'Publishing - last bastion of colonialism'

SAJITHA PREMATUNGE

Having written stories like Muslim on the periphery, when asked how 'Muslim' she is, she shot back 'Very'. And she is like any other Sri Lankan Muslim, minus the head scarf. "When I was growing up nobody in our family covered their heads. Both my grandmother and mother wore traditional saree," said Ameena. "Covering the head is an Arabian custom and I am Sri Lankan."

This week's Daily News Artscope encounter is with Ameena Hessein. Her writing, initially evolved from the stories she had heard as a sociologist, provides an analytical perspective of society. Her novel The Moon in the Water was long-listed for the 2007 Man Asia Literary Prize. Having battled Non-Hodgkin's Lymphoma and having lived to tell about it, Ameena's attitude to life is surprisingly positive. Her bubbly personality is inspirational as well as contagious.

Q: Are you a sociologist first or writer?

A: Actually now I am a publisher first, writer second, third sociologist.

Q: What made you embark on 'Blue'? Didn't you have qualms about venturing into erotica?

A: I was very apprehensive. It was the first of its kind in Sri Lanka. It was a project I picked up for fun. However I would not call the book an 'erotica', because not all the entries fall in line with the criteria of 'erotica'. That is why Blue is introduced as 'stories for adults'. Some stories are erotic some are not; some are just plain 'stories'.

Some may claim that it's pure pornography and therefore unreadable. However the definition of 'erotica' can be very subjective.

Q: Did you intend it to be a completely commercial book with no literary value?

A: It should not be mistaken for literature. There have been some unfavourable reviews of Blue, but the critics forget that it was never meant to be reviewed. They are investing too much seriousness in a project that was meant for 'fun'. On the other hand, the fact that it was reviewed is a good sign, which proves that it had attracted more attention than we anticipated.

'Commercial' means that a book has to sell. If all our books were failures we would have to shut down.

Q: What is Sri Lankan about 'Blue'?

A: What is not? For instance all the writers are Sri Lankan. The stories are squarely set in Sri Lanka. All the poetry could only be written in a Sri Lankan perspective. All images of nature, such as the monsoon and the skies are Sri Lankan. It is all a matter of personal interpretation. Tranquebar would not have bought the rights had it not been 'Sri Lankan'.

Q: Is erotica a new genre to Sri Lanka or did you come across vernacular pieces in your research?

A: I know they exist, but unfortunately there is a huge dearth of translation from Sinhala and Tamil to English.

Q: Is it wise to promote homosexuality and going against social ethics, especially in a conservative society?

A: Literature cannot promote anything let alone homosexuality. Every person has a right to his or her own sexual orientation.

Just reading about something cannot induce a person to change the sexuality they are born to.

Q: Having written 'Muslim on the periphery' how 'Muslim' are you?

A: Very. The term 'Muslim' is not generic or homogenous. It covers a gamut - there are Bosnian Muslims, Lebanese, Palestinian, Saudi Arabian, Indian, Pakistani and Sri Lankan Muslims. I am a Sri Lankan Muslim.

Q: Being a Muslim writer how challenging is it for you to present feminist themes in your writing?

A: It was not at all a challenge. I did not even think of the criticism I would have to face. In fact I have not had any negative criticism from the Sri Lankan Muslim community for being feminist. In this sense we are lucky that the Sri Lankan Muslim community is not extremist. They are tolerant of diverse views and opinions.

Q: What part does language play in defining your identity? Do you believe writing in English affects your identity as a 'Sri Lankan'?

A: English is my first language, that is what I write and speak in. I was a product of the 70's and 80's. We were taught in English. I have never had an identity crisis because of writing in English. I also speak Sinhala and Tamil, so language never posed a problem.

Q: You were writing 'The Moon in the Water' while you were undergoing chemo. Did this affect the final outcome?

A: Very much. The final chapter of the draft was very depressing. I excluded it from the book. I believe that the only way out of a life threatening disease is to be extremely positive.

I wanted to leave a world of possibilities in terms of what might happen to Khadeeja. I left it up to the reader to continue the story, which is very uplifting.

Q: As one of the founder committee members of Galle Literary Festival (GLF) what are your comments of it failing to showcase works of Sinhala literary icons like Martin Wickramasinghe and Gunadasa Amarasekera, who is from Galle?

A: In fact the opening ceremony of the second GLF was held at the Martin Wickramasinghe residence. Writers such as Liyanage Amarakeerthi and translators such as Ranjini Obeyesekere and Vijita Fernando were also featured in the past GLFs.

Without a link language a literary festival cannot operate. Even the pieces of prolific Sinhala writers cannot be discussed if they have not been previously translated, because most of the participants would not be able to understand them.

Q: The GLF is criticized as a mere money spinner for the elite and a vacation for the expatriate and foreign writers. Your comments?

A: I am no longer a committee member so I cannot speak on their behalf. But I am still a strong supporter of GLF. From the onset the organizers had to deal with this accusation that GLF is some exclusively elitist event.

There are Tamil and Sinhala literary events, none of which I have ever been invited to. In fact I don't expect to be invited. So how is this any different.

Isn't it better to have a literary festival of our own, where internationally reputed writers come to us rather than us having to go to Hay On Wye or Bali for their literary festivals. As for vacation, of course if the participants don't enjoy the festival they will not come the next time.

Q: As a publisher would you say that amateur writers are still clinging to 'villege well' literature (romanticizing village life)?

A: Considering the manuscripts we have received recently, no. We just received a very interesting science fantasy and next we are on the lookout for a graphic novel. It takes time for the effects of the conflict to really sink in. In fact I think the best writing about the conflict is yet to come.

Q: What challenges do you face as a publisher, especially in the international market?

A: Publishing is one of the last bastions of colonialism. All leading publishing houses are headed by the white. Unless you are Penguin of HarperCollins it is nearly impossible to make it big in the international field of publishing.

Getting books into the international market is a daunting task for small publishers from island nations like ours. It took us seven years to get our books to Singapore and Australia. This is where internet has been of tremendous assistance. We sell a lot of books through our website.

The danger of big publishing houses is that they could kill smaller publishers. For example writers in India prefer to publish with publishers with big names leaving the smaller local publishers high and dry. Moreover awards like the Booker, Pulitzer and any other Pacific Rim prizes accept only entries by white, western publishers.

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