S L Bhyrappa obit: Prolific Kannada novelist who retold Ramayana in Sita’s voice

Grihabhanga (A Broken Home, 1970) was directed by Girish Kasaravalli, and serialised on television. Girish Karnad and B. V. Karanth adapted two of his most important novels, Vamshavriksha (Family Tree, 1966) and Tabbaliyu Neenade Magane (You’ve Become Orphan, 1966), for the screen. Filmmaker P. Sheshadri made a documentary on him, considered to be an ode to a writer whose oeuvre has been translated into all major Indian languages, including Hindi, Marathi, Sanskrit, as well as English.

A prolific novelist

Born on August 20, 1931, in Santeshivara, a village in the Channarayapatna taluk of Hassan district, Bhyrappa lost his parents and brothers to bubonic plague in early childhood and worked odd jobs to fund his education. As a boy, he was influenced by the writings of Gorur Ramaswamy Iyengar (1904-1991), known for books Halliya Chitragalu (1930), Namma Oorina Rasikaru (1932), and Amerikadalli Goruru 1979, a satirical travelogue of an Indian in United States.

Bhyrappa published his first novel, Bheemakaaya, in 1958, at the age of 27. Over six decades, he wrote 24 more novels. His works are marked by intellectual depth, a wide thematic range, and an eloquent, immersive style that often keeps readers hooked from start to finish. The subjects he explored are strikingly diverse.

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Vamshavriksha examines the relevance of tradition in a rapidly changing world. Tabbaliyu Neenade Magane dissects how consumerism can erode basic compassion, ethics, and morality. Anchu (Brink, 1990) is a complex study of an emotionally insecure mind. Daatu (Crossing Over, 1973) delves into the many layers of complexity in the caste system. Parva (Epoch, 1979) is a retelling of the Mahabharata with rare insights, while Saartha (Caravan, 1998) recreates an India at the crossroads in the 8th century.

Grihabhanga, inspired by the author’s own childhood, is a heart-rending saga of poverty and profundity etched into the early years of a destitute village boy. Saakshi (The Witness, 1986) offers an artistic exposition of desire and greed. Tantu (The Loom of Life, 1993) is an epic commentary on the pervasive decline of post-Independence India, culminating in the Emergency.

Mandra (Lower Octave, 2002) portrays the world of Hindustani music and showcases the writer’s deep grasp of the art and its nuances. The author himself described Mandra as his “thesis on art and morality” and a tribute to the legendary singer Gangubai Hangal, the singer of the khayal genre of Hindustani classical music.

Aavarana (The Veil, 2007) unmasks the practice of “secularism” in post-Independence India, juxtaposing it with claimed historical realities. Finally, Yaana (The Sail, 2014) explores human emotions beyond everyday life, focusing on the intersections of scientific inquiry and human relationships. Through these and other works, Bhyrappa established himself as one of India’s most important and thought-provoking literary voices.

Bhyrappa’s Vamshavriksha, built on a wide-ranging foundation of life’s realities, is among the most compelling novels in Kannada literature. The struggles people endure when their ideals and values are at stake are depicted with natural grace and depth. Set against the backdrop of existentialism, Bhyrappa succeeds in carving clear-cut characters who, with any carelessness on the writer’s part, might easily have become lifeless. Scion (Minerva Press, 1995), the English translation of Vamshavriksha, is one of Bhyrappa’s best-known early works, examining marriage in a society caught in the conflict between tradition and modernity.

Ramayana from Sita’s perspective

Often regarded as Bhyrappa’s finest work, Parva reimagines the Mahabharata as a secular, modern novel told almost entirely through monologue. Set on the eve of the Kurukshetra war, it unfolds through the memories and reflections of the epic’s central figures; each of them recounts a lifetime of personal choices and political entanglements as the great conflict looms.

Bhyrappa layers narration, dialogue, soliloquy, and commentary to present the war as both a heroic but futile attempt to preserve a collapsing order and the painful birth of a new one. Krishna is rendered as a moral intelligence against which partisan voices are measured. Shot through with irony and compassion, the novel ends in a tragic but life-affirming vision. Parva is celebrated for giving the ancient epic rational credibility and a fully human perspective.

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Bhyrappa’s later work Uttara Kanda (2017) similarly strips away mythology to retell the Ramayana from Sita’s perspective. Told as an interior monologue, it follows Sita after her banishment to the forest, portraying her as a woman confronting isolation, betrayal, and the burden of royal expectations. The novel examines motherhood, social inequity, and the search for belonging with an unflinching, intimate focus on her emotional life. While Bhyrappa faced criticism for leaning towards the Right, Uttara Kanda stands out for its restrained, humane portrayal of Sita and its critique of power and patriarchal authority.

From Dharmashree (1961) to Uttara Kanda, Bhyrappa’s works often drew criticism. He sparred publicly with playwright Girish Karnad over Karnad’s defense of Tipu Sultan, and maintained a long-running feud with U.R. Ananthamurthy, who dismissed him as “a debater, not a storyteller.” Kavalu (Crossroads, 2010), which deals with the Indian society at the crossroads of the era of globalisation, was faulted for what critics saw as an attack on feminism and its preoccupation with extramarital relationships.

Aavarana became a flashpoint for charges of religious fundamentalism. Opposed to religious conversion and cow slaughter, and convinced that Tipu Sultan was a religious fanatic rather than a national hero, Bhyrappa was frequently accused of promoting a pro-Hindutva agenda. Dharmashree was even read as an early exploration of the “ghar wapsi” idea. It centres on s a Hindu man who converts to Christianity for love but later returns to his original faith. The novel explores the social and spiritual conflicts arising from forced conversions and the attempts of missionaries to ‘undermine’ Hinduism.

Appropriated by the right-wing

Reflecting on his approach, Bhyrappa once told this writer: “Serious writing demands knowledge and experience. Along with original research, it was Bharatiya Tatva Shastra (Indian philosophical system) that gave my work depth. A rigorous study of Tatva Shastra trains you to grasp the essence of any subject. We may begin with contemporary characters, but the lasting value of fiction lies in the fundamental questions it confronts while probing those lives. Today’s writers are less interested in Tatva Shastra and more in criticising others’ work.”

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Amid his scholarship and finely honed craft as a novelist, Bhyrappa reached readers across India through translations. His prose is distinctive and engaging enough to be read in a single sitting and thought over long after. Prime Minister Narendra Modi condoled the death of Bhyrappa in his X account. “In the passing of Shri S L Bhyrappa Ji, we have lost a towering stalwart, who stirred our conscience and delved deep into the soul of India. A fearless and timeless thinker, he profoundly enriched Kannada literature with his thought-provoking works. His writings inspired generations to reflect, question and engage more deeply with society. His unwavering passion for our history and culture will continue to inspire minds for years to come...”

Although he received numerous honours — including the Padma Bhushan, Padma Shri, Saraswati Samman, and the Sahitya Akademi Award — Bhyrappa consistently downplayed their importance. Speaking to this writer after winning the Saraswati Samman for Mandra, he said, “I do not attach importance to awards. I never aspired for them, because they do not enhance the worth of my work.” Bhyrappa was also honoured with the Pampa Award, Vagvilasini Puraskar, Karnataka’s Nadoja Award, the National Literary Award, and the Kannada Sahitya Akademi Award, and he presided over the Akhila Bharata Kannada Sahitya Sammelana at Kanakapura in 1999.