I have already read a number of books this year. But my future reading plans are to focus on literature from India. I’d love to read all the Jnanpith award winners, and am hoping to find translations of all, in either Hindi or English. I have read some of the authors, but not many. Next I will focus on the Sahitya Akademi winners–some are common to both.
The Jnanpith Award is given for the best creative literary writing by any
Indian citizen in any of the languages included in the VIII Schedule of the
Here is the list:
Year : Name – Works (Language)
1965 : G. Sankara Kurup – Odakkuzhal [Flute] (Malayalam);
1966 : Tarashankar Bandopadhyaya – Ganadevta (Bengali)
1967 : Kuppali Venkatappagowda Puttappa (Kuvempu) – Sri Ramayana Darshanam
1967 : Umashankar Joshi – Nishitha (Gujarati)
1968 : Sumitranandan Pant – Chidambara (Hindi)
1969 : Firaq Gorakhpuri – Gul-e-Naghma (Urdu)
1970 : Viswanatha Satyanarayana – Ramayana Kalpavrikshamu [A resourceful
1971 : Bishnu Dey Smriti – Satta Bhavishyat (Bengali)
1972 : Ramdhari Singh ‘Dinkar’ – Urvashi (Hindi)
1973 : Dattatreya Ramachandra Bendre – Nakutanti [Naku Thanthi (Four Strings)]
1973 : Gopinath Mohanty – Paraja (Oriya)
1974 : Vishnu Sakharam Khandekar – Yayati (Marathi)
1975 : P. V. Akilan – Chitttrappavai (Tamil)
1976 : Ashapurna Devi – Pratham Pratisruti (Bengali)
1977 : K. Shivaram Karanth – Mookajjiya Kanasugalu [Mookajjis dreams] (Kannada)
1978 : Sachchidananda Hirananda Vatsyayan ‘Ajneya’ – Kitni Navon Men Kitni Bar
[How many times in many boats?] (Hindi)
1979 : Birendra Kumar Bhattacharya – Mrityunjay [Immortal] (Assamese)
1980 : S. K. Pottekkatt – Oru Desathinte Katha [Story of a land] (Malayalam)
1981 : Amrita Pritam – Kagaj te Canvas (Punjabi)
1982 : Mahadevi Varma – Yama (Hindi)
1983 : Maasti Venkatesh Ayengar – Chikkaveera Rajendra [Life and struggle of
Kodava King Chikkaveera Rajendra] (Kannada)
1984 : Thakazhi Sivasankara Pillai – Kayar [Coir] (Malayalam)
1985 : Pannalal Patel – Maanavi Ni Bhavaai (Gujarati)
1986 : Sachidananda Rout Roy (Oriya)
1987 : Vishnu Vaman Shirwadkar (Kusumagraj) – Natsamrat (Marathi)
1988 : Dr.C. Narayana Reddy – Vishwambhara (Telugu)
1989 : Qurratulain Hyder – Akhire Shab Ke Humsafar (Urdu)
1990 : V. K. Gokak (Vinayaka Krishna Gokak) – Bharatha Sindhu Rashmi (Kannada)
1991 : Subhas Mukhopadhyay – Padati (Bengali)
1992 : Naresh Mehta (Hindi)
1993 : Sitakant Mahapatra – “for outstanding contribution to the enrichment of
Indian literature, 1973-92” (Oriya)
1994 : U. R. Ananthamurthy – for his contributions to (Kannada) literature
1995 : M. T. Vasudevan Nair – Randamoozham [Second Chance] (Malayalam)
1996 : Mahasweta Devi – Hajar Churashir Ma (Bengali)
1997 : Ali Sardar Jafri (Urdu)
1998 : Girish Karnad – “for his contributions to (Kannada) literature and for
contributions to (Kannada) theater (yayati)” (Kannada)
1999 : Nirmal Verma (Hindi)
1999 : Gurdial Singh (Punjabi)
2000 : Indira Goswami (Assamese)
2001 : Rajendra Keshavlal Shah (Gujarati)
2002 : D. Jayakanthan (Tamil)
2003 : Vinda Karandikar – Ashtadarshana (poetry) (Marathi)
2004 : Rahman Rahi – Subhuk Soda, Kalami Rahi and Siyah Rode Jaren Manz
2005 : Kunwar Narayan (Hindi)
2006 : Ravindra Kelekar (Konkani)
2006 : Satya Vrat Shastri (Sanskrit)
2007 : O. N. V. Kurup (Malayalam)
2008 : Akhlaq Mohammed Khan ‘Shahryar’ (Urdu)
2009 : Amar Kant (Hindi)
2009 : Shrilal Shukla (Hindi)
2010 : Chandrashekhara Kambara – for his contributions to Kannada literature
2011 : Pratibha Ray – Yajnaseni (Oriya)
2012 : Ravuri Bharadhwaja – Paakudurallu (Telugu)
2013 : Kedarnath Singh – Akaal Mein Saras (Hindi)
2014 : Bhalchandra Nemade – Hindu: Jagnyachi Samrudhha Adgal (Marathi)
2015 : Raghuveer Chaudhari – For his contributions to Gujarati literature
Sharing a news item on a new film on the dangers of dam tunnels in Uttarakhand
Darkness is the only end of Dam Tunnels
“Black Spot” – A film made on the impacts of Vishugaad – Peepalkoti tunnels on Alaknanda River released
“We have been ignored and treated merely as characters to laugh at. The tunnel is being built beneath our houses. How much damage it will do, nobody knows. The compensation for previous damages have not been made yet. If we protest then we will have to face the court cases. The Court has made restrictions on people’s visiting the Dams working sites. Now what to do?”, says Ramlal, a residence of Durgapur Village. Durgapur village is the part of Village Panchayat where dalit families reside. The THDC, Dam Construction Company, is building/ constructing tunnels for Vishnugaad – Peepalkoti Hydro Power Project Power House. Cracks have appeared on the walls of houses present above the tunnels due to high intensity blasts happened during the construction of tunnels, the future has become uncertain.
The condition of the Harsari hamlet of Haat Village is also the same. The other project affected villages are also facing the same threat and uncertainties. What is the guarantee that everything will be secure once the projects will be completed? The tunnel of Vishnuprayag dam has already brought disaster in Chai –Thai Village after years where NEPI Company had denied claims of any losses.
There has been no evaluation done of the impacts of these tunnel in World Bank fostered projects. This is how expenditure on rehabilitation and other issues is ignored. ‘We get the threats of arrest if we resist and protest for our rights. Are the Ganga dam affected region not in India?’, questioned Rajendra Hatwal.
Narendra Pokhariyal have been struggling since years for security of his Village and constant flow of the River Ganga but got only false promises and increased confusion. World Bank and State government is responsible for not giving the right solutions of the issues. The film “Black Spot” made by Media Collective tried to cover all these aspects. This Hindi film with subtitles in English is made by Hagen Desa.
This film reveals the reality of tunnel projects through the issues prevailing in Vishnugaad – Peepalkoti Dam affected area. When there is planning to bind Ganga – Yamuna – Kali – Saryu and all their tributaries in tunnels, then this film reveals the grim realities and likely impacts in front of development planners, government agencies and financial institutions like World bank, we expect that they will learn a lot from this and bring subsequent changes in their attitude taking people’s and environmental issues on higher priorities.
This film has been released by the villagers in Gopeshwar headquarter of Chamoli district.
I was looking up details on the food wrestlers eat [in India], and came across a fascinating book, The Wrestlers Body, by Joseph Alter.
This was published in 1992, so it doesn’t include the female wrestlers, and the recent movies, Sultan or Dangal, but it explores all aspects of a wrestler’s life in an akhara.
What do they eat? Most are vegetarian. Ghee, almonds, and milk are essential along with normal vegetarian food. No alcohol or tobacco, no drugs. No sex, they are supposed to be celibate. There are a lot of guidelines on how they should maintain this.
Their daily routine, worship of Hanuman, celebration of Nag Panchami, and a lot more is part of this book.
‘This is a study of wrestling as a system of meaning, and it must be made clear at the outset that I have not undertaken to study the technical aspects of the sport.’ says the author in his preface.
There are chapters on the akhara, the guru-chela system, patrons, and the discipline a wrestler requires.
The book is well-researched. I am not interested in wrestling or outdoor sports, nevertheless I really appreciated the book, and its insights into the philosophy and spirituality behind a sport, and how it transforms the individual.