The term “Odia” in the title of this book, The Big Book of Odia Literature, does not refer solely to the Odia language, which is one of the six classical languages of India, but also encompasses the 30-plus languages spoken by various ethnic and linguistic minorities in the state of Odisha. This way, the anthology provides space for many of these languages.

One of the notable aspects of this anthology is editor Manu Dash’s effort to preserve the linguistic diversity of Odisha. The collection includes poetry in several tribal languages, such as Santali, Kui, Oraon, Mundari, and Kharia. Many of these poems, passed down orally through generations, are by unknown poets. Dash’s selection offers a glimpse into the cultural and philosophical richness of these works. Although the poets are often anonymous, their works convey meaningful and insightful ideas, providing a significant connection to Odisha’s diverse literary traditions.

As an example of the width captured in the anthology, consider this poignant poem in Kharia, a tribal language, which reflects the grief of a son mourning his father:

From across the river,  
My father calls out to me,  
God knows how I will cross over,  
To listen to my beloved father.

The koel is full to the brim, and 
the Sankh overflows;  
The ore is broken,  
And my boat has drowned.  

How am I to go to him?  
How am I to cross over to him?  
How am I to go near him?  
How am I to hear him?  

You fisher boy,  
You are my only hope.  
It’s up to you to help me cross over  
Or drown me in the middle of the flow.

These lines capture and exemplify the profound emotional resonance and cultural context of the poetry featured in this collection.

The anthology includes numerous poems, not only in tribal languages but also in other languages spoken by the people of Odisha. Naturally, the Odia language, spoken by more than 80 per cent of the population, occupies a significant portion of the anthology.

Discovering new writers

The section on Odia literature includes renowned figures such as Sitakant Mahapatra with his poem “Artist,” Fakir Mohan Senapati with his story “Ananta, the Widow’s Son,” and Pratibha Ray with “The Ring.” However, many other Odia poets and writers, though less familiar outside Odisha, are equally remarkable. This anthology offers readers the opportunity to discover and appreciate their work.

Some Odia poems that particularly resonated with this reviewer include Radhanath Ray’s “Adornment Welcoming Spring” and Gopabandhu Das’s “Viewing Chilka from the Train,” both celebrated for their lyrical quality and evocative depictions of the Utkal land, its landscapes, and weather.

The anthology also features an essay written in 1869 by Gourishankar Roy, effectively translated into English by Manu Dash. In this essay, Roy laments the state of the Odia language and the challenges hindering its progress. Despite being written over a century ago, the essay remains relevant today. If we replace “Odia” or “Utkal” with some of the dying Indian languages, its message still resonates.

Another insightful essay, written by Krushna Chandra Panigrahi and also translated by Manu Dash, offers a comprehensive overview of the history and legacy of the Odia language and its prominent figures. It explains that the history of Odia literature can be divided into three phases, with the first phase beginning in 1435. The essay elaborates on the development of the language throughout these phases.

Before delving into this essay, readers are treated to a detailed introduction by the editor at the beginning of the book, where the origins of the Odia language are explored. The introduction explains that Odia is a confluence of Indo-Aryan, Dravidian, and Austric languages, which began developing in the 7th century CE. Like Bengali and Assamese, Odia emerged from Magadhi Prakrit, with Bengali and Assamese evolving from Uttari Purvi Magadhi Prakrit, and Odia from Dakhini Purvi Magadhi Prakrit.

For the uninitiated, Magadhi Prakrit was a written language of ancient India, used in eastern India and a precursor to the Eastern Indo-Aryan languages. It was one of the three Dramatic Prakrits that emerged after the decline of Pali. Magadhi Prakrit originated in the Magadha kingdom, now modern-day Bihar. The language's name comes from the ancient province of Magadha. Prakrit was the language of the masses.

Rediscovering old masters

This collection also includes poems from Jayadeva’s Gita Govindam, beautifully translated by Mani Rao. Jayadeva was a prominent 12th-century Sanskrit poet, celebrated for his epic work Gita Govindam. This poem vividly portrays the love between Krishna and Radha, especially during the spring season, and is a cornerstone of the Bhakti movement in Hinduism, emphasising the idea that Radha’s love surpasses even that of Krishna.

Although little is known about Jayadeva’s personal life, he is established as a reclusive poet and Hindu ascetic, renowned for his literary brilliance in eastern India. Notably, Jayadeva, referred to as Bhagat Jaidev ji in Sikhism, is recognised as the earliest poet whose hymns were incorporated into the Guru Granth Sahib, the central scripture of Sikhism, which emerged centuries after his time.

Jayadeva was born into a Brahmin family, though the exact date and location of his birth are subjects of ongoing scholarly debate. The Gita Govinda mentions his birthplace as “Kindubilva,” a village that has been variously identified with locations such as Kenduli Sasan near Puri in Odisha, Jaydev Kenduli in the Birbhum district of West Bengal, and Kenduli near Jhanjharpur in Mithila (Bihar). Sixteenth-century texts often associate Jayadeva with “Utkala,” another term for Odisha. Odisha holds a unique place in preserving Jayadeva's legacy, as the region houses the largest collections. While debates about his origins continue, the consensus leans towards Jayadeva being a native of Odisha.

Additionally, some poetry in Sambalpuri-Kosali, led by Satya Narayan Bohidar – writer and pioneer of Sambalpuri literature – is included. This language is spoken in the western part of Odisha.

Odisha has been home to many gifted poets who have made significant contributions to English literature, and among them, Jayanta Mahapatra stands out as a prominent figure. Renowned for his evocative imagery and deep exploration of human emotions, Mahapatra has left an indelible mark with his celebrated poem “Hunger,” which is included in this anthology. In this powerful poetic piece, Mahapatra delves into the grim realities of poverty and the desperation it breeds.

The anthology is organised into four sections: Poetry, Short Stories, Plays, and Essays, each receiving thoughtful attention. The editor’s detailed introduction at the beginning offers valuable context, providing English readers with a comprehensive overview of Odisha’s literary landscape. This collection serves as an insightful introduction to the rich and diverse literary heritage of Odisha. It effectively bridges the gap for those unfamiliar with the region’s traditions and literature. However, it would have been even more enriching if the editor had included Romanised texts for some of the poems, allowing readers to experience the original languages and their unique qualities.

Abdullah Khan is a Mumbai-based novelist, screenwriter, literary critic, and banker. His latest novel is A Man from Motihari.

The Big Book of Odia Literature, edited by Manu Dash, Penguin India.