Skip to main content

Why I Write

 

One of the most delightful essays of George Orwell is ‘Why I Write’ which I read as a young student of a creative writing course of IGNOU. With ruthless candidness Orwell identifies “sheer egoism” as the first reason for his writing. “Desire to seem clever, to be talked about, to be remembered after death, to get your own back on grown-ups who snubbed you in childhood, etc…” Orwell goes on to say that “It is humbug to pretend this is not a motive, and a strong one.”

I embrace Orwell wholeheartedly here. I am an inveterate egoist in the above Orwellian sense, every bit of it including those grown-ups, and that egoism probably remains at the top of my list too if you hurl on my face the question why I write. But that can’t be the sole reason for any worthwhile writer. Orwell has listed a few more of them in his essay and I won’t ever dare to dispute any of them.

Political purpose is mentioned as the last point by Orwell. He defines it as “Desire to push the world in a certain direction, to alter other people’s idea of the kind of society that they should strive after.” My writing has been driven by this political purpose ever since Mr Modi ascended the throne in Indraprastha. It is because I don’t accept the kind of politics that Mr Modi practises. Mr Modi made me a political writer.

Even otherwise there was a didactic element in my writings, I don’t deny. Bernard Shaw is one writer who defended his didacticism fanatically. I don’t write anything unless it is to teach something, he declared. [I can’t recall his exact words.] I can say the same about my writing too.

I don’t claim to be wise, however. If I write like a teacher, it is not because I think I know more than anyone else. It is rather because I feel I have a right to express my views in a world of people who are capable of thinking. Moreover, I am a teacher by profession. I know that I have influenced (and continue to do so) quite many young minds as a teacher. I would like to do the same with adults as a writer. Forgive me if this ambition sounds vain or presumptuous.

I have been told too many times by friends and well-wishers that my writing tends to be too acerbic to do good. The acid is not intended. Not usually, at least. Writing is not an entirely conscious process. The roots of your words lie in your subconscious mind. The acid belongs there too. I must borrow from Shaw once again here: “I do not know what I think until I write it.”

Frankly, I don’t write with the conscious intention to hurt anyone, not even Mr Modi whom I consider as one of the most inferior minds that ever sat on the country’s prime throne. Modi is the antithesis of all that I value: the Enlightenment ideals. When the most powerful person in your country turns out to be the exterminator of all that you hold sacred, your heart will be on fire. Acid will flow in your veins.

I write in order to cling to those ideals which are being exterminated. I write primarily to salvage my own heart.

 

PS. Thanks to Sonia Dogra [one of the gentlest souls I ever came to know in the virtual world] who tagged me in Facebook to a post by another blogger friend, Deepa Gopal, [a genius with the brush and the pen] which in turn made me write this.  

 

Comments

  1. This is the most candid response I have read. While I think Orwell went a little too far when citing his reasons, I do agree that all writers nurture a silent ambition of recognition. Some are brave enough to accept. Sometimes not getting enough recognition makes us say stuff like 'write because I must' or just for the love of it. But then we cannot deny that all writers including Orwell must have started only for the love of writing. Once the recognition came along, the desire for more probably came along.
    On another note I've just started the creative writing course from IGNOU. Just because you mentioned it. Thank you for your kind mention of my space here.

    ReplyDelete
    Replies
    1. Writing comes as natural as breathing to writers. People look for reasons and find them. Orwell did that. Shaw too. You and I too. I'm sure all of us love some appreciation from our readers. But even when that doesn't come, we still go on precisely because ultimately we write because we can't but do that.

      I hope IGNOU maintains its original standards. I joined the university 10 years ago, as a 50-year-old, for their MA Psychology course was disappointed terribly with the substandard course materials and even instructional processes. Most of the notes were simply plagiarised stuff. Some were not even correct. I pointed it out to the professors and I was penalised for that. I didn't complete the course in the end.

      Delete
  2. I appreciate the way you have candidly spelled out as to why you write. As for me, I always write for my heart's content in order to vent my stuffiness out. My writings are meant for me, therefore it doesn't matter to me even if they aren't read by others.

    ReplyDelete
    Replies
    1. Sublimation of feelings is one solid reason for most writers, I'm sure. That gives you a joy which doesn't depend on what comes from the readers. But I'm sure happy with more readers if I can get them. As it is, my viewership is good though the interaction is not.

      Delete
  3. Love how you quoted that you write to salvage your own heart. Much as every writer craves for recognition, not obtaining it still wouldn't stop one from writing, for ultimately we write for ourselves.

    ReplyDelete
    Replies
    1. True, Dashy. Ultimately it's about our sense of fulfilment, a self-gratification. That is one reason why we can't play to the gallery, I suppose. I'd get more readers if I'm ready to change my tune a bit. But I can't do that. I can't be unfaithful to my heart.

      Delete
  4. While we are indulging in abstracts, you are quite specific! Sir, you are intensely candid. I totally agree with what Sonia says! Orwell does seem to have got carried away... and we all do at some point, I guess! :)
    Thanks for the mention Sir! I truly touched!

    ReplyDelete
    Replies
    1. Orwell had reasons to get carried away. After all, he lived "down and out in Paris and London" until he became a successful writer.

      Delete

Post a Comment

Popular posts from this blog

Ayodhya: Kingdom of Sorrows

T he Sarayu carried more tears than water. Ayodhya was a sad kingdom. Dasaratha was a good king. He upheld dharma – justice and morality – as best as he could. The citizens were apparently happy. Then, one day, it all changed. One person is enough to change the destiny of a whole kingdom. Who was that one person? Some say it was Kaikeyi, one of the three official wives of Dasaratha. Some others say it was Manthara, Kaikeyi’s chief maid. Manthara was a hunchback. She was the caretaker of Kaikeyi right from the latter’s childhood; foster mother, so to say, because Kaikeyi had no mother. The absence of maternal influence can distort a girl child’s personality. With a foster mother like Manthara, the distortion can be really bad. Manthara was cunning, selfish, and morally ambiguous. A severe physical deformity can make one worse than all that. Manthara was as devious and manipulative as a woman could be in a men’s world. Add to that all the jealousy and ambition that insecure peo...

The Little Girl

The Little Girl is a short story by Katherine Mansfield given in the class 9 English course of NCERT. Maggie gave an assignment to her students based on the story and one of her students, Athena Baby Sabu, presented a brilliant job. She converted the story into a delightful comic strip. Mansfield tells the story of Kezia who is the eponymous little girl. Kezia is scared of her father who wields a lot of control on the entire family. She is punished severely for an unwitting mistake which makes her even more scared of her father. Her grandmother is fond of her and is her emotional succour. The grandmother is away from home one day with Kezia's mother who is hospitalised. Kezia gets her usual nightmare and is terrified. There is no one at home to console her except her father from whom she does not expect any consolation. But the father rises to the occasion and lets the little girl sleep beside him that night. She rests her head on her father's chest and can feel his heart...

Bharata: The Ascetic King

Bharata is disillusioned yet again. His brother, Rama the ideal man, Maryada Purushottam , is making yet another grotesque demand. Sita Devi has to prove her purity now, years after the Agni Pariksha she arranged for herself long ago in Lanka itself. Now, when she has been living for years far away from Rama with her two sons Luva and Kusha in the paternal care of no less a saint than Valmiki himself! What has happened to Rama? Bharata sits on the bank of the Sarayu with tears welling up in his eyes. Give me an answer, Sarayu, he said. Sarayu accepted Bharata’s tears too. She was used to absorbing tears. How many times has Rama come and sat upon this very same bank and wept too? Life is sorrow, Sarayu muttered to Bharata. Even if you are royal descendants of divinity itself. Rama had brought the children Luva and Kusha to Ayodhya on the day of the Ashvamedha Yagna which he was conducting in order to reaffirm his sovereignty and legitimacy over his kingdom. He didn’t know they w...

Liberated

Fiction - parable Vijay was familiar enough with soil and the stones it turns up to realise that he had struck something rare.   It was a tiny stone, a pitch black speck not larger than the tip of his little finger. It turned up from the intestine of the earth while Vijay was digging a pit for the biogas plant. Anand, the scientist from the village, got the stone analysed in his lab and assured, “It is a rare object.   A compound of carbonic acid and magnesium.” Anand and his fellow scientists believed that it must be a fragment of a meteoroid that hit the earth millions of years ago.   “Very rare indeed,” concluded the scientist. Now, it’s plain commonsense that something that’s very rare indeed must be very valuable too. All the more so if it came from the heavens. So Vijay got the village goldsmith to set it on a gold ring.   Vijay wore the ring proudly on his ring finger. Nobody, in the village, however bothered to pay any homage to Vijay’s...

Empuraan – Review

Revenge is an ancient theme in human narratives. Give a moral rationale for the revenge and make the antagonist look monstrously evil, then you have the material for a good work of art. Add to that some spices from contemporary politics and the recipe is quite right for a hit movie. This is what you get in the Malayalam movie, Empuraan , which is running full houses now despite the trenchant opposition to it from the emergent Hindutva forces in the state. First of all, I fail to understand why so much brouhaha was hollered by the Hindutvans [let me coin that word for sheer convenience] who managed to get some 3 minutes censored from the 3-hour movie. The movie doesn’t make any explicit mention of any of the existing Hindutva political parties or other organisations. On the other hand, Allahu Akbar is shouted menacingly by Islamic terrorists, albeit towards the end. True, the movie begins with an implicit reference to what happened in Gujarat in 2002 after the Godhra train burnin...