Manu Dash in conversation with Sonnet Mondal
Manu Dash joined Anam in 1974, a literary movement that changed the face of Odia poetry. He writes in both English and in Odia. He has two collections of poems and short stories, and four collections of essays. He has translated the works of Mahesh Dattani, Kedarnath Singh, Namita Gokhale, Udayan Vajpeyi and Uday Prakash. ‘Wings Over the Mahanadi’, an anthology of eight Odia poets writing in English, edited by him, was recently published by Poetrywala, Mumbai. He edits The Dhauli Review (www.dhaulireview.com), a triquarterly of Indian writing; an Odia bi-monthly, Chera; and runs a publishing unit, Dhauli Books, that publishes in English.
In this section, Dash appears in a conversation with Sonnet Mondal
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1. What are the things that intrigue you most during editing an issue? Why do you think these things are vital while editing?
The quality of the writing comes as first and last word. The Dhauli Review’s byline articulates clearly that it showcases ‘contemporary Indian writing for discerning readers’. I try to get best writings to supplement the readers taste. Not necessarily, the best writings come only from the old and established one. New talents bear out to be promising more often. An editor is a true guide who takes the new and established along with him sans compromising the standard he calibrates for his journal.
2. Which one is more crucial — writing for oneself or writing for masses? Should poets have an aim to publish their poems while writing? How does it affect their writing skills?
Did you ask me this question as a writer or as an editor? As a writer, I feel, writing is a aching experience, even writing for the masses is no longer a cakewalk. As an editor, I know, my magazine is meant for a certain group of readers. It’s not a shopping mall that carters the need of all consumers. Besides, if the poet publishing his/her poems by himself is humiliating, why then a poet like Jayanta Mahapatra is publishing his poems even today by himself or most of the time through vanity publishers? Every poet should have the aim to get noticed by his/her readers. Is there any second purpose? Yes, a writer must not be swayed away by any praise or criticism on his creation. But, it is a very daunting task to maintain that sense of detachment.
3. Everyone is a slave of their own perspective. Different editors may have varied opinions about a same piece. Keeping this in mind — how can poets improve their chances of getting published? What has been your experience as a poet?
Editor is like a blind fellow who narrates the experience about an invisible elephant! But, does it, anyway, change the truth about the existence of the elephant? Editors helping out poets’ imagination on higher take off are like welcome steps. I’ve litany of bitter experiences as a poet. But, it has never overpowered me.
4. What’s the aesthetic behind the Dhauli Review? How do you envisage it in the coming years?
Are you not repeating the old dialogue in Sholay: tumahara nam kya hai Basanti?’ (What’s your name Basanti?) The Dhauli Review has been published uninterruptedly and we are into fourth year of its digital journey. If our readers and writers have appreciated the journal, it is its aesthetics only.I look forward to have a sponsor approaching me to support so that I can pay our contributors.
5. It is hard for a publication house or magazine to pull through without commercialisation. Do you think this to be true or do you feel— it is possible for a publisher to exist as a non-profit one? If yes—How? What are the prime challenges which you face while publishing and promoting poetry?
We all knew this.But, what ’s way out? Even, our family members feel that we are wasting our time ( or already the life illspent !).In spite of all financial crunches, I am certain, the Time will always create few maddening fellows to keep this torch on.
6. What drew you into the world of publishing? What it takes to be an ideal publisher and an ideal Editor?
A million dollar question to a highly ineffective publisher! I think it was born out of angst. The city I live is flooded with vanity publishers. No evening passes here without launching of books by self-published writers. I’ve seen, sometimes, ten to eleven people holding new books securely against their ribcage, but not even one buys a book. Most of them expect at least a free copy. The same writer fraternity criticizes the government for giving freebies. It’s a peculiar disease. I feel the good writers have to keep themselves away out of such cesspool. If you produce honey, bees will come uninvited.
7. Do you feel poets should edit their own poems or go for external editors? What is the need of editing a poem? What are the points an editor should keep in mind while editing a poem?
Why editing alone? They should not go for proofreading of their own work. A doctor should not prescribe his own medicine.
8. How would you treat a first-time author approaching you for possible publication?
I would like to read the works first before having any opinion about him. Is not it that you do as an editor?
9. Do Writers’ Bloc really exist? What can be the possible reasons behind it? How can it affect a poet’s journey? How do you think a poet can tackle it?
Yes, it exists like the morning fog. The flight of imagination gets delayed for short visibility. There is no specific reason behind it. But, it differs from individual to individual. A poet has to find out the ways and means to combat it. There’s no fixed prescription.
10. What are the elements, a good publishing house should focus upon? Is commercialisation more obligatory than caliber at times? What is the role of advertisement in the world of publishing?
The vision of the publishing house must be clear. Even for commercialization, you need caliber. Advertisement has, without any hiccup I must say, a greater role to play in the world of publishing. Having no advertisement to a publishing house is like directing a fish to swim without water.
11. The readership of poetry is a problem for publishers. Many good poems get rejected due to lack of commercial viability. How do you think your publication house is responding to this fact?
The established publishers in India are unable to find the solution of this malady. Small publishing house are unable to get the return of the investment they make. It’s an awful situation. No respite.
12. What according to you is a good poem? What is more important — a thought, language or editing? Why?
A good poem is nothing but the parallel truth of the art. It keeps on ringing inside you like a bell for pretty long time . All three- thought, language and editing- are inseparable pillars on which the edifice of a good poem rests upon.
13. What are the effective ways of promoting poetry? What are the ways in which you are trying to bring about this effectiveness through your press?
To hook more readers and reaching people is the real challenge. But, readership for poetry in India is not an encouraging one.
14. Anything you want to add for our readers?
I do not believe in being prophetic in my approach. Let them keep the tendency of reading good poems. It alone would solve many problems.
In this section, Dash appears in a conversation with Sonnet Mondal
-----
1. What are the things that intrigue you most during editing an issue? Why do you think these things are vital while editing?
The quality of the writing comes as first and last word. The Dhauli Review’s byline articulates clearly that it showcases ‘contemporary Indian writing for discerning readers’. I try to get best writings to supplement the readers taste. Not necessarily, the best writings come only from the old and established one. New talents bear out to be promising more often. An editor is a true guide who takes the new and established along with him sans compromising the standard he calibrates for his journal.
2. Which one is more crucial — writing for oneself or writing for masses? Should poets have an aim to publish their poems while writing? How does it affect their writing skills?
Did you ask me this question as a writer or as an editor? As a writer, I feel, writing is a aching experience, even writing for the masses is no longer a cakewalk. As an editor, I know, my magazine is meant for a certain group of readers. It’s not a shopping mall that carters the need of all consumers. Besides, if the poet publishing his/her poems by himself is humiliating, why then a poet like Jayanta Mahapatra is publishing his poems even today by himself or most of the time through vanity publishers? Every poet should have the aim to get noticed by his/her readers. Is there any second purpose? Yes, a writer must not be swayed away by any praise or criticism on his creation. But, it is a very daunting task to maintain that sense of detachment.
3. Everyone is a slave of their own perspective. Different editors may have varied opinions about a same piece. Keeping this in mind — how can poets improve their chances of getting published? What has been your experience as a poet?
Editor is like a blind fellow who narrates the experience about an invisible elephant! But, does it, anyway, change the truth about the existence of the elephant? Editors helping out poets’ imagination on higher take off are like welcome steps. I’ve litany of bitter experiences as a poet. But, it has never overpowered me.
4. What’s the aesthetic behind the Dhauli Review? How do you envisage it in the coming years?
Are you not repeating the old dialogue in Sholay: tumahara nam kya hai Basanti?’ (What’s your name Basanti?) The Dhauli Review has been published uninterruptedly and we are into fourth year of its digital journey. If our readers and writers have appreciated the journal, it is its aesthetics only.I look forward to have a sponsor approaching me to support so that I can pay our contributors.
5. It is hard for a publication house or magazine to pull through without commercialisation. Do you think this to be true or do you feel— it is possible for a publisher to exist as a non-profit one? If yes—How? What are the prime challenges which you face while publishing and promoting poetry?
We all knew this.But, what ’s way out? Even, our family members feel that we are wasting our time ( or already the life illspent !).In spite of all financial crunches, I am certain, the Time will always create few maddening fellows to keep this torch on.
6. What drew you into the world of publishing? What it takes to be an ideal publisher and an ideal Editor?
A million dollar question to a highly ineffective publisher! I think it was born out of angst. The city I live is flooded with vanity publishers. No evening passes here without launching of books by self-published writers. I’ve seen, sometimes, ten to eleven people holding new books securely against their ribcage, but not even one buys a book. Most of them expect at least a free copy. The same writer fraternity criticizes the government for giving freebies. It’s a peculiar disease. I feel the good writers have to keep themselves away out of such cesspool. If you produce honey, bees will come uninvited.
7. Do you feel poets should edit their own poems or go for external editors? What is the need of editing a poem? What are the points an editor should keep in mind while editing a poem?
Why editing alone? They should not go for proofreading of their own work. A doctor should not prescribe his own medicine.
8. How would you treat a first-time author approaching you for possible publication?
I would like to read the works first before having any opinion about him. Is not it that you do as an editor?
9. Do Writers’ Bloc really exist? What can be the possible reasons behind it? How can it affect a poet’s journey? How do you think a poet can tackle it?
Yes, it exists like the morning fog. The flight of imagination gets delayed for short visibility. There is no specific reason behind it. But, it differs from individual to individual. A poet has to find out the ways and means to combat it. There’s no fixed prescription.
10. What are the elements, a good publishing house should focus upon? Is commercialisation more obligatory than caliber at times? What is the role of advertisement in the world of publishing?
The vision of the publishing house must be clear. Even for commercialization, you need caliber. Advertisement has, without any hiccup I must say, a greater role to play in the world of publishing. Having no advertisement to a publishing house is like directing a fish to swim without water.
11. The readership of poetry is a problem for publishers. Many good poems get rejected due to lack of commercial viability. How do you think your publication house is responding to this fact?
The established publishers in India are unable to find the solution of this malady. Small publishing house are unable to get the return of the investment they make. It’s an awful situation. No respite.
12. What according to you is a good poem? What is more important — a thought, language or editing? Why?
A good poem is nothing but the parallel truth of the art. It keeps on ringing inside you like a bell for pretty long time . All three- thought, language and editing- are inseparable pillars on which the edifice of a good poem rests upon.
13. What are the effective ways of promoting poetry? What are the ways in which you are trying to bring about this effectiveness through your press?
To hook more readers and reaching people is the real challenge. But, readership for poetry in India is not an encouraging one.
14. Anything you want to add for our readers?
I do not believe in being prophetic in my approach. Let them keep the tendency of reading good poems. It alone would solve many problems.
