Konangi

Konangi
Born	Ilangovan (1956-11-01) 1 November 1956 (age 67) Nenmeni Mettupatti, Tamil Nadu
Literary movement	Modern,
Notable works	Paazhi, Pidhiraa, Tha

Konangi (

Described as the most important Tamil voice since Pudumaipithan, Konangi has published six short story collections and three novels. His works belongs to the less popular serious literature genre in Tamil which is mostly published in literary magazines and only occasionally in magazines and newspapers with wider circulation.[1]^[2][3]

Konangi's first short story veechu (வீச்சு) was published in Thaamarai a Tamil magazine in 1980 and from then on he went to create some of the most original short stories in the Tamil language. His stories are characterised by very dense images, a tight narrative style with a vocabulary like no other bringing a ritualistic shade to the use of the Tamil language. His works often pushes and breaks the limits of fiction in Tamil literature by abandonment of the conventions of plot and character construction.

Konangi quit his job in March 1988 and started his own little magazine Kal Kudhirai in October 1988 in the

Despite receiving enormous acknowledgements for his literary outputs,^[citation needed] Konangi stays away from the media .

Bibliography

தொகுக்கப்படாத கதைகள்

• வீச்சு – தாமரை – 1980.
• விளக்குச்சரம் – சிகரம் சிற்றிதழ் – 1980.
• தர்ம சக்கரம்

முதல் சில சிறுகதைகள்

• இருட்டு – சிகரம் – October 1980.
• கருப்பு ரயில் – தேடல் – October 1981.
• மதினிமார்கள் கதை – மீட்சி – 1982.

Short story collections

• மதினிமார்கள் கதை – அன்னம் வெளியீடு
• கொல்லனின் ஆறு பெண்மக்கள்.
• பொம்மைகள் உடைபடும் நகரம்.
• பட்டுப்பூச்சிகள் உறங்கும் மூன்றாம் ஜாமம்
• உப்புக்கத்தியில் மறையும் சிறுத்தை.
• இருள்வ மௌத்திகம் .
• சலூன் நாற்காலியில் சுழன்றபடி.
• வெள்ளரிப் பெண்(Anthology).

Novellas

• கைத்தடி கேட்ட நூறு கேள்விகள் – A novella that won the prize in Kanaiyaazhi.
• அப்பாவின் குகையில் இருக்கிறேன் – ( I am in my fathers cave)
• தழும்புகள் சிவந்த அணங்கு நிலம்.

Novels

• பாழி – 2000
• பிதிரா – 2004
• த – 2013
• நீர் வளரி - 2020

பிதிரா

Pidhira was released in 2004 and is largely a novel that was less denser and more accessible than the earlier work paazhi. It had its sections based on the five Tamil sangam landscapes . The first part 'mullai' was written as a fiction based on the travels in Andhra Pradesh.

Tha (த)

Tha published in January 2013 (released in

• Took his pen name from a poetry line by
  Subramanya Bharathi
  .
• Wrote the introduction to பாழி at Sanchi, Vidisha, Ajanta and Ellora caves.
• Fictionalized
  Mozart's funeral, the works of Paul Gauguin and Rembrandt
  in short stories.
• Cites Mouni, Na.Muthusamy (the short story called Vandi), poomani, Rajendra Chozhan and Vannanilavan as early influences.
• Calls Nakulan as a major influence in the craft of novels. Has written an inventive short story about nakulan which was later translated into English.
• An orator par excellence (mostly on
  Ex tempore
  ) but rarely attends any public literary meetings.
• Have acted in plays. Known plays include Japthi.
• Can Paint. Was in earlier days a painter.
• Never Married.

Comments on works include

• Criticism on the overtly Baroque style.
• A stylist with high sense of the visual.
• Difficulties in plot summary.
• Deliberately obscuring the plot using language.
• Total abandonment of reason for imagination.
• Like poetry, uses words and images which can mean several, often contradictory, things at once.
• Dense weave of a language designed as much to shield the plot summary than to reveal them.
• Usage of a lexicon of old and obscure Tamil words.
• New readers who enter the Tamil literary landscape have often been made to believe about the works of Konangi as unapproachable, chaotic and incomprehensible by the general opinions of the media. Due to this some of Konangi's works (novels) often remain as a vast verbal labyrinth of extraordinary images waiting to be deciphered.

Quotes

Sayings quoted below appeared in magazines and from his own works and interviews.

• You have to become a bird in order to understand a tree.
• Art has no relation with conscious intelligence. It is inherently a fragile thing. Its origins are unknown and at its center are clouds of cold blackness. The aesthetic experience at its summit becomes invisible and disrupts the readers perseverance in understanding it. [See: The imminence of a revelation that does not occur.]
• While my characters are highly instinctive, my stories take birth from the sub-conscious and often oscillate into the world of unconscious.
• My stories are born out of blindness and not seeing too far ahead.
• Sculpting has a direct relation with the evolution of the language of my later stories.
• The traditional idea of Plot essentially limits the possibilities of all fiction.
• Art is like the process of weaving.
• In travel, like music the land of dreams appear out of nowhere and follows us.
• Art has nothing to do with either wisdom or understanding. It doesn't have purpose nor intention. Its on its own.
• Fictional landscapes resembles waterscapes in general and fiction is born at the moment, the fusion of two unknown creatures that lives inside it occurs.
• Stories are living things and they have souls residing inside them.
• Beauty when found is often accompanied with a feeling of sense of terror.
• I’ve inherited a tradition where butterflies want to sing, elephants want to dance, alchemists, sorcerers and witches want to overwork, and the storyteller creates landscapes which have no association to any town, city or country, and is yet not alien.

Further reading

• Baroque
• Mr Difficult
• Antinovel
• Stream of consciousness (narrative mode)
• Nonlinear narrative
• Magic realism
• Automatic writing
• Postmodern literature
• Reader-response criticism
• Fiction-writing modes

References