Rise and fall of a politician
 I am not sure whether there is a particular narrative genre called
‘political novel’. Perhaps any narrative which deals with aspects of
politics such as political conflicts, political cultures, political
manipulations and political revolutions could be branded as a political
novel.
In the African context a sort of narrative had sprung up as one finds
in the works of Thiongo Wa Ngugi and Chinua Achebe, which could be
branded as narratives blended in political ideologies. Such was the
situation both in Russia and China. The great works of Leo Tolstoy such
as War and Peace could be classified as both historical and political
narratives. From China comes the works of Lultasung which are
predominantly political and historical.
To differentiate classes such as political, historical and general
way one tends to present a parochial attitude in the very
classification. The latest work of fiction by newspaper Editor
Ariyananda Dombagahawatta is titled as Ape Kale Desapalakayaekgue
Kathawa (The Story of a Politician of Our Time). The novel had been in
the first instance serialized in a Sunday newspaper tabloid supplement.
 This is also visualized as each chapter is linked to the other via
suspense. This enables readability and pays more attention to the
forthcoming episode. It is the story of a simple and humble young man
named Rajadasa who becomes an opponent of the feudal minded tradition
bound political leader Ekanayaka, where the flow is bestowed via family
and father to son lineage. One is reminded of the conservative manner in
which the power was vested in a village set up with the feudal power as
the most dominant all pervading force.
This rooted force and power which had existed for a long period of
time is shown as eradicated as Rajadasa enters firstly the local
government, then provincial and gradually into the apex of politics
commonly known by masses. Rajadasa is in the first instance groomed by a
politician as a supporter who goes to the extent of a lackey of a senior
politician.
The life structure and the various socio political nuances in the
life of Rajadasa are captured by Dombagahawatta sensitively. From the
very beginning Rajadasa is pictured as an individual torn between two
worlds: world of the humble innocent person and the world of
power-craving person. The two worlds of Rajadasa as portrayed by the
writer sustain the inner suspense of the narrative which culminates in
the victory of the latter, the world of political power where he ascends
the ladder of political power. From a material point of view he becomes
a winner not in politics but also by tactics.
The high point in the novel is the changing of the political stance
of Rajadasa, the protagonist, from the lower to the highest peak of
power where he becomes a state minister. With more and more power, the
reader visualises the inner change in the politician Rajadasa. He is
being advised by a shrewd advisor named Sam who paves the way for him to
grab more and more money and social luxuries which eventually disallows
him to be an ethical being. Thus Rajadasa who rises and rises is seen
entrapped in a snare.
He forgets his past and engages the mundane power, with luxuries
resulting in losing his sweetheart who was near and dear to him from the
very beginning. She who perceives the inner nature of Rajadasa escapes
from him.
She was initially helped by him for his own good. He comes closer to
the life of a mentally sick woman, a daughter of a business magnate who
supported him in his political manipulations. She who is shown as a
mentally deranged becomes a victim of circumstances.
With the entry of quite a number of unethical traits into Rajadasa’s
life trapped in politics, the reader visualizes one central factor
heightened in the narrative. This is nothing but the power of the
natural law as against the other human laws created by the man himself,
over the years.
Rajadasa who, like in a fantasy, ascends the peak of political power,
is shown as a victim in a bomb blast planted by himself with the help of
his own supporters. This moment of illumination in the narrative paves
the way for more thinking on the part of the reader, and raises some
pertinent questions relevant to our own times from time to time in the
public sphere.
Dombagahawatta writes in a simple language readable at all levels. He
disallows harangues to enter the body structure by enveloping
commentaries. But to my mind the love episode of Rajadasa could have
been further developed enhancing in a human interest frame to the entire
narrative. Yet it is the creative selection on the part of the narrator
that matters.
This may be a good starting point to visualize some of the hazards of
politics and its mechanism, hidden from the naked eye.
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