Johny Takkedasila is an Indian Poet, Writer, Novelist, Critic, Translator and Editor born on 08.06.1991 in Pulivendula, Andhra Pradesh, India. His literary journey, which began as a Telugu poet, has seen the publication of 25 books. He has received numerous awards for his contributions. The Sahitya Akademi Yuva Puraskar for 2023 was awarded to “Vivechani,” Criticism book in the Telugu language.
His poetry has been featured in many international anthologies, and his stories and poetry have found a place in international magazines. In addition to writing in Telugu, Hindi, and English, he is also involved in translation. His literary style appears to aim at making readers contemplate and sensitize society through a compelling narrative. His other works are Tiny Treasures, Puberty, Kattela Poyyi, Siva Reddy Kavitvam Oka Parisheelana, Akademi Aanimutyalu and Tella Rommu Nalla Rommu, Nadaka.
In an exclusive interview with Nitish Raj; Editor-in-Chief, Today Magazine the acclaimed literary critic talks about the various aspects of literary criticism along with various genres of literature.
Q.1: How has been your journey from having a postgraduate degree in engineering to being an author?
JT: Often people ask me, “You studied engineering, so how come you’re making such contributions to Telugu literature?” Well, engineering gave me knowledge, but literature taught me how to understand society. A person’s life and surroundings shape them into an Author. My native language is Urdu, and I only studied Telugu until 10th grade. My entire education was in English Medium. I began writing in Telugu literature in 2016, marking my debut as a published author. The desire to become an Author stemmed from my difficult childhood.
Many setbacks in life, insults, discrimination, poverty, and body shaming deeply affected me. My mother, Asha Takkedasila had to navigate a male-dominated society to raise, educate, and support three fatherless children. Her struggles inspired me to pick up the pen. She has seven sisters, and I bear witness to their struggles in this society. That’s why my writings focus on the struggles of the underprivileged, particularly women issues. Education provided me with knowledge and opportunities, while literature helped me grow as a person and become a responsible citizen. I believe there’s no direct link between education and literature. Anyone with empathy and a compassionate heart can become an author.
Q.2: Even after being primarily a Telugu author, you have written a book in Hindi language. How difficult is it to write a book in a language which is not our mother tongue?
JT: I believe no author can write in another language as effortlessly as in their mother tongue. Simply knowing the language isn’t sufficient for creating literature in it. That’s why my early attempts at Telugu poetry were riddled with mistakes like sentence structure errors, confusion in meaning, and mismatched phrases. Strong literature seems to come only when one has a deep mastery of the language. I earned my degree from the Dakshina Bharatha Hindi Prachara Sabha before finishing 10th grade, and my fondness for languages, rather than specific groups, has always been strong. This comfort with languages led me to write literature in Hindi and English. When I wrote Nanos in Hindi, I didn’t encounter much difficulty because of my passion for Hindi from my school days. However, it saddens me that I haven’t written much in Hindi since then, except for one book. Perhaps in the future, I’ll strive to improve in that regard. I believe there’s a distinction between writing literature in one’s mother tongue and writing in another language, much like the difference between a mother’s love and other forms of affection.
Q.3: You have written in various genres of literature. How difficult is it to switch from one genre to another as every genre has its own intricacies?
JT: In life, we play multiple roles simultaneously—son, husband, brother, father, grandfather, daughter, wife, sister, mother, grandmother. Each role is deeply connected to another, yet we carry out our responsibilities independently. For instance, a husband’s duties differ from a father’s, just as a father’s duties differ from a husband. And amidst these roles, the love of a mother remains unwavering.
Similarly, in literature, we embody various roles like poet, storyteller, novelist, critic, translator, and editor. While they all stem from the mother of literature, each role operates independently. Poetry has its own essence, distinct from storytelling or criticism. While poetry uplifts society, criticism evaluates its impact. Transitioning between these roles isn’t simple.
As a poet, one may possess passion, but as a critic, thoughtfulness, deliberation, patience, and accuracy are essential. What I’ve realized is that being both a poet and a critic allows for a unique perspective. The critic within me corrects mistakes in poetry, guiding it like a teacher guiding a student. This approach resonates with me deeply.
Q.4: How tough was it to edit poems on a single topic by 160 poets in ‘Matrusparsha’ Anthology?
JT: Editing is undeniably one of the most challenging tasks, whether it involves a single topic or multiple topics. While reading the poetry in the ‘Matrasparsha’, I noticed numerous mistakes. Some poems lacked depth in imagery or had poor poetic moves. Additionally, I found issues like incoherent phrasing, structural errors, unresolved themes, and unclear endings. These aspects need correction, explanation, and justification without diminishing the poet’s efforts.
Editing isn’t merely about compiling literature from authors, printing it as a book, and selling it for profit. It’s absurd to think so. The selection process must ensure quality, which requires the editor’s discretion. They should include literature based on merit, not just personal preferences. Unfortunately, many anthologies overlook literature appreciated by society and readers, solely focusing on the editor’s tastes. A genuine editor doesn’t just select; they also refine and improve the work chosen for publication. Without possessing the necessary qualities, editors contribute to the scarcity of quality books. It’s crucial for people to understand that being an editor entails more than printing the works of favored authors.
Q.5: You have published four works on literary criticisms and for Vivechani, you also received the Sahitya Akademi Yuva Puraskar 2023. Why don’t we see young writers often publishing works on literary criticisms?
JT: Writing a poem, story, or novel doesn’t usually provoke direct opposition from fellow writers and isn’t as easily critiqued as one might expect. However, criticism is a significant responsibility, especially for a critic. It requires impartiality and patience. While authors aim to address societal issues, critics must meticulously identify flaws in literature, offering persuasive explanations for their Criticism rather than just pointing out faults.
Critics need to possess more extensive knowledge than poets and must demonstrate this expertise. Even when criticism is thoughtful, threats and intimidation from authors, their admirers, and readers are inevitable. Despite these challenges, critics must stand firm, refute opposition, and persevere. While literature is integral to life, it’s not life itself. The adolescent years are pivotal for personal development, where one should prioritize life experiences over literary pursuits. Failure to prepare for challenges and opposition may lead to setbacks. Moreover, viewing criticism as a personal attack or hostility isn’t fitting for a distinguished author. Instead, authors should embrace criticism as a means of personal and professional growth.
Unfortunately, many individuals, including the youth, struggle to accept criticism gracefully. While a poet may respond with another poem, a critic must possess courage alongside their Criticism. I’ve Criticized numerous esteemed literary figures myself. With that said, I’d like to share something with you all.
Fifty years have passed since the publication of the Telugu novel “Ampasayya” by Ampasayya Naveen, who also received the Central Sahitya Akademi Award for his work “Kala Rekhalu.” I penned an essay Criticizing “Ampasayya,” which was published in the Telugu daily “Manam.” Shortly after, I was honored with the Shakuntala Jaini Smaraka Kala Puraskar for my book ‘Y.’ At the same ceremony, Naveen sir received the Lifetime Achievement Award. During the event, I mentioned my critique, and he assured me he would read it. Two days later, Naveen sir reached out to me, despite us never having had prior contact. Even Though the tone in my criticism was somewhat harsh, he respectfully appreciated it. Though he didn’t necessarily agree with my points, I valued the mutual respect for differing opinions.
In the fifty years since “Ampasayya” release, numerous essays have been penned about it by various authors. My essay was included in the collection, and I received a copy of the book, showcasing Naveen sir’s openness to criticism—a trait increasingly rare among contemporary authors. Young critics like me should be embraced by senior authors, and existing senior critics should encourage newcomers. Acharya Rachapalem Chandrasekhara Reddy was one such individual who supported me in my literary journey.
Q.6: You have also written a long poem titled ‘Y’ on transgender community for which you were awarded the Shakuntala Jaini Smaraka Kala Puraskar. What qualities of transgenders fascinated you which prompted you to pen down in a long poem?
JT: The primary duty of authors is to shed light on, question, and engage with the inequalities and discrimination prevalent in their society. It’s the society around them that serves as both the influence and inspiration for authors. Modern authors are those who draw material from society and strive to create literature aimed at bettering it beyond its current state. I consider myself an author with a modern, progressive mindset. My literary mission revolves around advocating for the marginalized, combating caste discrimination, and uplifting those at the bottom rungs of the social ladder.
I hail from Y.S.R. District, Pulivendula, Andhra Pradesh State. In my village, there was a transgender person named Chanti, who was a familiar presence at festivals, weddings, and other events. However, she disappeared for a few years, only to return one day in a weakened state. Witnessing her condition deeply saddened me. Chanti had built strong relationships in our village and was known for her generosity. Despite her own struggles, she selflessly donated her earnings to help those in need.
Chanti’s return to our village marked a significant shift in my perception. I noticed my mother addressing her as “sister,” prompting me to follow suit. From then on, she affectionately called me “Chotu.” During her absence from Pulivendula, Chanti ventured to Mumbai to engage in sex work. Unfortunately, she fell victim to deceitful individuals who exploited her and left her with severe injuries after a tragic accident. Despite her hardships, she confided in my mother, and her resilience and compassion deeply impacted me. Chanti’s compassion towards me after the publication of my first three books inspired me to delve into the topic of transgender issues. Initially, I intended to write a short poem, but after conversing with her and gaining insight into the depth of their struggles, I ended up crafting a long poem instead. This work became a breakthrough in my journey in Telugu literature. Despite having published 24 books, it was my fourth book, “Y,” that truly garnered recognition in the Telugu literary world.
Many cautioned me against publishing the book, fearing I would be labeled as a “Hijra poet,” especially since I was unmarried. However, disregarding their advice, I was determined to share the stories of transgender individuals, having been deeply moved by Chanti’s life and after conversing with many others like her.
Transgender identity encompasses more than just a change in gender; it involves complex emotions, feelings, and self-awareness. Transgender individuals strive to live authentically according to their own truths, yet society often fails to grasp their experiences and the discrimination they endure. To challenge societal perceptions, there must be broader representation of transgender experiences in literature nationwide.
Following the conclusion of “Y,” I penned a novel titled “Madi Datani Mata,” focusing on the experiences of the gay community. This novel marks a pioneering effort in Telugu literature. Additionally, I organized a competition for LGBTQ+ stories and poems on the Pratilipi website, where I was employed. Merely writing about LGBTQ+ experiences wasn’t sufficient for me; I wanted to encourage others to contribute as well. Consequently, our website now boasts a dedicated category for LGBTQ+ literature. Witnessing numerous Telugu authors engaging with and producing LGBTQ+ literature brings me immense satisfaction.
Q.7: You have also translated works from Telugu to English and your own works have also been translated into various languages. Don’t you think the translated works lack the essence of the original work?
JT: Many overlook the fact that translation is a profoundly creative endeavor. It presents significant challenges yet brings immense joy when one’s literature is rendered into other languages. Every author aspires to reach a broader audience, making translation indispensable. However, beyond mere commercial translation, I advocate for a translation process fueled by a passion for literature.
A competent translator not only possesses fluency in both languages but also harbors a deep love and sense of responsibility for literature. The chosen work must resonate deeply with the translator, akin to the inner conflict experienced by an author while crafting verses. Yet, achieving a faithful translation is no mean feat. While leveraging technological tools for translation is permissible, there remains a stark contrast between translations crafted by human intellect and those facilitated by technology. It’s inevitable that about twenty to thirty percent of the original content’s meaning may be lost in translation. Nonetheless, involving the original author in the translation process may marginally enhance the outcome.
Translation serves to amplify the author’s reach, enabling their words to transcend linguistic boundaries within the literary realm. Authors should feel honored when their work is selected for translation, as it signifies recognition and appreciation on an international scale.
Q.8: What would be your advice to the budding authors?
JT: As a budding author myself, I hesitate to offer advice and suggestions to other new authors. However, drawing from my own experiences, I’ve come to realize that certain insights might prove helpful to newcomers in the literary world.
Firstly, new authors shouldn’t let the fear of making mistakes or feeling inadequate discourage them. It’s essential to keep writing, regardless of perceived shortcomings. Through consistent practice, authors can assess their progress and refine their craft. Learning from mistakes is crucial for growth.
Secondly, aspiring authors should immerse themselves in reading. By exploring a diverse range of literature, authors can gain valuable insights and find inspiration for their own work. Reading extensively can greatly contribute to a writer’s development and ultimately transform them into accomplished authors.
Furthermore, it’s important not to shy away from criticism and avoid getting entangled in literary politics. Constructive feedback can offer invaluable guidance in improving one’s writing skills, while involvement in literary politics may distract from the creative process.
