhala translation. Tima was cracking up.

Why don’t they train helicopters
to suck honey from sunlight?


Pause. Again.

So they encouraged me to complete the translation. I informed them that I was translating from the English translation from the Spanish original, and that Indrani Ratnasekara is probably the only person in Sri Lanka who could certify fidelity.

Ruwan’s wife, Nishadi, served coffee, replenishing every now and again. A young man and woman arrived, the former a cameraman also involved in the teledrama, ‘Mal bicycle’ (Flower bicycles), and the latter, she said, makes documentaries. Ruwan repeated those lines from Neruda. They were impressed too.

More coffee. More conversation. They laughed at their trials and tribulations, poverty and  incompetency. And thus enriched me.

Tima’s second collection, ‘Yannang Chandare’ or ‘Au revoir Chandare’ won the State Literary Prize and the Godage Prize for poetry in 2014. Ruwan offered that Time’s ‘E jetteke giye samansirimayi’ (It was Samansiri, certainly, who flew in that Jet) was the best or rather was ‘something else.’ I remembered writing about that book some years ago. Ruwan had a copy. I read or rather browsed.

Let’s build a nest, it will not be forever dark
life is beautiful the more troubles come our way


That’s the how the last poem begins. Timran’s original is rhymed, this is not.

Vagrant, true, the beauty of squalor
it’s close at hand is it not, the day you will carry me?


Again, rhymed, unlike the translation.

Let us be thus until death, the love was such
believe me, never have I felt love this much

There are other lines of course but this is how it ends:

True, I have not felt this much love
many other things did she say
before the arrival of cancer.

Floored me. Once again.  

So I returned to the title poem. It was about a childhood friend who made paper airplanes.
 
Teachers only knew of white men who built jets
Father talks of Ravana
I know all about Samansiri.

This is the thing:

It was Samansiri
certainly
who flew in that jet.


Made me fly. Once again.



Now I sit here, in the open space in this enchanting house. There’s birdsong. Sunlight reflects off the walls and streams in through the crack of a slightly open window which has also allowed a grape vine to crawl in. The others left leaving Ruwan and Tima to get lost in the labyrinth of plot twists, character development and visual treatment or whatever it is that scriptwriting is about. 



 

More coffee. Naturally.  

Soon there will be lunch. We didn’t sort out the technicalities related to Meelanga Meevitha. Ruwan scribbled a note to himself. I told Nishadi to remind him. There are more important things to attend to. Like just being here. In this place of simple ornaments, vines and ferns, book shelves, and the archaeological extracts of the residents’ ways of being.

Ruwan has gone downstairs to check about lunch. Tima is sitting in front of me at a table. There’s an old water filter. It could be functioning or could be frill. He is rubbing his forehead. Was. He stretched himself out on the long bench where the two poets were discussing the work at hand a few minutes ago.  

Birdcalls blend. Plants grow slowly. A dream catcher hangs on the wall. Functional or decorative, I cannot tell.

No bells. No Christmas tree. No Santa Claus. But here I am with two young poets, always ready to laugh even as they tremble at the lives around them and the worlds they are forced to inhabit. They shall be comforted. They shall inherit the earth. They shall obtain mercy. They shall see god. They are the children of god. Theirs is the kingdom of heaven.

At some point I read another line from the Neruda book:

Those who have not touched my blood
what will they not say about my poetry?


They received this with utmost sobriety.

Ruwan Bandujeewa and Timran Keerthi are poets I know and adore. They delight me no end. They made this day. A Christmas of a kind. Memorable. 

 






18 December 2025

What’s next for Oshini Gunawardhana?

 Thehas,Oshini,Chenitha and Vinuka

The Sri Lankan chess community has known Oshini Gunawardhana for several years. She was clearly a star in ascendancy from the time she won gold at the World Youth Chess Championship in 2021. In 2024 she became the youngest ever National Women’s Champion. Today she’s the highest rated player in the world among girls under 13 years of age and is tanked 42nd among junior girls in the world, the first time a Sri Lankan player has broken into the top 50.  

She is highly talented and probably a tireless student of the game, for talent alone can only take you so far. So the question is, what’s next? 

There are titles to be secured of course: WGM (Woman Grand Master) and GM (Grand Master). Dare we speak of something even greater, for example Women’s World Champion?  We should, for she can do it. But only if she gets the opportunity to take part in strong international tournaments.

Oshini will probably shine in age group tournaments in Western Asia, Asia and the World event as well. Typically, however, she will get to test her skills against only a handful of strong players, i.e. those with higher ratings. She’ll have podium finishes, no doubt, but is that enough? No. Not for someone with so much promise and who puts in hours and hours of hard work to develop her game.

Oshini is not just the standard bearer of Sri Lanka chess; if she reaches her full potential one can rest assured that this fact alone will spur others to emulate her achievements. Chess in Sri Lanka can go into overdrive both in terms of interest in the game (measurable by numbers) and qualitative leap in playing strength.

That’s how India became a chess powerhouse. One player. One iconic player. He conquered the world on his own and in a quarter of a century India won gold in the Open and Women’s sections at the Chess Olympiad.  


For decades chess was a game mostly associated with Russia and of course the Soviet Union. The number of world champions and grandmasters was simply mind boggling. India was not on the chess world map. Not until Viswanathan ‘Vishy’ Anand emerged in the mid 1990s. Today India is a chess powerhouse. The current world champ is Domnaraju Gukesh. India won golds at the last Chess Olympiad, i.e. in the Open and Women’s events, as mentioned above.. There are several Indians who are legitimate contenders for the world chess crown in both categories. India has arrived and not just yesterday.

How did this happen? Vishy was the obvious catalyst, even before he became World Champion in for the first time 2000. His achievements not only ignited enthusiasm for chess in India but spurred several generations of young Indians to dedicate themselves to reaching similar heights. Slowly but surely a critical mass of strong players emerged in India.  

That was not all, Vishy’s success convinced parents that chess was a worthy pursuit. National pride came to be associated with the game (and not just cricket).  All of this helped develop a strong ecosystem of training. Chess academies sprouted, especially in Chennai, Mumbai, Delhi and Bangalore. In time, Indian youngsters embraced wholeheartedly online platforms that helped them master the key aspects of the game. For all this, the critical factor was Indian players traveling in Europe to play in strong tournaments. Even today, the vast majority of Indian Grandmasters have secured their title norms abroad.

How about Sri Lanka?

Well, Sri Lanka is yet to produce a World Champion, although we have young players who have achieved podium finishes in regional tournaments and in some cases on the world stage. This is in age-group events. Sri Lanka’s chess ecosystem is far better than India’s at the time Vishy began his long march towards world domination.

In terms of numbers, the percentage of school children who play tournaments is the best in the region. Even the youngest players are familiar with online platforms such as ChessBase, chess.com and lichens.org. They dig deep into the relevant data bases and spend hours working on their game without compromising their regular study schedule.

What Sri Lanka lacks is a Vishy Anand. Oshini is not a Vishy Anand, at least not yet. But she can be.

Oshini, like other talented players around her age like Vinuka Wijeratne, Thehas Kiringoda and Chenitha Karunaratne, needs support. If, for example, all four players get to play in a series of strong tournaments in Europe over the course of 4-6 weeks, their will improve exponentially.

Yes, it costs. But then again each of these players by the fact of their sheer playing strength, has what it takes to be an excellent ambassador, be it for a corporate brand or for Sri Lanka.

Vishy was a catalyst. Oshini can be one too. So too Vinuka, Chenitha and Thehas. As individuals or as a team, they can continue bring glory to Sri Lanka.

Several decades from now, long after I am dead and gone, someone talking of chess in Sri Lanka might say, ‘we are number one in the world, but it all began with a little girl from Ratnapura named Oshini.’  Put another way, if Sri Lanka ever becomes a chess powerhouse (and this is possible!), we will all owe much to the likes of Oshini. We will bask in reflected glory.  

For that, however, we need to back her to the hilt, not just with good wishes, but by enabling her to take part in the tournaments that will make our little champion shine brighter in the chess firmament.  

Let’s do it.

[This article was published in the Daily News under the weekly column title 'The Recurrent Thursday']

16 December 2025

කුදුබව

 

යුරෝපයේ පිරිමින්ගේ සාමාන්‍ය උස අඩි පහයි අඟල් දහයයි.  ප්‍රංශයේ හිටපු ජනාධිපති නිකොලා සාකෝසි ගේ උස අඩි පහයි අඟල් පහයි.  උස ප්‍රශ්නයක් කරගත් සාකෝසි අපූරු උපක්‍රමයක් පාවිච්චි කල බව වාර්තා වේ. තමන්ට වඩා මිටි පුද්ගලයින් කිහිප දෙනක් නිතරම තමන් අවට තබාගත් සාකෝසි ට මේ ප්‍රශ්නය විසඳගන්න පුළුවන් වුනා, මන්ද එවිට සාකෝසි මිටි බව පෙනුනේ නැති නිසා.  

ඒ පුවත කියවද්දී ඩලස් අලහප්පෙරුම 2001 වසරේ කියූ දෙයක් මතක් වුනා. 2001 මහා මැතිවරණයට තරඟ නොකරන්න තීරණය කල ඩලස් මාදිවෙල ඔහුට හිමි නිල නිවසින් නික්ම යන්නට සුදානම් වෙමින් සිටිය මොහොතක ඔහු හමුවුයේ 'දි අයිලන්ඩ්' පුවත්පතට ඒ පිලිබඳ ඔහුගේ අදහස් දැන ගැනීමටයි.  ඩලස් මෙහෙම දෙයක් පැවසුවා:

'මාලින්ද, අපි සුදු වැඩියි මේ දේශපාලනයේ යෙදෙන්න.  මෙතැන් ඉන්නේ දුඹුරු මිනිස්සු.  එයාල කැමතිත් දුඹුරු අයට. සුදු කෙනෙක් ආව ගමන් එයාලා දුඹුරු බව පෙනෙන්න පටන් ගන්නවා.'  

ඩලස් පසුව මේ සුදු-දුඹුරු න්‍යාය බැහැර කළත්, ඔහුගේ කතාවේ ලොකු ඇත්තක් තියෙනවා.  ඒ කාරණය දේශපාලනයට සීමා වුන එකකුත් නෙවෙයි.  

පහසු සහ වාසිදායක දේ දුඹුරු වීම නම්, දුඹුරු වෙනවා. 'මම නම් එහෙම නෑ, මම වෙනස්' කියල ඒත්තුගන්නන්න අවශ්‍ය නම්, සුදු පාට තවරා ගන්නවා.  'ඇඩ්' කියල කියන්නේ එහෙම දේවල් වලට.  අඩු වහගන්න අවශ්‍යනම් ඒ අඩුවටත් වඩා අඩුපාඩු තියෙන අය ආශ්‍රය කරනවා.     

මෙය හරිම සරල ක්‍රමවේදයක්. තමන් අදක්ෂ නම් තමන්ට වඩා අදක්ෂ අය තමන් අවට තියාගන්නවා.  තමන් හොරෙක් නම් තමන්ට වඩා හොරකම් කරන අය ළඟ තබාගන්නවා. තමන් විකටයෙක් නම් තමන්ට වඩා විහිළුසහගත අයගෙන් පිරිවර හදා ගන්නවා.  තමන් මෝඩ නම්, ඊටත් වඩා මෝඩයින් තමන්ගේ උපදේශකයින් ලෙස පත්කරගන්නවා.  

මේකේ තව පැත්තක් තියෙනවා. උස වෙන්න බලෙන් මිටි පිරිසක් පිරිවරා ගන්නම අවශ්‍ය නෑ. කුදු මිනිසුන් අතර සෙසු අයට වඩා අඟලකින් දෙකකින් උස කෙනෙක් ඉන්නවා කියල හිතන්න. ඔන්න එයා එක පාරටම උසයි වගේ පේනවා. වෙන විදිහකට කිව්වොත්, මෝඩ රැලක් අතර අඩුවෙන්ම කතා කරන මෝඩයා ප්‍රඥාවන්තයෙක් වගේ පේනවා.  

කෙසේ වෙතත් මේ හැමදේකින්ම කරන්නේ හෝ සිදුවන්නේ හාල්කෑලි මෝරු බවට පත්වෙන එක.  මෝරු හැංගිලා ඉන්න තාක් කල් මේ ක්‍රමය සාර්ථක වෙනවා. මෝරා හැංගිලා ඉන්නකොට 'මෝරු නෑ' කියල හිතන්නත් පුළුවන්, හාල් කෑලි මෝරු හැටියට අන්දන්නත් පුළුවන්.  මෝරු කියල විකුණන්නත් පුළුවන්.  ඒ වුනාට හාල් කෑල්ලකට මෝරෙක් වෙන්න බෑ. 'හාල්කෑලිකම්' කවදා හෝ මතුවෙනවා.  

පෞරුෂ ගැන සිතමු.  වෙම්බ්ලි ක්‍රීඩාංගනය පෞරුෂයෙන්ම පුරවන්න පුළුවන් තරම්  දැවැන්ත පෞරුෂ සමහර අයට තියෙනවා. ඒ වගේම ඉතාම දුප්පත් පෞරුෂ තියෙන අයත් ඉන්නවා. ඒ අය කූඩාරමකට රිංගුවොත් කූඩාරම වෙම්බ්ලි ක්‍රීඩාංගනය තරම් විශාලයි වගේ පෙනෙනවා. පෞරුෂයන් ඒ තරම්ම කුදුයි.

ලස්සන ඇඳුමක් ඇඳගෙන, තමන්ට වඩා පෞරුෂයෙන් කුදු වූ පිරිසක් පිරිවරාගෙන පපුව ඉස්සරහට දාගෙන උජාරුවට ඇවිද්දත් අර 'මෝර ගතිය' අත්පත් කරගන්න බෑ. ආරෝපණය කරගන්න හැදුවත්, ලස්සන ඇඳුම, උජාරුව, පිරිවර පසාකරගෙන 'හාල්කෑලිකම්' මතු වෙනවා.

සාකෝසි ට කරන්න තිබුන පහසුම දේ  සාකෝසි වීමමයි. කකුලේ තරමටයි සපත්තුව තෝරගන්න ඕන.  තරමට නොගැලපෙන සපත්තු දාගෙන ඇවිදින්න අමාරුයි.  පැටලෙනවා. වැටෙනවා.  ඊට වඩා හොඳයි සපත්තු නැතුව ඇවිදින එක.  

ඒ කෙසේ වෙතත් සාකෝසිලා මැතිවරණ ජයග්‍රහණය කරන බවත් කිව යුතුයි.  එහෙම වෙන්නේ ඇයි කියන එක ගැනත් කල්පනා කරන්න අවශ්‍යයි.  අවංකකම, දැනුම, හැකියාව, මනුස්සකම වගේ දේවල් ගත්තහම සාමාන්‍ය ජනතාවට වඩා කුදු අය යෝධයින් වෙන්නේ කොහොමද? මවා ගන්න යෝධකම් වලට ඡන්දදායකයින් ගොදුරු වෙන්නේ ඇයි? මේවා ගැනත් හිතන්න ඕන.

එහෙම වෙන්න එක හේතුවක් තමයි අපේ තරම ගැන අපටත් නිසි අවබෝධයක් නැති කම.  යෝධකම් කෙසේ වෙතත් කුදුකම් ආරෝපණය කර ගන්න කැමැත්තක් තියෙනවා කියලයි මට හිතෙන්නේ.ඇතී දේ ඇතී සැටියෙන් දකින්න බැරි කමක් නැත්තම් දකින්න අකමැති කමක් තියෙනවා. දෑස් ඇරගෙන ඉන්න අවශ්‍යම අවස්තාවලදී අහක බලාගන්නවා නැත්තම් ඇස් වහගන්නවා. හාල්කෑලි-මෝරු සෙල්ලමට වශී වෙනවා.  මේ තත්ත්වය මොන තරම් දරුණුද කියනවා නම් සාකෝසි-ක්‍රමවේදය හරියට ඉල්ලුමට-සැපයුමක් ද කියලත් හිතෙනවා.      

වෙනත් විදිහකට කියනවා නම් 'සුදු-දුඹුරු' ප්‍රශ්ණයකින් ජනතාවත් (නැත්තම් පාරිභෝගිකයාත්) පෙළෙනවා.  

නන්දා මාලිනි ගේ 'කුමක්ද මරණය' ගීතය මතක් වෙනවා.  පෙරදිග මුතු ඇටයේ ඇට කටු මත සත්‍යයේ නාමයෙන් ඇස් ඉස් මස් ලේ පුදන්න අවශ්‍යයි කියල මම හිතන්නේ නෑ. ඒත් කිරි පැණි පාගල තැඹිලි වතුර නාලා පච්චවඩම් තිර හතක් මැදින් ඇදුරන් වැඩලා අපගැන අඬලා සැප දුක් ඇසු කල අප හැම සාකෝසිලා කියලත් හිතෙනවා.

13 December 2025

Ramya Jirasinghe's 'Requisites' and the reclamation of awareness

 


BOOK REVIEW: ‘Requisites,’ by Ramya Chamalie Jirasinghe, Mica Press & Campanula Books, United Kingdom, 2025, reviewed by Malinda Seneviratne

The white American poet and writer Allen Ginsberg once said, ‘The only thing that can save the world is the reclaiming of the awareness of the world. That’s what poetry does.’

The world is too misnamed and misrepresented for people to make head or tail of it and obtaining awareness, perforce, is quite a challenge. We are caught in the swollen waters of consumerism, acquisition, competition and self image as individuals and collectively; and if rivers in spate toss us into unfamiliar banks, we dive right in, believing that we just cannot drown (how could we?)! We drown because we can’t swim, neither downstream (with the flow) or upstream (against the flow).

Poetry, if we go with Ginsberg, can offer pause. Good poetry, that is. Poets, even poor ones, offer insights, but if the narrative is uneven and lacking in cohesion (as most poetry collectives are), puffs of mediocrity quickly obliterate those rare illuminations. We learn very little.

Ramya Jirasinghe’s ‘Requisites’ is like a companion to someone on a quest, a journey out of ignorance and towards awareness of the eternal verities. It is fluid but is neither a trickle nor of monsoonal volume. Enough to quench thirst, enough to float a just-enough-room-for-one vessel. If it were the former, the reader would flounder, and if the latter, risk wreck and drowning.

It must take a lot of poetic skill to achieve such a delicate balance. Indeed, one might even wonder if such is possible. But we have in ‘Requisites’ the cover-to-cover elegance, insight and economy that are the defining attributes of good poetry.

Ramya is no novice though. Her ‘There is an island in the bone,’ published in 2010, was shortlisted for the Gratiaen Prize of 2007. ‘Love poems from a frangipani garden’ came out in 2018. Both are highly readable and re-readable, each containing more than a few poems that deserve a permanent place in any anthology of modern Sri Lankan poetry. And of course, she won the Gratiaen for her debut novel, ‘Father Cabraal’s recipe for love cake.’

Requisites: the word obtains from the ‘ata pirikara,’ the eight essential items the Buddha recommended for seekers: outer robe, inner robe, winter cloak, bowl, needle and thread, belt and water strainer. Ramya uses these to structure her reading (or reclaiming of meaning) of the world.

It reads like a companion volume to ‘The light of Asia.’ Whereas Edwin Arnold details the life and times of Prince Siddhartha and his subsequent Buddha persona, Ramya’s focus is the dhamma or doctrine of the Enlightened One. Arnold uses blank verse and therefore his text has definite structure that makes for musical rendition. Ramya uses free verse, which one might say is a better communicative enabler. Importantly, less structured, stylistically, than Arnold’s celebrated narrative poem, ‘Requisites,’ is not lacking in any way when it comes to rhythm. And of course reason.

It is a carefully crafted explication of key elements in the journey that she considers necessary. A book for seekers, then,  But is it only that? I think not.

Ramya does not veer from the path, she merely obtains from the everyday, the ‘here’ that is close to home and the ‘there’ that is distanced by time and space. She alludes to the ‘worldly’ world that Ginsberg speak of and therefore comments on an overarching political economy that contains among other things capitalism, colonialism and empire. She get specific at times, for example in referring to Donald Trump and the current tensions over rare earth minerals, but none of it is frill. Rather, she uses them as apt windows that open to the larger or rather deeper philosophical quest that is her journey, her book.

The book is chaptered by each element of the ‘ata pirikara,’ with each unraveling key principles of the doctrine. In the ‘Outer Robe,’ for example, Ramya comments on things seen, the outer (and even pretty and alluring) skin of our lives, that which is carefully groomed for other eyes. Self-image. She interjects, ‘all around is the world in a shop window / sold to us through slogans.;

Gone, she says, are the days of

‘…[recycling] vestiary: stripping
the funeral shroud before vultures swooped in
unwrapping stained rags restitching them into a life
chosen when the map had no other place to take the wanderer.
these could be vestments for the journey upstream.
these were.’


But no more, for, she says, ‘this is another millennium.’ And yet, ‘the shunning must begin.’ Obviously it is not only the disavowal of things material, and Ramya reminds us that in fact there’s an inner robe which needs deconstruction:

‘…the most difficult task:
looking oneself, where?
in the eye.’

Because, she continues…

‘the eyes will understand what it sees
only after it has seen itself’

Then she elaborates. As she does in the other sections.

‘Requisites,’ is a smooth and yet disturbing ride. Perhaps ‘disturbing’ is the wrong word or one that needs to be broken down. Agitates (in a good or rather wholesome way) might be better, for Ramya’s effort at seeking (with words but perhaps without them, in her personal life) is at once an exercise of reclamation; she draws meaning from the seemingly meaningless, true dimensions of things exaggerated or truncated as the case may be, and awareness of the world: that which exists outside her but inevitably within her.

Perhaps because I am not necessarily a seeker of the kind that Ramya addresses, I found much delight in the little and almost peripheral pieces of ‘rock’ in the gallery of poetic gems that is ‘Requisites.’ Nothing here is peripheral of course, but there are stand-alone lines that can distract and lead the reader to destinations Ramya has not recommended.

‘…there is no cure for a hangover — it sticks in the throat
the smoked haddock de-boned from a colonial trail
sitting next to chicken tikka and butter naan’  


Pithy. So much said with so few words. Such economy! David Kalupahana, in a rare public lecture at Peradeniya University in the early nineties observed that the Buddha was an eminent linguist. Not a word out of place. He did explicate at length but then he was also able to encapsulate with such precision without compromising lyrical quality — at least in the transcriptions that have come down to us, with or without amendment. Doctrinal fidelity can be debated, obviously, but not the ‘nutshelling.’ Ramya nearly understands the worth and use of finesse in the art of poetry.

‘Requisites,’ is heavy. It is a slow read. It calls for several, slow, reads. Line by line. Words by word, even.  


‘…we keep our ear to the smooth shell of loneliness.’

Such lines abound. They are like koans which gently nudge us to reconsider the lives we live and the worlds we inhabit and are inhabited by.

In the end, we are forced to confront ourselves (the Ascetic Siddhartha’s final challenge [and ‘crossing’] came in the form of Mara, the Tempter who manifests in the form of the ascetic himself, whereupon the following is said to have been uttered, ‘architect, thou shalt not build thy house again’. — the kleshas had been exhausted).

‘…we may hang on to these eight requisites but
the practice is circular we must discard
the requisites before we carry them’
 
That circularity and the necessary, even inevitable, return to self or self-reflection is a recurrent feature in ‘Requisites’:

‘…it did not work, we know, we who fled to
our country homes looking for cool springs.
It could not work we realised: the tail meets
the tea, sooner or later’


It is a layered narrative then. There’s the everyday for those who find moments fascinating. There’s political economy for, say, the politically inclined, revolutionaries included. And philosophy for those who contend with ‘the smooth shell of loneliness.’  Well, we are all of all of the above, more or less, and therefore this is a treatise that can be read differently at different moments. That alone speaks of the richness of that narrative and literary deftness of the poetess.

And perhaps, at the end of the reading or during it, we might obtain the meaning, in all subtlety of nuance, of the following:

‘…our journey up stead was a faceting
of this still point of not wanting

not thing nor word nor metaphor.’


And we may, then, reclaim some semblance of awareness (of the world) as per the work of poetry. Or not; depending on our individual karmic accounts.

And now, I must return to ‘Requisites,’ by Ramya Chamalie Jirasinghe, for substance, lyricism and this-worldly delight, for re-visitation is both invitation and necessity in the reclamation of awareness.   



12 December 2025

Sisil Fernando’s evolving artistic ‘aragalaya’

 


A year ago, Sisil Fernando, a visual artist, was asked to contribute a painting to ‘Artful Struggles 2024,’ an exhibition at the Gateshead Library Gallery commemorating the second anniversary of the ‘Aragalaya.’ The exhibition was presented by GemArts and Gateshead Arts Development Team as part of GemArts’ 2024 Masala Festival which celebrates South Asian art in the Northeast of the UK.  Sisil’s submission was titled ‘Alimankada’ and depicts a crow (quite a popular metaphor for corruption during those tense but exciting days) perched on a road sign indicating that elephants cross around that point. ‘Alimankada’ is a real place and is called Elephant Pass in English. Here it has more pronounced environment tones.  

Currently living in the UK, having completed an MA in Graphic Communication at the University of South Wales, UK, Sisil Fernando, at least in the context of this particular exhibition, is framed by the ‘Aragalaya.’ The ‘Aragalaya,’ translatable as ‘agitation,’ is and will be for a long time a word that describes a particularly turbulent moment in the political history of Sri Lanka, the mass protests against all kinds of depravations including fuel, electricity, food and lifestyle in 2022, which led to the incumbent president resigning and a regime-change of sorts.

It has meant many things to different people and this can be attributed to different objectives, political projects, outcome preferences and ideological bent. A common question that was asked thereafter was, ’what really changed?’ It is a valid query since a common demand articulated at the time was ‘system change.’  The ‘system’ was, so to speak, quite present and vocal within and without the ‘Aragalaya,’ and has proved to be quite resilient since.

For all that, it was most certainly a remarkable outpouring of youthfulness, courage and innovation, most evident in the cultural vibrancy of the artists; the ‘Aragalaya’ was in both frill and substance laden with music, painting and theatre. The ‘Aragalaya’ was dispersed or dissolved itself, but that vibrancy continued to flourish in relevant cultural enclaves.  

It can be argued that ‘art’ would have flourished anyway of course, but the word and its meaning have lent themselves to various forms of appropriation. It has acquired brand value and this has been recognised by those embedded in the protests as well as those who neither identified with the sentiments nor made up the numbers, as leaders or followers.

‘Aragalaya’ in this sense is akin to ‘revolution’ and even ‘Che,’ but that’s not the fault of the revolutionaries, the ‘aragalists’ or Che of course. And yet, the idea of objecting to perceived wrong or injustice can spill out of the contours of trope and travel along interesting roads or blaze new pathways as the case may be.

The ‘Aragalaya,’ it seems, has traveled to the United Kingdom or was taken there or else the ‘Aragalaya’ met another version of it in that country. That’s what struck me first when I perused the work of Sisil Fernando. He has been described as a ‘Veedi sarana siththara’ or a painter who walks the streets. ‘Street,’ is also a metaphor and to the extent that it alludes to things on the ground, grassroots, ordinary, agitation and everyday, Sisil is a walking political project or is geared to be so.

This is evident in the subjects that capture his imagination and which inspire his work. If street is all of the above and perhaps more, then it is where drudgery, hope, resistance and disappointment co-exist in uneasy configuration. It is in flux and is volatile; it is an unease that challenges attempts at capture. The street, like the ‘Aragalaya’ is made of constituent parts but these are not static. They move.


On the other hand, Sisil, even as he immerses himself in ‘urban sketching,’ which has become quite popular of late, also focuses on the political ‘immediate.’ In this instance, he had been commissioned, apparently, to address ‘Sri Lanka’s struggles over nature conservation.’ The painting does conform to the brief, but Sisil’s wider range of intellectual and political concerns enables him to problematise conservation and its challenges in a larger political sense.

The elephant is also the symbol of a political party that has dominated Sri Lanka for decades, a party whose leader, ironically, was seen as being part of systemic problems but nevertheless was the most evident beneficiary of the ‘Aragalaya.’ Did corruption, then, enable an elephant crossing in the political sense?

There are two other paintings in the ‘crow’ series, one with a crow perched on a stop sign and the other with a crow atop a sign indicating that school children cross the road ahead. The symbolism is plain but offers multiple extrapolations, just as in the one with the elephant crossing sign. He has used ink and watercolour for these paintings and has used a dip pen to draw. These choices, complemented by handmade instruments and of course a certain irreverence of style that is at seemingly flippant and yet carries the signature of meticulous craftsmanship, makes up his artistic signature. They seem ideal for paper sketches, which seems to be his preferred canvas as of now.


Sisil’s other interest is what he calls ‘the power of life,’ the vital energy that links humans and animals. These paintings, acrylic on canvas, do show shared energy that speak of both gentleness and strength.

Urban landscapes seem to have fascinated him of late. Capturing elements of the Sri Lankan ‘urban’ may have honed a more critical gaze on space in general, both architecture and the social life that makes and moves through buildings, for example. To him, cities are living entities shaped by human presence, emotion and memory.

‘They are like evidence left for the future about the present world,’ he has observed in an interview given to www.newswave.lk. He is not, however, a historian per se. Nevertheless, he does point us to the disjunctures in social life by ‘shaking up’ the urban landscape, as is evident in the series in his work in the UK.




The UK Collection, if I may, contains the iconic such as the Big Ben and a double-decker bus, and the relatively nondescript (for example, sketches of Cardiff and Newport. Not ‘picture postcard pretty’ but as or more alive thanks to choice in rendition.

The ‘people’ aren’t in your face; society is written into or recognised as being part of architecture. The politics of space is not outlined and perhaps that is something that the agitator in him could explore in future, after all he began his experiments with line and space as a political cartoonist. In fact he was adjudged the Cartoonist of the Year in 2019. 




The potential along such lines is apparent in the sketch titled ‘Bahirawakanda Kandy 2020,’ again mixed media on paper. The gigantic Buddha statue on top of the hill by that name looks down on the historic capital of the Central Province, Kandy. In his depiction, Sisil places several Buddhist monks before the Buddha, not in the orderly and serene manner that adherents of the doctrine would listen to the Enlightened One, but in various postures, almost discourteous and oblivious but certainly agitated.  

That’s all interpretation of course, but one struggles to find the ‘Aragalaya’ and the ‘aragalist’ in his ‘people and places’ work. Put another way, he hasn’t seen any ‘crows’ in the London, Cardiff and Newport he visited. Not that such things are musts of course. For now, he has the instruments, the insights and has honed his craft to a point that indicates that mind, eye and fingers are agile, agitated and yet controlled. What’s holding him back and what’s he holding back are the questions that pop out of his work.

There are crows, metaphorically speaking, everywhere. There are corruption-crows and crows that exploit, plunder, murder and silence. Such creatures inhabit buildings. Their signatures must be on the walls. Cities are political and ideological, just like people. A veedi sarana siththara like Sisil would do himself a great disservice if he gives such things a pass, unless his journey takes him to landscapes of the philosophical, which is possible and legitimate. Whether Sisil Fernando’s ‘everyday street’ takes him to such nodes that cry out for artistic comment remains to be seen.





11 December 2025

The Land Reclamation Act 2025

 


'The Mahaweli, which flowed close to our home, was quite a wide river when I was a child but I have noticed it becoming narrower as the years went by. The Mahaweli has on this occasion wrested back that property that human beings forcibly occupied. As for the mountains, they have resolved on its own a land issue, evicting people from properties they were squatting on.'

The above is the rueful observation offered by Kamal Marasinghe, my batchmate from Peradeniya University.

There was, is and will always be human activity. Human beings cannot exist outside of nature, although some may believe that they are somehow superior to it and that they can, at will, intervene in or encroach upon the natural world without suffering adverse consequences.

The earth has known all kinds of catastrophes from time immemorial. Humans have had little to do with tectonic shifts, meteors and such. We don’t even know the full cost that various species had to pay for such calamities. We know there have been floods, droughts and plagues throughout history that our forefathers did not precipitate but we do know that human activity has had a lot to do with some of the disasters in remembered history.

We saw the sheer force of Cyclone Ditwah. Could we have stopped it? Obviously not. Was there anything we could have done to make sure that Ditwah came and went without a single life being lost? Probably not. We cannot stop cyclones. We cannot ensure zero loss of life and zero damage to houses, roads, and other infrastructure.

On the other hand, there are things we can do and things we should not do so that damage is minimised. Why don’t we do what we should, or, put another way, why do we do what we shouldn’t? Perhaps its arrogance, but it’s more likely that natural disasters, though more frequent now than they were several decades ago (by the way we should ask ourselves ‘why?’), are the furthest thing in our minds when we fiddle around with the environment.

How can cutting a tree or two be bad, right? What’s wrong with filling a few perches of marshy land to build a house? What’s wrong with a housing scheme on the sides of that hill when it means shelter for so many people? What’s wrong with a massive dam right there when it can irrigate so many hectares of land and produce so many megawatts of power? What’s wrong with widening the road that cuts through those hills when it can ease all kinds of burdens of so many people? What’s wrong in digging under an entire city if the exercise can yield so many precious stones that can bring so much foreign exchange to the country?  

Individuals think like this. Prospectors think like this. Governments think like this. Well, not all the time of course, but such arguments are used often enough to brush aside those who are skeptical. The problem is that they add up.

And so, the cumulative actions of many individuals and the development ‘prerogatives’ of many governments can make ecosystems vulnerable to the point of collapse. Colombo, for example, is or was mostly a marsh. Even today, there are several low-lying areas in the district that are called ‘wetlands’ and are (supposed to be) protected. Those who are old enough and those who bother to dig up the data on the matter will understand that large extents of marshland have been filled for construction. And we get flooded and wonder why. Yes, part of it had to do with drainage but an important contributing factor is that there is no place for the water to go in the event of an above average deluge.

We have rivers. So we have catchments. We have river basins. There are ecosystems that are fragile and ecosystems that can be made fragile. There’s a breaking point in all things. Reach it and the world around us collapses. This happened.  

We don’t think of building houses on a riverbed, even if it’s dry; we know that the rains will come, the water levels will rise and our houses will be flooded. So we build on high ground. Solid ground. Or so we think!

There are obviously multiple factors that could make things bad if hit by a cyclone, but the scientists probably would tell us that there are certain non-negotiable no-no things and that the ‘no’ should be enforced.

Did this happen? We don’t know. We will have to wait on that, for now is the time to attend to relief. Rehabilitation, later, but after a thorough post-mortem along political, economic, administrative and ecological lines obviously.

The river swelled. The mountain obliterated house and village. Did we, as a species, trespass. Were we, as a species, blind to warning signs? How did the Mahaweli become narrower over time? What were hills like before they became dotted with houses? And that dotting, did it involve tree-felling?

We claimed the riverbanks. We claimed the mountains. As a species. A bit like Columbus claiming he ‘discovered’ a continent or Americans putting a flag on the moon. We can claim of course. There are state institutions that are there just for this. We didn’t ask the river. We didn’t ask the mountain. We didn’t think we needed to check whether mountain and river were happy about all this. We never expected river and mountain to assert themselves. They didn’t fill forms. They reclaimed. So to speak.  

We were humbled, as a species, by what could be called the ‘Land Reclamation Act, 2025’ as per Kamal Marasinghe’s musings. We should remain humble. It’s probably the only thing that can give us a half-chance of surviving the catastrophes we have called forth. 


[This article was published in the Daily News under the weekly column title 'The Recurrent Thursday']