Talk back to Veda Vyaasa
Prelude
Dear Scholars and Literary Enthusiasts,
I humbly invite all you to participate in setting up a novel tradition in
literature and art. Please feel free to invite your friends and other
literary enthusiasts to participate in this project.
I have developed the basic concepts and format for a new literary tradition.
I envision this to be a project for people, run by the people and for the
benefit of the people. “People” could be scholars and novices, adults or
youngsters, and most importantly of all languages, backgrounds and cultural
/ art / literary interests and accomplishments.
I have chosen Veda Vyaasa because I have the greatest admiration for him.
Great authors like him and Vaalmeeki had superhuman literary gifts. These
authors have mesmerized generations by their great epics to the extent of
making all of us believe and even worship some of the characters developed
by them. We have even built temples for the characters believing them to be
Gods. People have named their children, cities, and streets after the great
characters of these epics. The characters have “lived” in our dreams, lives
and art.
It is time that we really talked back to these literary masters and asked
them directly anything all of us want to really ask.
In general, my intention and vision is to lay the foundation for a novel
tradition of talking back to authors.
Please Note: I have intentionally not documented the details, for it is a
people’s project.
Theme and Vision
This is actually a people’s project for setting a novel tradition of direct
debate and discussion with the authors of famous epics like Mahaabharatha
and Raamayana. The debate will take the form of dialogues, critical and
constructive discussion groups and extravagant theatre presentations. A
simple example for Mahaabhaaratha would be for characters like Karna,
Abhimanyu, Ekalavya, Kunthi and Draupadi to face off Veda Vyaasa in debates,
cross examinations, and constructive discussions. Some of the characters
would be discussing and debating between themselves on various issues of
importance, in theatrical presentations. In addition, the projects would
have debates in discussion panels in which one scholar would assume the role
of Veda Vyaasa, while other take the roles created by Vyaasa. In all forms
of the deployment of the project, the author is subjected to
cross-examinations directly by the characters.
This is a master plan for critical and constructive dialogue with the
greatest literary master of all times, Veda Vyaasa. The vision is to set up
a foundation for a new tradition of continuing dialogue for many years and
generations of scholars and literary enthusiasts. The foundation will set
the stage for a new approach to study literary masterpieces, applicable to
all languages.
Similar projects could be initiated for other literary masterpieces by
authors like Vaalmeeki, Kalidaasa and Bhaasa in Sanskrit. Shakespeare would
be candidate for such projects in English.
This is only a high level overview of the plan. Details will be developed
with a team of motivated and creative core group. During deployment of the
dialogue and critical analysis, both scholars and novices would be
encouraged to participate actively.
In the first project, we will be talking back to Veda Vyaasa on his
masterpiece literary creation Mahaabhaaratha. Examples of our intentions
would be the following:
v Raise a lot of issues on the theme
v Analyze characters
v Question the author on the treatment of characters
v Debate with the author on moral and social values
v Dialogue with the author on the selection of heroes versus villains
v Understand the intentions of the author through direct discussions about
good guys versus bad guys
v Pin point to the author on disturbing events and discuss regarding
potential alternative events and other potential alternative tracks for the
story.
v Understand the author’s intentions on the creation of VIP characters like
Krishna
v Ask the author for the reasons of interlocking relationships with other
epics like Raamaayana.
Debates and discussion of special characters
Characters of special interest are:
Seriously disadvantaged: Karna, Ekalavya, Draupadi, Kunthi, and Abhimanyu
Unnecessarily privileged: Arjuna, Bheema, Krishna, Draupadi, Nakula and
Sahadeva.
Over idealistic characters: Bheema, Dharmaraaya, Vidura
Author’s involvement: Vyaasa and other sages fathering of too many
important people in the epic.
Incapacitated characters: Paandu, Drutharaastra
Moral Values: Arranged impregnations of many important characters.
Child bearing out of wedlock: Kunti, Matsyagandha
Implementation and Deployment Techniques
Ø Parallel efforts in all languages
Ø Team effort with open participation by all - novices and scholars would be
participating different levels of activities.
Ø Many genres would be created - poetry, drama, essays, discussion with a
potential for a movie
Ø Many debate and discussion groups are encouraged around the world.
Ø Encourage a lot of people to read Mahaabharatha seriously, not merely read
passively, but critically and constructively.
Ø Encourage kids and youngsters to understand with a questioning and
constructive mind
Ø Increase worldwide awareness of the epic around the world.
Ø Encourage translations of the epic to many more languages
Ø In addition to taking current interpretations, encourage expanded
constructive interpretations.
Ø Use internet for publicity, awareness, coordination and distribution.
Ø Encourage all web based forums to participate and cooperate
Ø Hold interim discussion groups on web and in many parts of the world
Ø Use characters in the epic to ask questions back to its creator Vyaasa:
Examples:
¨ Karna would directly interrogate Vyaasa and challenge him on the creation
of the character and the ways character has serious discriminative
disadvantages starting from childhood.
¨ Ekalayvya would challenge Vyaasa for the sacrifice of his thumb.
¨ Abhimanyu will ask questions and ask if his character could have been
treated more sympathetically. Even Arjuna joins the discussion.
¨ Shakuni demands reasons for making him the master villain manipulator.
NEXT STEPS
This is how I envision the first few steps. The actual track the program
takes really should be by people participation, and not only by me.
v Create awareness and obtain buy-in from the scholars and enthusiasts.
v Conduct some pilot projects of discussion groups, drama and debates.
v Based on the response, plan and launch a larger scale campaign.
PILOT PROGRAMS
I need help, support, advice and especially full-hearted involvement by
literature pioneers / enthusiasts like you in spreading the concept,
refining the concept and trigger pilot programs. The pilot programs can be
very simple. For example, it can take a simple focus with a title like
"Karna talks back to Vyaasa". In a debate or panel debate mode, there would
be two sides on the stage.
On one side would be Karna as the main character, with supporting characters
like Duryodhana, Dushyasana, Kunthi ... These characters are really scholars
(well prepared and equipped for the debate) with or without any costumes.
Being debate, costumes are not important. Both men and women can take any
role if the costume is not necessary.
On the other side would be the "Vyaasa team". This team can take two forms:
v Many scholars (well prepared and equipped) can play the part of Vyaasa at
the same time. Any one or more Vyaasas can respond to the question /
challenge / statement made by the opposing team.
v One Vyaasa supported by some characters of Mahaabharatha. Examples would
be Krishna, Vidura ...
MOST IMPORTANTLY, the following are the benefits of such a debate panel:
v The panel debate would be recorded (audio and or video), for simultaneous
scribe, supplemented by later documentation. Press (including internet
reporters) could be invited so that people not being able to attend the
panel debate would be able to read / view / hear the summary.
v This would trigger scholars of many types of genres to write poetry,
drama, essay or story. The benefits are similar to that of a brain storming
session.
v Based on the ideas and challenges presented by Karna team and the
responses of the Vyaasa team, dramatists could prepare drama dialogues. This
is better than a solitary dramatist trying to write it. Many heads are
better than a lonely one. The dramatist could credit the scholars of the
panel debate. Please understand that this type of writing a drama has never
been attempted. This could make a new wave of dramas and movies to be made.
Explain the theme and vision to the participants clearly so that there is no
confusion. Define and explain the panel debate procedures and guidelines. It
is a good idea to conduct an informal debate panel in a limited group, so
that you can contain the group and polish the coordination and panel
participation, in the second round. Please make sure that you record the
debate and have someone to scribe as well.
Panel Debate Ideas - Web based and Stage Debates
Here are some initial ideas for a web-based forum.
Ø We could set up a "Karna talks back to Vyaasa" web based chat forum.
Ø The web forum is made up of two important parts:
· For invited scholars
· For general web forum readers / participants. (Based on the quality and
substance of the posting by this group, selected individuals may be invited
to the scholars group for a limited time.
Ø Everyone can read the posting in both groups, while only invited scholars
can post (Web forum staff would post on their behalf) in scholars group.
Ø Anyone can decide to post on Karna's side or Vyaasa's side. The posting
can be a question, challenge, simple query or response.
Ø The web page on the web forum could contain two halves of the site: Karna
and Vyaasa. Both sides can have a picture, figure (artist's conception) or a
simple icon.
Ø It would be suggested to the posters in submission guidelines that the
posting would be in the form of a dialogue.
Ø Knowing that scholars would be invited and that they read all postings in
the scholars group and open group, people will take pride in quality
posting, so that they could get noticed. This is an opportunity for aspiring
scriptwriters and upcoming authors.
Ø Example of invited scholars: Girish Karnad, people of Sahitya Akademi
fame, Scholars in the BR Chopra's "Mahabharat" research and script team,
scholars from many languages, international scholars (Prof. Tokunaga, David
Frawley ..), professors from Indian universities, some selected actors from
"Mahabharat".
Ø This could be a project for some research scholars in Indian universities
and Ph.D. students. This may also create serious interest from international
universities.
Ø This web forum would be supplemented by a forum on the stage in different
cities in India. Serious posters may get selected and invited to
participate.
Ø This web forum may be supplemented by radio and TV panel discussions by
specially selected participants on web forum.
Ø Media would be invited to observe the forum on the web and live debate
programs. Media coverage would really enhance the visibility and give a
serious additional impetus to the movement.
Ø The basic theme is "Talk back to the author". Reverse communication with
the author is the key. Normally the author talks to the readers using many
techniques to include direct story telling, making the point through
characters and events. This is true for a drama, story, poetry or novel.
However, my technique attempts to create a reverse communication to the
author.
Ø I was seriously thinking of a name for this style. This is not just a new
genre or "Saahitya Prakaara". It sets up a new tradition of communication
back to the author. So it could be called "Vyathir Vaagvaada Saahitya"
(Reverse dialogue literature). It can take the forum of drama, poetry,
story, novel, or debate. This is nothing but Sahitya Parisheelana /
Vimarshana and Sahithi Prashnoththara. It can be done in any genre.
Ø This technique and its implementation create a new movement of Saamoohika
Sahitya Rachana. This is really possible both real-time on stage and
internet, as well as web-time debate and literature incubation on popular
forums.
Ø The web forum would stand out as a web based literary incubation
environment.
Ø Dramatists and filmmakers will start watching the forum. They can write
powerful dramas based on this technique, where Veda Vyasa would be the real
hero! After all, it is OK to talk back to the great master, and shine the
spot light on him.
You may use internet / web sites to create awareness and some follow up
discussions after the first panel.
It is very important to keep a simple focus. Examples would be Karna,
Ekalayva or Abhimanyu. This may give you enough fuel for your thoughts when
you write a drama as a result of this.
Here are some items to ask Vyaasa in "Karna talks back to Vyaasa":
For example take the character of Karna: He stays with Duryodhana in spite
of being told about his birth by Krishna. For him serving his master, ie.,
Duryodhana is more than anything else. But when Bhishma insults him, his
personal ego overrides his duty of serving his master and he stays away from
the war for precious 10 days. He must be a fool then. He makes so many
stupid promises to Kunthi knowing very well that this will harm his purpose
of staying with Duryodhana. He wastes his Shakthi given by Indra for killing
Ghatotkatcha. I fully agree that Vyaasa has done injustice to the role of
Karna.
General List of Questions To Ask the Author
· Why did you choose particular characters?
Example: Why did you really need a particular character? Could you have done
away with a character?
· Why did you choose particular events?
Example: Was the event reflecting the cultural mosaic of the time? Why did
Draupadi have to marry the five Pandavas? Why did Draupadi have to go
through Vastraapaharana? Was it necessary to have the two daughters-in-law
of Mathsyagandha to be get pregnant by a Rishi like Vyasa? Was it part of
the culture in those days?
Example: Could the event be designed different?
· Why did you choose particular sequence of events?
· What did you develop particular characters the way you did?
Example: Discuss about treatment of the character.
· What were the alternatives for each selection?
· Point out the inconsistencies and ask for clarification, or challenge
them.
· Discuss the selection of the title, the opening and ending.
· Use the characters already created by the author to ask the questions.
· Use characters to ask questions on other characters and events.
· Use characters from other literary works of the authors to question and
examine the author.
· Use characters from another author’s literary works (same language and
culture or a different language and culture).
· Create your own fictional character to dialogue back to the author.
· Why did the author write the literary work? What was the event or
experiences in the author’s life that triggered or prepared for this
writing? Was there any reflection of personal life? Was it just observation
of the society? Was it all or part imagination?
Internet / web as a powerful medium:
Web sites like yours could be the forum for such web based panel debates.
You could invite scholars of your choice. You can have a separate forum for
the readers to respond. You never know, if the reader forum could generate
very good responses! Another advantage is that it is inherently documented
as scholars and readers respond!!!!
Please feel free to add / modify my initial thoughts.
There are very talented directors and organizers who can make this type of
panel a success. They can make it dramatic to attract a lot of crowd.
Please let me know how you could participate in the new wave creation.
I have also been writing English and Kannada poems.
Here are places you can visit on the web if you are interested.
Dr. Murthy's Poetry wesites:
<http://poets_2001.tripod.com/
<http://murthy2001.tripod.com/
<http://murthy2001.tripod.com/
<http://poet_genius.tripod.
Kannada
<http://www.vishvakannada.com/
www.ourkarnataka.com <http://www.ourkarnataka.com>
Prelude
Dear Scholars and Literary Enthusiasts,
I humbly invite all you to participate in setting up a novel tradition in
literature and art. Please feel free to invite your friends and other
literary enthusiasts to participate in this project.
I have developed the basic concepts and format for a new literary tradition.
I envision this to be a project for people, run by the people and for the
benefit of the people. “People” could be scholars and novices, adults or
youngsters, and most importantly of all languages, backgrounds and cultural
/ art / literary interests and accomplishments.
I have chosen Veda Vyaasa because I have the greatest admiration for him.
Great authors like him and Vaalmeeki had superhuman literary gifts. These
authors have mesmerized generations by their great epics to the extent of
making all of us believe and even worship some of the characters developed
by them. We have even built temples for the characters believing them to be
Gods. People have named their children, cities, and streets after the great
characters of these epics. The characters have “lived” in our dreams, lives
and art.
It is time that we really talked back to these literary masters and asked
them directly anything all of us want to really ask.
In general, my intention and vision is to lay the foundation for a novel
tradition of talking back to authors.
Please Note: I have intentionally not documented the details, for it is a
people’s project.
Theme and Vision
This is actually a people’s project for setting a novel tradition of direct
debate and discussion with the authors of famous epics like Mahaabharatha
and Raamayana. The debate will take the form of dialogues, critical and
constructive discussion groups and extravagant theatre presentations. A
simple example for Mahaabhaaratha would be for characters like Karna,
Abhimanyu, Ekalavya, Kunthi and Draupadi to face off Veda Vyaasa in debates,
cross examinations, and constructive discussions. Some of the characters
would be discussing and debating between themselves on various issues of
importance, in theatrical presentations. In addition, the projects would
have debates in discussion panels in which one scholar would assume the role
of Veda Vyaasa, while other take the roles created by Vyaasa. In all forms
of the deployment of the project, the author is subjected to
cross-examinations directly by the characters.
This is a master plan for critical and constructive dialogue with the
greatest literary master of all times, Veda Vyaasa. The vision is to set up
a foundation for a new tradition of continuing dialogue for many years and
generations of scholars and literary enthusiasts. The foundation will set
the stage for a new approach to study literary masterpieces, applicable to
all languages.
Similar projects could be initiated for other literary masterpieces by
authors like Vaalmeeki, Kalidaasa and Bhaasa in Sanskrit. Shakespeare would
be candidate for such projects in English.
This is only a high level overview of the plan. Details will be developed
with a team of motivated and creative core group. During deployment of the
dialogue and critical analysis, both scholars and novices would be
encouraged to participate actively.
In the first project, we will be talking back to Veda Vyaasa on his
masterpiece literary creation Mahaabhaaratha. Examples of our intentions
would be the following:
v Raise a lot of issues on the theme
v Analyze characters
v Question the author on the treatment of characters
v Debate with the author on moral and social values
v Dialogue with the author on the selection of heroes versus villains
v Understand the intentions of the author through direct discussions about
good guys versus bad guys
v Pin point to the author on disturbing events and discuss regarding
potential alternative events and other potential alternative tracks for the
story.
v Understand the author’s intentions on the creation of VIP characters like
Krishna
v Ask the author for the reasons of interlocking relationships with other
epics like Raamaayana.
Debates and discussion of special characters
Characters of special interest are:
Seriously disadvantaged: Karna, Ekalavya, Draupadi, Kunthi, and Abhimanyu
Unnecessarily privileged: Arjuna, Bheema, Krishna, Draupadi, Nakula and
Sahadeva.
Over idealistic characters: Bheema, Dharmaraaya, Vidura
Author’s involvement: Vyaasa and other sages fathering of too many
important people in the epic.
Incapacitated characters: Paandu, Drutharaastra
Moral Values: Arranged impregnations of many important characters.
Child bearing out of wedlock: Kunti, Matsyagandha
Implementation and Deployment Techniques
Ø Parallel efforts in all languages
Ø Team effort with open participation by all - novices and scholars would be
participating different levels of activities.
Ø Many genres would be created - poetry, drama, essays, discussion with a
potential for a movie
Ø Many debate and discussion groups are encouraged around the world.
Ø Encourage a lot of people to read Mahaabharatha seriously, not merely read
passively, but critically and constructively.
Ø Encourage kids and youngsters to understand with a questioning and
constructive mind
Ø Increase worldwide awareness of the epic around the world.
Ø Encourage translations of the epic to many more languages
Ø In addition to taking current interpretations, encourage expanded
constructive interpretations.
Ø Use internet for publicity, awareness, coordination and distribution.
Ø Encourage all web based forums to participate and cooperate
Ø Hold interim discussion groups on web and in many parts of the world
Ø Use characters in the epic to ask questions back to its creator Vyaasa:
Examples:
¨ Karna would directly interrogate Vyaasa and challenge him on the creation
of the character and the ways character has serious discriminative
disadvantages starting from childhood.
¨ Ekalayvya would challenge Vyaasa for the sacrifice of his thumb.
¨ Abhimanyu will ask questions and ask if his character could have been
treated more sympathetically. Even Arjuna joins the discussion.
¨ Shakuni demands reasons for making him the master villain manipulator.
NEXT STEPS
This is how I envision the first few steps. The actual track the program
takes really should be by people participation, and not only by me.
v Create awareness and obtain buy-in from the scholars and enthusiasts.
v Conduct some pilot projects of discussion groups, drama and debates.
v Based on the response, plan and launch a larger scale campaign.
PILOT PROGRAMS
I need help, support, advice and especially full-hearted involvement by
literature pioneers / enthusiasts like you in spreading the concept,
refining the concept and trigger pilot programs. The pilot programs can be
very simple. For example, it can take a simple focus with a title like
"Karna talks back to Vyaasa". In a debate or panel debate mode, there would
be two sides on the stage.
On one side would be Karna as the main character, with supporting characters
like Duryodhana, Dushyasana, Kunthi ... These characters are really scholars
(well prepared and equipped for the debate) with or without any costumes.
Being debate, costumes are not important. Both men and women can take any
role if the costume is not necessary.
On the other side would be the "Vyaasa team". This team can take two forms:
v Many scholars (well prepared and equipped) can play the part of Vyaasa at
the same time. Any one or more Vyaasas can respond to the question /
challenge / statement made by the opposing team.
v One Vyaasa supported by some characters of Mahaabharatha. Examples would
be Krishna, Vidura ...
MOST IMPORTANTLY, the following are the benefits of such a debate panel:
v The panel debate would be recorded (audio and or video), for simultaneous
scribe, supplemented by later documentation. Press (including internet
reporters) could be invited so that people not being able to attend the
panel debate would be able to read / view / hear the summary.
v This would trigger scholars of many types of genres to write poetry,
drama, essay or story. The benefits are similar to that of a brain storming
session.
v Based on the ideas and challenges presented by Karna team and the
responses of the Vyaasa team, dramatists could prepare drama dialogues. This
is better than a solitary dramatist trying to write it. Many heads are
better than a lonely one. The dramatist could credit the scholars of the
panel debate. Please understand that this type of writing a drama has never
been attempted. This could make a new wave of dramas and movies to be made.
Explain the theme and vision to the participants clearly so that there is no
confusion. Define and explain the panel debate procedures and guidelines. It
is a good idea to conduct an informal debate panel in a limited group, so
that you can contain the group and polish the coordination and panel
participation, in the second round. Please make sure that you record the
debate and have someone to scribe as well.
Panel Debate Ideas - Web based and Stage Debates
Here are some initial ideas for a web-based forum.
Ø We could set up a "Karna talks back to Vyaasa" web based chat forum.
Ø The web forum is made up of two important parts:
· For invited scholars
· For general web forum readers / participants. (Based on the quality and
substance of the posting by this group, selected individuals may be invited
to the scholars group for a limited time.
Ø Everyone can read the posting in both groups, while only invited scholars
can post (Web forum staff would post on their behalf) in scholars group.
Ø Anyone can decide to post on Karna's side or Vyaasa's side. The posting
can be a question, challenge, simple query or response.
Ø The web page on the web forum could contain two halves of the site: Karna
and Vyaasa. Both sides can have a picture, figure (artist's conception) or a
simple icon.
Ø It would be suggested to the posters in submission guidelines that the
posting would be in the form of a dialogue.
Ø Knowing that scholars would be invited and that they read all postings in
the scholars group and open group, people will take pride in quality
posting, so that they could get noticed. This is an opportunity for aspiring
scriptwriters and upcoming authors.
Ø Example of invited scholars: Girish Karnad, people of Sahitya Akademi
fame, Scholars in the BR Chopra's "Mahabharat" research and script team,
scholars from many languages, international scholars (Prof. Tokunaga, David
Frawley ..), professors from Indian universities, some selected actors from
"Mahabharat".
Ø This could be a project for some research scholars in Indian universities
and Ph.D. students. This may also create serious interest from international
universities.
Ø This web forum would be supplemented by a forum on the stage in different
cities in India. Serious posters may get selected and invited to
participate.
Ø This web forum may be supplemented by radio and TV panel discussions by
specially selected participants on web forum.
Ø Media would be invited to observe the forum on the web and live debate
programs. Media coverage would really enhance the visibility and give a
serious additional impetus to the movement.
Ø The basic theme is "Talk back to the author". Reverse communication with
the author is the key. Normally the author talks to the readers using many
techniques to include direct story telling, making the point through
characters and events. This is true for a drama, story, poetry or novel.
However, my technique attempts to create a reverse communication to the
author.
Ø I was seriously thinking of a name for this style. This is not just a new
genre or "Saahitya Prakaara". It sets up a new tradition of communication
back to the author. So it could be called "Vyathir Vaagvaada Saahitya"
(Reverse dialogue literature). It can take the forum of drama, poetry,
story, novel, or debate. This is nothing but Sahitya Parisheelana /
Vimarshana and Sahithi Prashnoththara. It can be done in any genre.
Ø This technique and its implementation create a new movement of Saamoohika
Sahitya Rachana. This is really possible both real-time on stage and
internet, as well as web-time debate and literature incubation on popular
forums.
Ø The web forum would stand out as a web based literary incubation
environment.
Ø Dramatists and filmmakers will start watching the forum. They can write
powerful dramas based on this technique, where Veda Vyasa would be the real
hero! After all, it is OK to talk back to the great master, and shine the
spot light on him.
You may use internet / web sites to create awareness and some follow up
discussions after the first panel.
It is very important to keep a simple focus. Examples would be Karna,
Ekalayva or Abhimanyu. This may give you enough fuel for your thoughts when
you write a drama as a result of this.
Here are some items to ask Vyaasa in "Karna talks back to Vyaasa":
For example take the character of Karna: He stays with Duryodhana in spite
of being told about his birth by Krishna. For him serving his master, ie.,
Duryodhana is more than anything else. But when Bhishma insults him, his
personal ego overrides his duty of serving his master and he stays away from
the war for precious 10 days. He must be a fool then. He makes so many
stupid promises to Kunthi knowing very well that this will harm his purpose
of staying with Duryodhana. He wastes his Shakthi given by Indra for killing
Ghatotkatcha. I fully agree that Vyaasa has done injustice to the role of
Karna.
General List of Questions To Ask the Author
· Why did you choose particular characters?
Example: Why did you really need a particular character? Could you have done
away with a character?
· Why did you choose particular events?
Example: Was the event reflecting the cultural mosaic of the time? Why did
Draupadi have to marry the five Pandavas? Why did Draupadi have to go
through Vastraapaharana? Was it necessary to have the two daughters-in-law
of Mathsyagandha to be get pregnant by a Rishi like Vyasa? Was it part of
the culture in those days?
Example: Could the event be designed different?
· Why did you choose particular sequence of events?
· What did you develop particular characters the way you did?
Example: Discuss about treatment of the character.
· What were the alternatives for each selection?
· Point out the inconsistencies and ask for clarification, or challenge
them.
· Discuss the selection of the title, the opening and ending.
· Use the characters already created by the author to ask the questions.
· Use characters to ask questions on other characters and events.
· Use characters from other literary works of the authors to question and
examine the author.
· Use characters from another author’s literary works (same language and
culture or a different language and culture).
· Create your own fictional character to dialogue back to the author.
· Why did the author write the literary work? What was the event or
experiences in the author’s life that triggered or prepared for this
writing? Was there any reflection of personal life? Was it just observation
of the society? Was it all or part imagination?
Internet / web as a powerful medium:
Web sites like yours could be the forum for such web based panel debates.
You could invite scholars of your choice. You can have a separate forum for
the readers to respond. You never know, if the reader forum could generate
very good responses! Another advantage is that it is inherently documented
as scholars and readers respond!!!!
Please feel free to add / modify my initial thoughts.
There are very talented directors and organizers who can make this type of
panel a success. They can make it dramatic to attract a lot of crowd.
Please let me know how you could participate in the new wave creation.
I have also been writing English and Kannada poems.
Here are places you can visit on the web if you are interested.
Dr. Murthy's Poetry wesites:
<http://poets_2001.tripod.com/
<http://murthy2001.tripod.com/
<http://murthy2001.tripod.com/
<http://poet_genius.tripod.
Kannada
<http://www.vishvakannada.com/
www.ourkarnataka.com <http://www.ourkarnataka.com>
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