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| Nilanjana S Roy: P Lal and the Writer's Workshop story | | The impact of Writer?s Workshop cannot be measured by its 3,000-odd titles, or by the influence it once wielded as a publishing house |
| Nilanjana S Roy / New Delhi Nov 09, 2010, 00:31 IST |
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In the homes of Indian writers of a certain generation, there’ll always be the Writer’s Workshop shelf, given over to hand-bound books, the cloth borders taken from Orissa saris, the title often hand-calligraphed. You don’t find them in bookstores that often these days, but there was a time when Writer’s Workshop represented, in effect, the sum total of the aspirations of Indians writing in English.
Professor P Lal, the man behind Writer’s Workshop, and perhaps the last of the dying breed of “gentleman publishers”, died this weekend at the age of 81 in Kolkata, where he had lived and worked most of his life. In the 50 years since he had started Writer’s Workshop, Indian publishing had changed beyond recognition. There were now a multitude of publishing houses, literary festivals, book launches — all the infrastructure that was missing when he and a group of friends began Writer’s Workshop.
“The reason I went into publishing is simple — nobody was around, in 1958, to publish me. So I published myself. Half a dozen others — friends — also found this expedient attractive. So we formed a group, a nice consanguineous côterie. We wrote prefaces to each other’s books, pointing out excellences, and performed similar familial kindnesses in other ways as well. We believed, with Helen Gardner, that criticism should flash the torch, not wield the sceptre,” he wrote of its beginnings.
The “half-a-dozen others” included Sasthibrata Chakravarthi and Anita Desai — but from the start, Writer’s Workshop would aim to encourage those who were not destined to become famous, opening its doors to major and minor talent. A K Ramanujan, Vikram Seth, Jayanta Mahapatra, Kamala Das, Agha Shahid Ali, Keki Daruwalla, Mani Nair, the enigmatic Lawrence Bantleman and a score of Indian poets would find their first moorings within the elegant covers so carefully crafted by P Lal’s endeavour — but so would hundreds of other now-forgotten writers.
On a personal note, I might add that one of their youngest members was my sister, who had written a precocious short story at the age of 12, and who for years was made welcome at their meetings. Chai would be ordered — “and a coke for Baby” — and while she never took up writing, she remembers the warmth and acceptance P Lal and his circle handed out to everyone who happened to stray within its borders.
As Indian publishing came of age, the importance and necessity of Writer’s Workshop began to diminish. The space that P Lal and his friends had created in 1958 was crucial — both in terms of establishing a publishing house for writers, and setting down the importance of Indian writing in English. One of the first controversies that erupted was the attack on Indian poetry in English by Buddhadev Bose, and then by Bose’s son-in-law Jyotirmaya Datta. The latter wrote an essay, “Caged Chaffinches and Polyglot Poets”, that P Lal responded to — with his usual spirited but gentle liveliness — and in many ways, these attacks offered a meeting point for those who were just beginning to write in English, using it as an Indian, not an alien, language.
P Lal was also a writer, poet and academic, but he will perhaps be best remembered for his magisterial translation of the Mahabharata — perhaps the most complete rendering of the epic available. It was typical of him that he would hold a weekly reading, every Sunday, open to all, from 1999 onwards, in honour of the grand oral tradition of the epic. So many of us, writers and readers in Kolkata, attended those sessions, discovering a community and a fellowship long before there was the season of book launches.
The impact of Writer’s Workshop cannot be measured by its 3,000-odd titles, or by the influence it once wielded as a publishing house. It was, like Clearinghouse in Bombay, a literary movement, fuelled by the agile mind and precise labours of P Lal. In my copies of the books produced by Writer’s Workshop, there was always this, in calligraphy: “Layout and lettering by P Lal with a Sheaffer calligraphy pen. Embossed, hand-stitched, hand-pasted and hand-bound by Tulamiah Mohiuddin with handloom sari cloth woven and designed in India, to provide visual beauty and the intimate texture of book-feel.”
Few publishers today, however brilliant their lists of authors, have that kind of passion, P Lal’s celebration of “book-feel”, and his insistence that literature was a large, rambling house, its rooms broad enough to accommodate all, however modest or stellar their individual talents.
nilanjanasroy@gmail.com
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