{"id":104526,"date":"2022-11-26T02:44:39","date_gmt":"2022-11-26T02:44:39","guid":{"rendered":"https:\/\/websitedesigns.com.au\/elankanew\/?p=104526"},"modified":"2022-11-26T02:45:12","modified_gmt":"2022-11-26T02:45:12","slug":"in-appreciative-memory-of-karen-roberts-1965-2018-by-michael-roberts-2","status":"publish","type":"post","link":"https:\/\/websitedesigns.com.au\/elankanew\/in-appreciative-memory-of-karen-roberts-1965-2018-by-michael-roberts-2\/","title":{"rendered":"In Appreciative Memory of Karen Roberts, 1965-2018-by Michael Roberts"},"content":{"rendered":"

In Appreciative Memory of Karen Roberts, 1965-2018-by Michael Roberts<\/span><\/span><\/h2>\n

\"Karen<\/p>\n

Source:<\/span><\/strong>Thuppahis<\/a><\/span><\/p>\n

\"Michael<\/p>\n

It has been something of a shock for me to discover that the Sri Lankan authoress Karen Roberts[1] had passed away in USA in 2018 while only in her middle-aged fifties (about the same age as my daughters). What a tragedy!<\/span><\/p>\n

My links with Karen are three-fold. Firstly, her novel\u00a0July\u00a0<\/em>is centred on the cataclysmic set of events in Sri Lanka in late July 1983 when Tamils residing in the south-central regions of the island were assailed in shocking ways. The imprint of this awful event on my reflections is embodied in an ethnographic essay of my own which was written up in 1991 and is as much a heartfelt literary essay[2]<\/strong><\/a>\u00a0as a documentary-political account: namely \u201cThe Agony and Ecstasy of a Pogrom: Southern Lanka, July 1983.\u201d<\/span><\/p>\n

\"\"<\/a><\/span><\/p>\n

Secondly, I was familiar with her lineage links because I had banged into one of her aunts(?), Karel Roberts, on a train journey to Kandy way back in the 1980s or so.[3]<\/strong><\/a>\u00a0Karel was\u00a0a journalist<\/a>\u00a0and I discovered that she was a direct descendant (granddaughter?) of Dr Emmanuel Roberts[4]<\/strong><\/a>\u00a0and that her mother was still alive. I immediately took steps to make an appointment at their home in Bambalapitiya because I was working on a socio-political history of Colombo (work that generated\u00a0People Inbetween<\/em>).[5]<\/strong><\/a><\/span><\/p>\n

<\/p>\n

I was therefore aware that Karel\u2019s father was not a Burgher, but of Sinhala Navandanna stock, with Roberts being an adaptation by some males of the Ratnajinendra, Rabel and Ratnaweera lineages \u2013 presumably in order to secure greater acceptance in British colonial and Ceylonese middle-class circles.<\/span><\/p>\n

My third connection was as fortuitous as momentous. Via the Sansonis of\u00a0Barefoot<\/em>\u00a0I received an invitation to serve on a panel devoted to cricket-writing at the Galle Literary Festival in January 2008. As it happened, Karen Roberts was one of the writers who received high-profile billing at this event. \u00a0The GLF also sponsored luncheon gatherings for writers of this calibre and that for Karen was located (and sponsored) by Dr. Hilali Noordeen,[6]<\/a>\u00a0an eminent doctor in London who has a home in Galle Fort. I entered my name (and monies) for this event with alacrity.<\/span><\/p>\n

\"\"<\/a>\u00a0Karen is facing the camera on the right while the host Hilali is the one seated on extreme right<\/em><\/strong><\/span><\/p>\n

\"\"<\/a><\/span><\/p>\n

Karen \u2013 pictured in two of my snaps \u2013 was accompanied by her younger sister at this little gathering. She was stunned when I indicated knowledge of her Navandanna background; but immediately stressed that there was a Goyigama mix as well in her ancestral roots.<\/span><\/p>\n

All this was serendipity: we gelled. After all, both of us were\u00a0niyama thuppahi<\/em>\u00a0\u2026. \u00a0yes, deeply and truly\u00a0achcharu,<\/em>\u00a0and thus\u00a0nica\u00a0<\/em>in the standard upper caste\/class perceptions. That is, we were of promiscuous degenerate stock if the traditional Sinhala caste-based upper-echelon yardsticks were treated as the guideline.<\/span><\/p>\n

Such affinities were bonding in their affect. Further links were noted when the two sisters indicated that their initial education had been at St Lawrence School in Wellawatte \u2013 precisely where my two daughters had one year of schooling in 1970\/71.<\/span><\/p>\n

Karen also provided me with some ethnographic tales from her first-hand experiences in July 1983. As I recall, her employers had closed shop that fateful Monday 25th<\/sup>\u00a0July morning and rushed away leaving the employees to cope on their own. There was no public transport plying that day, so Karen had walked back from Kollupitiya to Dehiwala along Galle Road \u2013 usually using the middle of the road. She witnessed several Tamil boutiques and shops being assailed and the goods burnt or destroyed.<\/span><\/p>\n

We did maintain contact for a while thereafter \u2026 and if my memory is on the mark, she was working in the Middle East then but moved soon to USA. Alas, we lost touch.<\/span><\/p>\n

In this my belated Vale and Appreciation, I present photographs of the book covers of the novels she produced (many now out of stock as well as a review of her novels that does not pull its punches. But the best epitaphs are the two snaps taken at Hilali Noordeen\u2019s luncheon gathering where Karen stood forth as a conversationalist and a lover of Sri Lanka.<\/span><\/p>\n

\"\"<\/a><\/span><\/p>\n

\"\"<\/a><\/span><\/p>\n

A Review of Karen Roberts\u2019 Novels in \u2026\u2026\u2026.\u00a0<\/strong>https:\/\/srilankanwriters.wordpress.com\/2018\/02\/24\/karen-roberts\/<\/a><\/strong><\/span><\/p>\n

Karen Roberts (b. 1965\u20132018) was a US-resident Sri Lankan born-writer who authored\u00a0Flower Boy<\/em><\/strong>\u00a0(1999),\u00a0July<\/em><\/strong>\u00a0(2001) and\u00a0The Lament of the Dhobi Woman<\/em><\/strong>\u00a0(2010). She was resident in California at the time of her untimely passing over, in February 2018.<\/span><\/p>\n

Roberts\u2019 three novels present revisitations of familiar Sri Lankan themes, and often draw on class, caste and ethnicity in search of creative purchase.\u00a0Flower Boy<\/em>\u00a0opens in a tea estate in colonial Ceylon where a young boy born to the servant class is denied by the British mistress of befriending her new born daughter. The motif of embittered female cum negligent mother, which Roberts returns to in\u00a0The Lament of the Dhobi Woman<\/em>\u00a0(2010) is powerfully felt in the character of Elsie who, subsequently, returns to England.<\/span><\/p>\n

In 2001, Roberts publishes\u00a0July<\/em>, which is not original in either theme or representation of character. The theme of love divided by ethnic pressures ruptures the potential relationship between Priyanthi and Neranjan, as the country is pushed towards the Civil War, which spills over in the aftermath of the July rioting of 1983. To the narrative of\u00a0July<\/em>\u00a0Roberts also introduces a toddy tapper \u2013 a person of a working class, marginalized caste background \u2013 who plays a crucial role in the particular outing where Niranjan and Priyanthi understand their feelings for each other.\u00a0Though marginal to the main plot, the toddy tapper is a recurrence in Roberts\u2019 writing in as much as he represents the working marginal space.<\/strong>\u00a0In\u00a0Flower Boy<\/em>, the servant class is portrayed and Chandi \u2013 the boy \u2013 is carefully built up with three-dimensionality, giving character to his aspirations, feelings and beliefs alike.<\/span><\/p>\n

In\u00a0Lament of the Dhobi Woman<\/em>\u00a0(2010), Roberts centers the story on Catrina \u2014 a Colombo-born artiste \u2014 and her childhood ayah, Seelawathi: who was brought to Colombo as a young girl and inducted as a servant in Catrina\u2019s parents\u2019 home, and was sexually preyed on by Catrina\u2019s uncle, Rick. The motif of the demonic mother figure makes a comeback into Roberts\u2019 fiction through Catrina\u2019s mother, Sarla; while,\u00a0the story \u2013 alike\u00a0Flower Boy<\/em>\u00a0\u2013 hints at trans-continental and trans-spatial moorings<\/strong>.<\/span><\/p>\n

Roberts\u2019 attempts at characterizing underprivileged and marginalized domains are often flawed by her inability to \u2018enter the skin\u2019 \u2014 or to learn into \u2014 the class\/culture she thus strives to give representation.\u00a0Her own class and social privilege (and the dislocation therein) as an urbane and cosmopolitan writer often hinder her efforts of excavations into the minds and emotions of the fictional characters she proposes to build<\/strong>.<\/span><\/p>\n

****\u00a0 ****<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

In Appreciative Memory of Karen Roberts, 1965-2018-by Michael Roberts Source:Thuppahis It has been something of a shock for me to discover that the Sri Lankan authoress Karen Roberts[1] had passed away in USA in 2018 while only in her middle-aged fifties (about the same age as my daughters). What a tragedy! My links with Karen […]<\/p>\n","protected":false},"author":3,"featured_media":104527,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"aside","meta":{"footnotes":""},"categories":[20,42710],"tags":[49592,29441],"class_list":{"0":"post-104526","1":"post","2":"type-post","3":"status-publish","4":"format-aside","5":"has-post-thumbnail","7":"category-articles","8":"category-michael-roberts","9":"tag-karel-roberts","10":"tag-michael-roberts","11":"post_format-post-format-aside"},"yoast_head":"\nIn Appreciative Memory of Karen Roberts, 1965-2018-by Michael Roberts<\/title>\n<meta name=\"description\" content=\"It has been something of a shock for me to discover that the Sri Lankan authoress Karen Roberts[1] had passed away in USA in 2018 while\" \/>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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