Ahambakaraka : A postscript

by Ashanthi Ekanayake

Liyanage Amarakeerthi’s Ahambakaraka, received much attention when it was first published and then went on to win many accolades. The most recent among them was the Vidharshana Literary Prize for best translation in 2024. It is a novel with immense possibilities and offers multiple readings and interpretations. When it first came out, it received the attention of Captain Elmo Jayawardena, who is also a writer of some substance. He wrote a comprehensive review of the novel in The Daily News of 19 October 2016.

In his review Captain Jayawardene describes the protagonist of the novel, Bandula Balagalla, using a somewhat unfortunate turn of phrase, and twists the “born with a silver spoon in the mouth” into a different expression which will not be quoted here. It must be said that a reader’s take on what is read depends entirely on their world views, the theories of reading they encounter, and also mainly the experience they gain as readers.

As the translator of the novel under discussion of which the English title reads as The Maker of Accidents, I must say that what motivated me to translate the novel was these very same possibilities for multiple readings. The novel offered among other things a reading which aligned closely with Pierre Bourdieu’s theories of habitus, capital and power. This brief attempt is simply an opening to the immense possibilities of the novel. I will unfortunately not be able to deal with the topic adequately and do it justice but I will try my best and leave a deeper exploration for another occasion.

In many of his works Bourdieu describes these notions as that which inscribe in us a certain social status. Amarakeerthi’s novel while dealing with the socio-political upheavals which span a wide period of time also brings out these aspects of society as presented by Bourdieu.

Bandula Balagalla is an affluent man and his conduct and his aspirations, or lack thereof, create in the mind of the reader the image of someone who has everything in life and can live without being burdened by new ambitions. He can simply live a contented, if self-centered life. The novelist creates some doubt in the reader’s mind by making the reader challenge the notion of BB as the protagonist because the narrative describes him as a smug, self-satisfied person in contrast to Vijaya Wickramasinghe who in addition to all other drawbacks has to also resort to being mute for simple survival and thus be denied language and the use of it to his advantage.

Language and the “symbolic power” languages have, as discussed by Bourdieu is a primary if mostly ignored theme in this novel. Balagalla strives to create a space for language in his township as does the novelist by giving prominence of place to the different languages the characters resort to. Radha is a teacher of language and performance. For her language is performance. Language is in the Marxist sense a commodity in the novel as described by the narrator. When engaging in the translation, too, I made a conscious effort to use language suited to the different characters. Some were anglophiles, and they might not code mix or code switch easily, and they would attempt to sound more “English.” Some were more at ease with the Sri Lankan English variety. Some would use “broken English.” As a teacher of language this was partly my fascination with the novel.

Translating some Sinhala turns of phrase turned out to be a gratifying exercise because of the novelist’s natural playfulness with Sinhala and language as a whole. Just as the protagonist made up the rules of his game similarly the novelist too played with language. Rather than being obstacles, the quaint expressions and the intricate plot made me realize how correct I was to see the immense potential it offered for a “Bourdieusian” reading.

To put it simply Bandula Balagalla through his upbringing and privileged position is always at ease in any situation. This is a clear manifestation of habitus as explained by Bourdieu. He has symbolic, cultural and linguistic capital. He in fact has everything Wije does not have. Radha, who is from a more middle class upbringing and background is also somewhat “vulgar” in her aspirations in comparison.  A case in point is her venture “to make ladies” of the lady-doctors of Kurunegala.  Balagalla has good taste in food, music, other matters of life-style and also literature. The first narrator attempts to compete with Balagalla’s taste in literature in this sense. The ironical choice of name for the bookstore i.e. Tower of Babel is a case in point of the sense of power Balagalla wields. He has cultural, and social capital. He is well connected and he is almost native like, not simply in his use of English but also by disposition. He has the right connections as the occasion calls for. In contrast Wije with his rags to riches back story has economic power but is lacking in all other aspects. This is what he pursues and hankers after. Although he is good at “hustling” he is lacking in other ways. Here the question of class and social prestige also come into question. The Balagalla Wallauwa provides Bandula Balagalla with social standing and the right type of connections and also an inbred (in the sense of innate), or even inculcated cultural awareness which helps him navigate society.  Social, cultural and symbolic capital need to be accompanied by the “economic” to help a person gain distinction. The crowns and swords that Wije seeks are but symbols of prestige which he is continuously denied.  He seeks social mobility and believes that he will gain it by being in possession of these symbols which are part of what the Balagalla estate entails.

This is in fact the most thrilling aspect of the novel. One does not have to be limited to Bourdieu’s theories. However, it cannot be denied that Ahambakaraka, which means the maker of accidents or alternately the planner of coincidences is a rich novel as it offers multiple readings.

There is an interesting plot, full of twists and turns which will be gratifying for any reader. However, if one seeks to read deeper and engage with theory it does not disappoint. The three women for whom the novel is initially written are also a fascinating aspect of the story. The characters are so intricately developed and thought out that a feminist reading of the female characters also proves to be a fruitful endeavor.

My ultimate aim was to highlight these very obvious aspects of the work which were not addressed in the earlier reviews.