Read Ebook {PDF EPUB} The survivor by Gopinath Mohanty Biography. Gopinath Mohanty (Oriya: ), winner of the prestigious Jnanpith Award, eminent Oriya novelist of the mid- twentieth century is arguably the greatest Oriya writer after Fakir Mohan Senapati. Early Life and Education. He and his elder brother, Kahnu Charan Mohanty, along with his nephew Guru Prasad Mohanty exercised tremendous influence on Oriya literature for about three decades. Born at Nagabali (a small village on the bank of River Mahanadi which can boast of producing some of the trendsetters in oriya literature be it Gopinath himself, Kahnu Charan and Guru Prasad) in Cuttack district on 20 April 1914, Mohanty received higher education at Ravenshaw College. He got his M. A. degree from Patna University in 1936. He joined the Orissa Administrative Service in 1938. Most of his service career was spent among the poor tribals of the undivided Koraput district. He retired from government service in 1969. In 1986, he joined San Jose State University in the U.S.A. as an Adjunct Professor of Social Sciences. He died at San Jose, Califormia on 20 August 1991. He received Visuva Milan citation in 1950. He won the central Sahitya Akademi Award in 1974 for his prose-epic, Matimatala (The Fertile Soil; 1964). He was awarded the Soviet Land Nehru Award in 1970 for his Oriya Translation of Gorky’s work, My Universities, the D. Litt. Degree by Sambalpur University in 1976 and a Fellowship for Creative Writing in Oriya by the U.G.C. in 1979. In 1981, the government of India conferred on him Padma Bhushan in recognition of his distinguished contribution to literature. He was an Emeritus Fellow of Government of India for creative writing. Gopinath appeared in the literary scene at Post Independent Age .The vibrant life of people of Orissa, rural as well as tribal, found expression in the works of these writers. In his fiction Gopinath Mohanty explores all aspects of Orissan life: life, both in the plains and in the hills. He evolves a unique prose style, lyrical in style, choosing worlds and phrases from the day-to-day speech of ordinary men and women. Gopinath’s first novel, Mana Gahirara Chasa, was published in 1940, which was followed by Dadi Budha (1944), Paraja (1945) and Amrutara Santan (1947). He published 24 novels, 10 collections of short stories in addition to three plays, two biographies, two volumes of critical essays, and five books on the languages of Kandh, Gadaba and Saora tribes. Moreover, he translated Tolstoy’s War and Peace (Yuddh O Shanti in three volumes, 1985–86) and Togore’s Jogajog (tr. 1965) into Oriya. Although Gopinath has tried his hand at various literary forms, it is for his novels that he will be best remembered. “Fiction, I realized, would best suit my purpose”, he once said in an interview to Indian Literary Review. He uses the novel to portray and interpret several dimensions of human existence. He draws the material for his writing from his rich experience and transforms it imaginatively into a powerful image of life. Among his novels, Dadi Budha, paraja, Amrutara Santana and Aphanca are remarkable for their portrayal of tribal life in the densely wooded hills and forests of the Eastern Ghats. The Kondhs and the parajas are two colorful and proud tribal communities living in tiny clusters of helmets in the southern parts of Orissa. People of these primitive communities have been exploited by moneylenders and petty government officials of many years. They have felt in their body and bone that exploitation is as old as the hills and forest surrounding them. yet they celebrate the joys of life; they drink and dance and sing; they find joy in nature, in buds and flowers, in green leaves, in the chirping of birds, in the swift- flowing streams and in the mist covered hills. They find life constantly renewing itself in the quick- fading and sloe- blooming buds of the forest. Dadi Budha (1944) is one of the shorter novels of Gopinath Mohanty. It has the distinction of being his first novel based on tribal life. The novels tells the moving story of the disintegration of a tribal community under the impact of modern civilization. Dadi Budha is an ancient datepalm tree representing the eternal ancestor; it stands for the cultural heritage of the tribal people manifest in their rituals and costumes. The tree stands as a silent witness to the joys and sorrows of the tribal folk; it dominated the drama of their existence. Close to Dadi Budha stands a termite mound called Hunka Budha, yet another symbol of the primitive and innocent faith of tribal people. Thenga Jani, the son of Ram Chandra Muduli, the headmen of Lulla village, is beteothed to a beautiful girl, Saria Daan, the only daughter of the same village. But he comes under the spell of Sanotsh Kumari, a Christian Domb girl. Thenga and Santosh deeply in love and reject the discipline of the tribal society. They decide to run away to Assam to work on a tea estate; they planned to build their dream home in a town where the rule of the tribal society does not prevail. Gopinath visualizes life tribal community against a cosmic background. The despair of Ram Muduli, the plight of Thenga mother after her only son leaves the village with the Domb girl, the declaration of the dishari that Thenga and Santosh were evil dumas, the terror caused by the tiger and the rise of a village at another site all these signify the unbroken continuity of life. Paraja (1945) tells us a different based on the life of the same community. It is the tale of one’s attachment to land, the soil of one’s ancestors. Sitakant Mahapatra describes the novel as “ the story of shattered dreams”. In Dadi Budha , the old order changes the yielding place to the new; in Paraja the intrusion of brutality in the guise of civilized law generates resentment and violence. Amrutara Santan (1947), the first ever Indian novel to receive the. Sahitya Akademi Award, is centred round the life of Kondhas, another tribe in the southern parts of Orissa. The novel depicts the grandeur of living and the intensity of suffering or the tribal people. Gopinath’s fictional world is not confined to tribals. He has also written about the people living in the coastal plains. Even when he shifts his focus from the hills to the plains, he retains his deep concern for the oppressed and underprivileged. His novel, Harijan (1948), deals with untouchables living in slums and their brutal exploitation by the rich. Danapani (1955) presents the grey world of a colourless middle class, petty and mean, and full of gossip and rumours. Laya Bilaya (1961) explores the psychological complexity of three members of a family from Calcutta on a short tirp to Puri. Matimatala (1964), a novel of epic dimension based on life in rural Orissa, celebrates the eternity of love. In this novel, he successfully brings about a fusion of two worlds: the private world of lovers and the public world of social workers. Gopinath’s language is remarkable for its subtlety. Characters and landscapes come vividly to life in his novels through nuance and evocative descriptions. His language has a unique lyrical grace. Short Stories. In the Post-Independence Era Oriya fiction assumed a new direction. The trend which Fakir Mohan Senapati has started actually developed more after 50’s of last century. Gopinath Mohanty, Surendra Mohanty and Manoj Das are considered as three jewels of this time. They are the pioneer of a new trend, that of developing or projecting the “individual as protagonist” in Oriya fiction. Eminent Feminist writer and critics Sarojini Sahoo believes that it was not Gopinath, but Surendra Mohanty whose “Ruti O Chandra” has to be considered as first story of individualistic approach rather than the story “Dan” by Gopinth, which was formerly known as the first story of “individualistic attitude”. He published 10 collections of short stories in addition to 24 novels, three plays, two biographies, two volumes of critical essays, and five books on the languages of Kandh, Gadaba and Saora tribes. Moreover, he translated Tolstoy’s War and Peace (Yuddh O Shanti) in three volumes, (tr. 1985-86) and Tagore’s Jogajog (tr. 1965) into Oriya. In his short stories Gopinath Mohanty explores all aspects of Orissan life: life, both in the plains and in the hills. He evolves a unique prose style, lyrical in style, choosing worlds and phrases from the day-to-day speech of ordinary men and women. Symbol of survival & voice of the voiceless. Gopinath Mohanty, Orissa’s first Jnanpith award winner, was one of the tallest figures of post-Independence fiction. Though his better-known novels are about the poor and the marginalised, especially tribes such as the Kondhs and Parajas, his replication of middle-class society in Orissa’s small towns is equally vivid and authentic. If Paraja and Amrutara Santana are his major novels on the tribal theme, and Mati Matal, which received the Bharatiya Jnanpith Award, is a classic of the Indian village, Danapani is a fascinating portrayal of the hopes and frustrations, the dreams and aspirations of middle-class Orissa. The original title is a colloquial Oriya phrase, which literally means a morsel of food and water. But it implies a struggle for existence or assertion, dana and pani symbolising the means for survival. Danapani was published in Oriya in 1955. It appeared in English translation in 1995 as The Survivor, in MacMillan’s Modern Indian Novels imprint. The translation was by Bikram K Das who had received the Sahitya Akademi Translation Award for Paraja. Danapani is a story of social climbing to reach the Room at the Top, casting a few values by the roadside if necessary. The setting is a small town largely inhabited by officials of a private firm and other similar institutions. It is the prototype of any office, government, corporate or private. Balidatta is a young, ambitious officer. But he is not capable, efficient or dynamic, nor energetic or clever enough to make it to the top. Still, he has an indomitable desire to crawl upwards anyhow, pushing away others in the process. The novel opens symbolically with Balidatta’s efforts to procure enough pig manure for the Bada Sahib’s rose garden, something he has volunteered to supply after overhearing Memsahib’s conversation with her gardener. “A few handfuls of pig manure would really make these roses bloom, mali, pig manure for the roses, horse dung for the cannas, and lots of water!” His colleagues have their own little litanies of joys and sorrows, angers and angst, all equally keen to please the superior gods and propitiate them for power. If in Paraja and Amrutara Santana, Gopinath created unforgettable characters like Sukru Jani and Sarabu Saonta, large-hearted men exploited and humiliated by the cruel social order, Balidatta, an equally powerful portrayal, is a small man, aware of his own inadequacy and psychological inhibitions. His relationship with his wife Sarojini is composed of elements of intimacy and indifference. Often he is like a helpless child Sarojini has to look after, console and almost put to sleep. For Balidatta power and sex look alike and run nearly parallel. Their enjoyment seems identical. In turn Sarojini is affectionate, tries to stand by him in difficulties and consoles him when he feels broken or defeated, and yet, often, both look beyond this relationship for happiness, in some crude dreams of riches and forbidden pleasures. The novel unfolds their relationship beautifully, as their love for each other is slowly submerged by the craze for power and authority in Balidatta, and Sarojini’s slow steps on the road to promiscuity. Their world is the grey, colourless middle-class world of the small town; relentless, petty, full of gossip and rumours, yet overwhelmingly intimate and superficially friendly. The caste system of middle-class morality determines relationships. The various characters are superbly portrayed as amoral and complacent but disdainful of or indifferent to permanent attachment to values or relationships. Their wives can only discuss those inanities of drawing-room culture common to middle class morality. They can’t look beyond it. Against this backdrop Balidatta moves up slowly in office, making himself and his wife more and more vulnerable to pressures and learning to wear different sets of masks at different points of time, changing slowly and imperceptibly into a non-person. Time passes, they look brighter, they become richer. Inwardly, they wilt and wither. Danapani is not the story of the noble savage or the innocent little man gradually corrupted by a bureaucratic, hierarchical and competitive society. It moves through twists and turns, the dropping of insinuations and remarks, through light and shade in the backyard of the mind. It is very difficult to sum up the power of the novel. It would not have been so moving if it were only the story of the protagonist’s transformation in his quest for power. The novel is much more. It is also the story of an unusual relationship between Balidatta and Sarojini, Sharma and Ray, Enkat Rao and his wife and many others in the twilight world of a town without values and permanencies. Even as Balidatta rises, he is never happy. All through he had almost equated power with sex and social influence with affluence. Something is lacking, dreams and visions pass, the heart remains ever dry waiting for the rains. Sarojini is necessary for the rise to the room at the top but anger wells up within him when Sharma or Ranjit Babu ask her to eat a little more or look at her hungrily. Something snaps between Balidatta and Sarojini. At the end, the tired Balidatta returns home only to be told that Sarojini has gone out with “one of those Babus” and then he calls the steno and his chaprasi to begin work on yet another file and seek refuge in his familiar world of meaningless words. Gopinath Mohanty’s prose has qualities of poetry. It incorporates lyricism, vibrant folk idiom and delicate symbolism within its structure. It is not easy to recapture that in English. The translator has done an extremely creditable job in retaining a large part of the flavour of the original. — The writer is recipient of the Bharatiya Jnanpith Award and the Padma Bhushan. The survivor by Gopinath Mohanty. Unlimited books, magazines and comics wherever and whenever you are: directly in your browser on your PC or tablet . Over 10 million titles that have every genre imaginable at your fingertips & New titles added every day! All platforms. Fully Optimized. Access your titles anywhere on any device including PC, Tablet, Mobile, PS4, Xbox One, and Smart TVs. No Ads. Enjoy your books hassle free - no interruptions and no advertisements. Ever. You need to sign up to download Please create a free account here to access unlimited downloads & streaming. Don't have an account? Gopinath Mohanty. Gopinath Mohanty (1914–1991), winner of the Jnanpith award, and the first winner of the National Sahitya Akademi Award in 1955 - for his novel, Amrutara Santana - was a prolific Odia writer of the mid-twentieth century. He is widely regarded as the greatest Odia writer since Fakir Mohan Senapati. Contents. 1 Career 2 Novels 3 Short stories 4 Translations 5 Awards 6 See also 7 References 8 Further reading. Career [ edit ] He joined the Odisha Administrative Service in 1938 and retired in 1969. He was invited by Professor Prabhat Nalini Das, then Head of the English Department at Utkal University as University Grants Commission, UGC Distinguished Visiting Professor and Writer-in-Residence for two years at the English Department, Utkal University in the late 1970s. In 1986, he joined San Jose State University in the United States as an Adjunct Professor of Social Sciences. He died at San Jose, California on 20 August 1991. Novels [ edit ] Gopinath’s first novel, Mana Gahirara Chasa , was published in 1940, which was followed by Dadi Budha (1944), Paraja (1945) and Amrutara Santana (1947). His literary output was prolific. He wrote twenty-four novels, ten collections of short stories, three plays, two biographies, two volumes of critical essays, and five books on the languages of the Kandha , Gadaba and Saora tribes of Odisha. He translated Tolstoy’s War and Peace ( Yuddh O Shanti ), in three volumes, 1985–86), and Rabindranath Tagore’s Jogajog , (1965), into Odia. Paraja (1945) is a story based on the life of a tribal community. It is the tale of one’s attachment to land, the soil of one’s ancestors. Sitakant Mahapatra describes the novel as " the story of shattered dreams". [1] [ full citation needed ] Amrutara Santana (1947), the first novel to receive the Central Sahitya Akademi Award (1955), is centred round the life of the Kandhas , another tribe in the southern parts of Odisha. Short stories [ edit ] In the post-Independence era Odia fiction assumed a new direction. The trend which Fakir Mohan Senapati had started developed more after the 1950s. Gopinath Mohanty, Surendra Mohanty and Manoj Das are considered as the three jewels of this time. They are pioneers of a new trend, that of developing or projecting the "individual as protagonist" in Odia fiction. The feminist writer and critic Sarojini Sahoo believes that it was not Gopinath, but Surendra Mohanty whose "Ruti O Chandra" has to be considered as the first story with individualistic approach rather than the story "Dan" by Gopinth, which was formerly known as the first story with an "individualistic attitude".Another of his story 'Pimpudi' is very influential. It to the story of a Forest officer in the quest of checking rice smuggling to Madras. [2] [ full citation needed ] Translations [ edit ] Five of Gopinath’s novels, Paraja , Danapani , Laya Bilaya , Amrutara Santana , and Dadi Budha , have been translated into English. The first three have been translated by Bikram K. Das, the fourth by Professor Bidhu Bhusan Das, Professor Prabhat Nalini Das and Professor Oopali Operajita; and the last, by Arun Kumar Mohanty. The English version of Paraja was published by Faber and Faber (UK) and Oxford University Press (India) in 1987. The Survivor , the English translation of Danapani , was published by Macmillan India Limited in 1995. "Amrutara Santana - The Dynasty of The Immortals," has been published by the Central Sahitya Akademi in 2016. The translation of Laya Bilaya which bears the title, High Tide, Ebb Tide , has been published by Lark Books . The Ancestor , the translation of Gopinath’s Dadi Budha , has been brought out by the Sahitya Akademi . Besides, a number of short stories of Gopinath have also been translated. It is extremely difficult to render in English the nuances of Gopinath Mohanty’s language. However, translators have attempted to convey the richness and complexity of the original texts to readers unfamiliar with Odia. His own father was next in Bhadrak killer’s hit list. Bhadrak: Gopinath Mohanty alias Babua, who killed a couple one after another and then raped their minor daughter, Wednesday told police that he wanted to kill his own father Kulamani Mohanty but his plan got foiled. During interrogations by the police, Babua said he raped the girl at gunpoint. He, however, did not elaborate on why he wanted to kill his father. Babua was produced before the additional district judge and sent in remand after his bail plea was rejected Wednesday. Meanwhile, the rape survivor has recorded her statement at the court of the judicial magistrate first class. Dhamnagar IIC Bandana Patra said,”During interrogation, the accused said his father Kulamani Mohanty was his next target. As the girl luckily escaped from being killed, Babua was arrested and his plan to eliminate his father got scuttled.” The girl told media that after killing her mother, Babua threatened her with a gun, then gagged her and tied her hands and legs before raping her. However, she said she did not know if the gun Babua was carrying was a real one. It was also learnt that a few months ago, Babua had detained a youth at gunpoint for a night near Daipur. Later, police rescued the youth from his clutches. Police were aware of the incident and the matter was mutually settled. The IIC said the gun he had used then was a toy gun. It was learnt that Babua had distanced himself from his farther and had been staying at Bhubaneswar over last 10 years. He had married against his parents’ wish. Though his real motive for the murder is still under wraps, police are probing into all three angles such as loot, revenge and illicit relationship. Babua, who had earlier cited ‘revenge’ as his motive behind the crime, reportedly told police Tuesday that he had killed Rabindra Behuria and his wife for Rs 2 lakh. “The family had received Rs 2 lakh after a settlement in some legal case a few days ago. Since the accused often visited the family, he knew about the cash at home and plotted to kill them,” said Superintendent of Police B Gangadhar. The SP ruled out past enmity behind the double murder. Earlier in the day, Babua had confessed to the crime stating that he killed the couple since they had been troubling his parents for years. In the statements to the police, the accused admitted to have pushed Rabindra into a canal after getting him drunk. He later killed his wife by attacking her with a stone pestle in their house. He looted jewellery and cash from the house before fleeing Bhadrak. He was nabbed from Chandrasekharpur in Bhubaneswar Tuesday. Related Posts. Security forces, Maoists exchange fire in Malkangiri. Baripada Jail warder attacks police ASI during mask checking drive. Odisha announces partial unlock; fresh guidelines issued. Commissionerate Police arrests four in Cuttack; illegal firearms, live bullets seized. Two killed, one critical as pickup truck rams into goods carrier in Cuttack. Divine wedding of Lord Shiva with Goddess Parbati comes to end in Sambalpur. Leave a Reply Cancel reply. Utkal University Journalism Department Students. 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