2019 is a Landmark in the journey of father's wrtings towards wider spread and outreach.
Today His Magum Opus of Research Shodasi : Secrets of the Ramayana ( Shodasi : Ramayana Rahasyamulu: Telugu Original ) is
available in 3 languages Telugu ( Original ) English and Hindi ( Translation )
After Ten Years...
Father – Father’s books
Ten years passed away. But the scene of Funeral is still fresh like a red wound in my eyes and tormenting my heart. When funeral procession moves on, some people throw coins. Some of them walking along the procession pick those very coins from behind. It pains me that these coin pickers assumed leadership of father’s last rites. But in today’s society they are ruling the roost. Writing on the wall is, Not Might, Crime is right.
His literary works can broadly be divided into poetry and prose writings on poetics. He wrote in all forms – song, prose, poetry. Five stories and a drama, one compilation of science articles (Viswa Vivechana), excepting these all his writings fall under the category of literary criticism. From Shodasi:, Secrets of the Ramayana , Swarna Hamsa to Kavisena Manifesto, Kalarekha (Essays of Comparative Literature) reader finds a overpowering undercurrent of inquiry into origins of poetry. . This is found directly and indirectly in all his works. Even in Shodasi and Swarna Hamsa, research works on ancient Sanskrit literature, in introductory chapters he discusses about birth of poetry and related aspects of poetry. This inquiry all pervasive like the main current of though in his “My Note book : Arc of Blook ( Naa Diary :Raktha Rekha) “ and Kavisena Manifesto is the climax of his inquiry into poetics,one and the only work on poetics in modern literature an encyclopedia of World poetics of all times. He concludes that poetry is unique expression feeling and wonder of meaning (Artha Chamatkara , Bhava chanatkara). He contended that poetry is not playing with words gimmicks of language . He revealed the hall mark of poetry. He declared, feeling and literary conscious are like inhalation and exhalation to a genuine poet. In Kavisena Manifesto, he asserted that, “Poetry is a temple. Even God needs to step into it clean.” He rejected all the age old established concepts ,theories and assertions and poets through research. He observed that the concepts of Vishnu his incarnation were non existant when Valmiki was writing the Ramayana. He also revealed that Srinadha ignored the core writing of Sriharsha’s Naishadham and translated it as Sringara Naishadha. Srinadha could not grasp the secrets of Mantra, Yoga and Vedanta sciences hidden in that Kavya .
He opined that in the poetic works of of Veerasaiwa poets there are only methods of shiavaite puja and no poetry. Commenting on Srirangam Narayanababu, he declared that his poetry is beyond literature, a tragic tale, a great civilization buried under the debris of treachery called Telugu literature. He viewed him as a legend lurking like a tear in the eyes of a minority. He criticised the Congress politics during the unrest following the assassination of Rajiv Gandhi. Condemning the American War in Gulf, calling it third world war, he reproached American Imperialism. He wrote articles on Saddham Hussain –‘Support Saddam’ asking the third world countries to be on his side. He recorded all his findings of research, study and exploration without any fear. Satyavaadi Loka Satruhu.
We find Defiance as a powerful undercurrent in all his works. He declared that poetry is a way of life and not a source of livelihood. In a metrical poem written in 1952 , he gave a call “ Daliths and the oppressed unfold your imagination , join your shoulders and shout in one voice.....” ( Dalitha Shraamika Jeevulaara oohaa bhujaargalamul vippina viswamoorthiai Shankhaaraavamum jeyudo Dalitha Shraamika jeevulaara Bhuvana dwaarammu bhedillagan...”) Again in 1972 , in his first prose poetry anthology “Sesha Jyotsna “ see these lines “ tearing away the iron curtains that divide the human beings wearing the veiling voices of the oppressed people of the world as swords in his scabbard... “
His works: Efforts have been made in the last ten years to bring his books in a systematic manner. His stories and drama were brought as one volume, Ruthughosha and Mandey suryudu were brought as a single volume to mark his first death anniversary. Later, Sahitya Kaumudi, Narudu Nakshatralu, Kala Rekha, Viswa Vivechana prose works were published. All the important works are available. With the courtesy of popular film actor Pavan Kalyan, Adhunika Mahabharatam( His complete prose poetry ), and with courtesy of film director Trivikram Srinivasa Janavamsam are available in almost every book shop. Shodasi, Swarnahamsa which brought him recognition and reverence as a rare researcher and scholar are translated into English and are available.
In today’s society literature has lost its place and significance. Literature is suffering from the eclipse ruthless commercial life. . Authors in today’s literature are divided into various groups on lines of different oppressed and exploited sections in the society. Truck loads of beautifully printed books are flooding the market every day. The people, for whom these writers are writing don’t even know about these works. These poets and authors don’t even have the awareness and field level study of the classes for who they are writing. They don’t even have the intention of doing it.
A person who doesn’t know standard Telugu, prosody, Telugu metrical poetry claims himself to be an ardent follower of Vishwanadha Satyanarayana. Another one is revolutionary poet. It is said that he is favourite poet of those who are engaged in armed struggle in the forests. The ruling classes are eliminating the revolutionaries in cold blood. Putting the intellectuals down with an iron hand who protest against such killings. Then how is this revolutionary poet getting ruling Governments’ awards and being nominated for government posts? This is a secret. The above mentioned Viswanatha’s admirer and this revolutionary poet are Siamese twins and courtiers of a Razaakaar Personality who has no interest in literature. This is another secret. In fact there is no secret at all. In today’s appalling literary scenario these chaps are unabashed and unscrupulous con men.
2027 happens to be father’s centenary year. I can’t imagine how the society and literature would be. My time and energy are getting wasted in unending scuffle with wicked snakes and blood thirty jackals all around. I will not be alive to see that day. Hence I am completing my works as early as possible. I have visited all the districts in Rayalaseema, Telangana and Andhra and visited all the district libraries and distributed father’s works in 2015-16. All the important books are available today. These books are reprinted with the hope that they would be useful to researchers and people interested in literature in the future generations. My aim is to gather a minimum fund to mark his centenary and formally entrust it to a credible and responsible person or organisation.
He yelled “I might leave. I Might not return. But you can’t escape from my memories. In the sky of this country they shall sing as birds, envelop you as rays.” He was anguished that “is this the fruit of mother earth revolving around the sun so many ages? “ I now see history facing this question “
“ I am a refugee here , fragrance of stars is calling me “saying this father took leave of this mundane earth .
Seshendra : Visionary Poet of the Millennium
http://seshendrasharma.weebly.com
Saatyaki
S/o Seshendra Sharma
Kaasyas cha parameswaasah sikhandee cha Maha Rathah
Drushtadyumno viraatas cha saatyakis chaaparaajitah
Bhagavath Geetha : 1st Chapter : 17th Sloka
After Ten Years...
Father – Father’s books
Ten years passed away. But the scene of Funeral is still fresh like a red wound in my eyes and tormenting my heart. When funeral procession moves on, some people throw coins. Some of them walking along the procession pick those very coins from behind. It pains me that these coin pickers assumed leadership of father’s last rites. But in today’s society they are ruling the roost. Writing on the wall is, Not Might, Crime is right.
His literary works can broadly be divided into poetry and prose writings on poetics. He wrote in all forms – song, prose, poetry. Five stories and a drama, one compilation of science articles (Viswa Vivechana), excepting these all his writings fall under the category of literary criticism. From Shodasi:, Secrets of the Ramayana , Swarna Hamsa to Kavisena Manifesto, Kalarekha (Essays of Comparative Literature) reader finds a overpowering undercurrent of inquiry into origins of poetry. . This is found directly and indirectly in all his works. Even in Shodasi and Swarna Hamsa, research works on ancient Sanskrit literature, in introductory chapters he discusses about birth of poetry and related aspects of poetry. This inquiry all pervasive like the main current of though in his “My Note book : Arc of Blook ( Naa Diary :Raktha Rekha) “ and Kavisena Manifesto is the climax of his inquiry into poetics,one and the only work on poetics in modern literature an encyclopedia of World poetics of all times. He concludes that poetry is unique expression feeling and wonder of meaning (Artha Chamatkara , Bhava chanatkara). He contended that poetry is not playing with words gimmicks of language . He revealed the hall mark of poetry. He declared, feeling and literary conscious are like inhalation and exhalation to a genuine poet. In Kavisena Manifesto, he asserted that, “Poetry is a temple. Even God needs to step into it clean.” He rejected all the age old established concepts ,theories and assertions and poets through research. He observed that the concepts of Vishnu his incarnation were non existant when Valmiki was writing the Ramayana. He also revealed that Srinadha ignored the core writing of Sriharsha’s Naishadham and translated it as Sringara Naishadha. Srinadha could not grasp the secrets of Mantra, Yoga and Vedanta sciences hidden in that Kavya .
He opined that in the poetic works of of Veerasaiwa poets there are only methods of shiavaite puja and no poetry. Commenting on Srirangam Narayanababu, he declared that his poetry is beyond literature, a tragic tale, a great civilization buried under the debris of treachery called Telugu literature. He viewed him as a legend lurking like a tear in the eyes of a minority. He criticised the Congress politics during the unrest following the assassination of Rajiv Gandhi. Condemning the American War in Gulf, calling it third world war, he reproached American Imperialism. He wrote articles on Saddham Hussain –‘Support Saddam’ asking the third world countries to be on his side. He recorded all his findings of research, study and exploration without any fear. Satyavaadi Loka Satruhu.
We find Defiance as a powerful undercurrent in all his works. He declared that poetry is a way of life and not a source of livelihood. In a metrical poem written in 1952 , he gave a call “ Daliths and the oppressed unfold your imagination , join your shoulders and shout in one voice.....” ( Dalitha Shraamika Jeevulaara oohaa bhujaargalamul vippina viswamoorthiai Shankhaaraavamum jeyudo Dalitha Shraamika jeevulaara Bhuvana dwaarammu bhedillagan...”) Again in 1972 , in his first prose poetry anthology “Sesha Jyotsna “ see these lines “ tearing away the iron curtains that divide the human beings wearing the veiling voices of the oppressed people of the world as swords in his scabbard... “
His works: Efforts have been made in the last ten years to bring his books in a systematic manner. His stories and drama were brought as one volume, Ruthughosha and Mandey suryudu were brought as a single volume to mark his first death anniversary. Later, Sahitya Kaumudi, Narudu Nakshatralu, Kala Rekha, Viswa Vivechana prose works were published. All the important works are available. With the courtesy of popular film actor Pavan Kalyan, Adhunika Mahabharatam( His complete prose poetry ), and with courtesy of film director Trivikram Srinivasa Janavamsam are available in almost every book shop. Shodasi, Swarnahamsa which brought him recognition and reverence as a rare researcher and scholar are translated into English and are available.
In today’s society literature has lost its place and significance. Literature is suffering from the eclipse ruthless commercial life. . Authors in today’s literature are divided into various groups on lines of different oppressed and exploited sections in the society. Truck loads of beautifully printed books are flooding the market every day. The people, for whom these writers are writing don’t even know about these works. These poets and authors don’t even have the awareness and field level study of the classes for who they are writing. They don’t even have the intention of doing it.
A person who doesn’t know standard Telugu, prosody, Telugu metrical poetry claims himself to be an ardent follower of Vishwanadha Satyanarayana. Another one is revolutionary poet. It is said that he is favourite poet of those who are engaged in armed struggle in the forests. The ruling classes are eliminating the revolutionaries in cold blood. Putting the intellectuals down with an iron hand who protest against such killings. Then how is this revolutionary poet getting ruling Governments’ awards and being nominated for government posts? This is a secret. The above mentioned Viswanatha’s admirer and this revolutionary poet are Siamese twins and courtiers of a Razaakaar Personality who has no interest in literature. This is another secret. In fact there is no secret at all. In today’s appalling literary scenario these chaps are unabashed and unscrupulous con men.
2027 happens to be father’s centenary year. I can’t imagine how the society and literature would be. My time and energy are getting wasted in unending scuffle with wicked snakes and blood thirty jackals all around. I will not be alive to see that day. Hence I am completing my works as early as possible. I have visited all the districts in Rayalaseema, Telangana and Andhra and visited all the district libraries and distributed father’s works in 2015-16. All the important books are available today. These books are reprinted with the hope that they would be useful to researchers and people interested in literature in the future generations. My aim is to gather a minimum fund to mark his centenary and formally entrust it to a credible and responsible person or organisation.
He yelled “I might leave. I Might not return. But you can’t escape from my memories. In the sky of this country they shall sing as birds, envelop you as rays.” He was anguished that “is this the fruit of mother earth revolving around the sun so many ages? “ I now see history facing this question “
“ I am a refugee here , fragrance of stars is calling me “saying this father took leave of this mundane earth .
Seshendra : Visionary Poet of the Millennium
http://seshendrasharma.weebly.com
Saatyaki
S/o Seshendra Sharma
Kaasyas cha parameswaasah sikhandee cha Maha Rathah
Drushtadyumno viraatas cha saatyakis chaaparaajitah
Bhagavath Geetha : 1st Chapter : 17th Sloka
Ramayana, a replica of Vedas
S. VARADARAJAN
There are several versions of the Sri Ramayana, one of the two greatest epics. Following Sri Valmiki Ramayana several editions have been published in various languages, besides scores of commentaries written across centuries. Late. Gunturu Seshendra Sharma, scholar poet of 20th Century unearthed secrets of the Ramayana through his popular Telugu book “Shodasi”.
The novelty of nomenclature Shodasi , called Sri Vidya is reflected , in the 16th Chapter . Sharma’s intellectual depth comes forth in analyzing Sundara Kanda specially through Kundalini Yoga . The author highlights hidden truth in Valmiki’s thought that is similar to Vedas and says that Trijata’s dream in Sundara Kanda reflects Gayatri Mantra of 32 Syllabi in 4 lines. Sharma pays rich encomiums in the description of Lanka surrounded by three impregnable borders. He compares these three borders with Trikuta viz... Shakti , Kaamaraaja , Vagbhava Kutas with those of Sri Vidya in Kundalini . A staunch believer of Vedas, the author feels that Ramayana is a replica of Vedas and oriented towards the character of Indra . He concludes that in Ramayana the mentioning of the supreme God is Indra and not Vishnu, as the presiding deity of valour in Vedas. Utterances of the word Vishnu were considered to be imaginary overstatements in the author’s view.
This book lends a new perspective to the Ramayana by adding the dimension of Kundalini Yoga .
The foreword by Vishwanatha Satyanarayana adds credibility to the book. The current work is an English translation of the original by Gurujada Suryanarayana Murthy , a scientist by profession . His proficiency in the subject is evident in the translation throughout that doesn’t swerve from the original’s purport.
The Hindu
(Friday Review: 2nd October 2015)
e - Book : http://kinige.com/book/Shodasi+Secrets+of+the+Ramayana
I could not rescue him from the clutches of that nymphomaniac and vampire. There may be an exception or two but an average Indian woman desires from the depths of her soul that her husband should live long and she should pass away before him. She performs prayers and fasts on auspicious days for this purpose. She in spite of being 3years elder to him did away with my father in a planned and premeditated manner and I was a silent and helpless witness to it. He suffered 1st Heart attack in November 1997. Cardiologists performed angiogram and advised open heart surgery. Because there were blocks in vessels and one valve was damaged. But she successfully thwarted it and without my knowledge or informing any one got angioplasty done in Mediciti (Hyderabad: AP; India) her plan was to do away with him and live long, and establish herself as his wife through his books. He was succumbing to her blackmail. My overwhelming hunch is that she was threatening him with social insult and humiliation if he parts ways with her. Between 1997-2007, she played football with his body. He used to be hospitalized every now and then with swollen body and heart pain. Because of damaged valve pumping was impaired and water used to accumulate in the system. Every time I used to force her to hospitalize him. He used be in ICCU for a couple of days and recover marginally. After each visit to hospital he was getting debilitated gradually. He was put on wheel chair. He was virtually under house arrest. He was not allowed to speak to friends and family members. Visitors were kept away. He was taking Lasix (Tablet: is a diuretic that is used to treat fluid accumulation, caused by heart failure, cirrhosis, chronic kidney failure, and nephrotic syndrome.) to flush out water accumulated in his body. This creates a painful dilemma in me whether my interference in his health matters was just. As his son it was my moral duty to protect him. But I sometimes feel if I were not to interfere she would have put him to death long ago and thus he would have escaped from physical and mental torture quite early.
Towards perhaps end of the month of March she withdrew medication. He got swollen suddenly and that condition continued till the last day i.e. 30th may 2007. Each time I visited I used to tell that witch to take him to hospital. But after a couple of visits I got convinced that she made up her mind this time to do away with him. I requested a bastard who was feigning to be a friend of mine, who incidentally happens to be a legal luminary of this region to send a doctor friend to that place and ascertain the exact condition of his health. But of no avail.
I kept on telling him to come out of that place and lead a normal and healthy life. Her blackmail gained an upper hand and I lost in my efforts to restore health to him and bring him back to civilized society. O God pardon me for not being able to outmaneuver her machinations. Pardon me father.
Saatyaki S/o.Seshendra Sharma
saatyaki@gmail.com
The literary world is aware that my father Gunturu Seshendra Sarma, eminent poet, litterateur and scholar-critic, died on 30th may 2007. Ever since he expired, there has been no mention of his parents, family members and other personal details in the news and in the articles about him. Not only this, fictional lies are being spread and using money power one shady lady is being propagated as his wife and so on. This has been causing me, as his son, a great mental agony. That is why, through this article, I am revealing certain fundamental truths to the literary field of this country and the civilized society. I appeal to your conscience to uphold truth, justice and values of our composite culture.
Seshendra Sharma’s family members are: Parents: Subrahmanyam Sharma, Ammaayamma; Wife: Janaki Daughters: Vasundhara, Revathi,Sons: Vanamali, Saatyaki. Only these two are legal heirs of Seshendra Sharma, socially and morally too.
STREET PLAY AND CIRCUS
In 1972, away from the civilized society, without the knowledge of parents and near and dear, in a far flung village called Halebeed in Karnataka a circus, a street play was staged. Let me make it clear that even after this street play my father did not divorce my mother Mrs. G.Janaki legally. He never had even a faint intention of committing such as uncivilized act. On the contrary, in all crucial Government documents he nominated my mother as his legal heir from time to time. During his long career as Municipal Commissioner with the Government of Andhra Pradesh, he retired 3 times. His first retirement came in 1975 by way of compulsory retirement for his anti estrablishment writings during Mrs. Gandhi’s emergency. His second retirement came in 1983 when the then new chief minister N.R. Rama Rao’s government reduced the age of service from 58 to 55 years. The third and final retirement in the year 1985 on attaining 58 years of age. On all these occasions, in all the government documents, my father Seshendra Sharma
Nominated my mother Mrs. Janaki as his legal heir. This is precisely why the self contradictory ‘second marriage’ is a circus enacted away from the society and Laws does not recognize this type of street plays as marriage.
LAKSHMI PARVATHI IN LITERATURE
N.R. Rama Rao, actor turned politicial married Ms. Lakshmi Parvathi in 1994 and subsequently in January 1995 he came to power for the second time. She used to act as an extra constitutional power and run the matters of government and the party. She developed her own coterie of cohorts and started dominating the party. After NTR was toppled by his own son-in-law, most of them parted ways with her. And the remaining touts left her for good the day NTR breathed his last. Ms. Indira Dhanrajgir has been playing the same role in Telugu literature over a period of more than 3 decades. In the guise of literature she developed her own coterie of lumpens with extra literary and money mongering elements – Tangirala Subba Rao, Velichala Kondala Rao (Editor, Jayanthi) Cheekolu Sundarayya (A.G.s Office, Hyderabad et al).
There are a couple of dissimilarities between these two instances. Afther the demise of NTR, L.P’s coterie of cohorts disappeared once and for all. Whereas, in Indira Dhanrajgir’s case new lumpens are entering the field with the passage of time. Squandering her late father’s wealth, she is roping in new touts. Since NTR’s wife Basava Tarakam passed away in 1984 and since he was old and sick NTR’s marriage with LP has ethical basis and is legal completely. Whereas Indira Dhanrajgir’s is neither ethical nor legal. Hence it is a street play. This is the reason why after my father’s death she has been spending money on a larger scale and indulging in false publicity and propaganda. Bh. Krishna Murthy, Sadasiva Sharma (The then Editor of Andhra Prabha: Telugu Daily, presently with Hindi Milap) Chandrasekhara Rao (Telugu lecturer:
My father passed away on 30 May 2007. When our family was in grief and I was performing the 11 day ritual as per my mother’s wish, the above mentioned Sadasiva Sharma went to Municipal Office on 4th June, created ruckus, played havoc telling them that he is from the Prime Minister’s Office, made some ‘senion officials’ make phone calls to the officials concerned and got my father’s death certificate forcibly issued. When the entire family as mourning the death of the family head, a stranger and a lumpen S.S. – Why did he collect my father’s death certificate forcibly from the municipal authorities? Whom did he collect it for?
THREE NAMES OF THE SAME PERSON IN 3 DECADES
This is perhaps for the first time that the name of a lady appears in 3 forms at a time. Perhaps in 1970, in my father’s collection of poems “PAKSHULU” her name appeared As Rajkumari India Devi Dhanrajgir. In 2006 she published a fake version of Kamaostav (Rewritten by a muffian Called Chandrasekhar Rao). In this book her name appears as Rajkumari India Devi Dhanrajgir Prior to 1970 in Maqdoom Mohiuddeen’s (Renowned Urdu Poet) anthology of poetry ‘bisath-E-Raks’, in Urdu as well as Hindi, at the end of two poems her name appears as Kumari Indira Dhanrajgir. On 15th June 2007
If Indira Dhanrajgir has even an iota of regard, respect for or faith in love, or relation, the institution of marriage, immediately after ‘Halebeed Circus’, she would have used my father’s family sir name and her name would have appeared as Gunturu Indira. Since she was conscious of her goal during all times and conditions she did not take such a hasty and mindless step of change of her name.
WHERE DOES THE REAL SECRET LIE?
Her life is totally illegal, anti-social and immoral.
Indira Dhanrajgir’s father performed her marriage with SrikishenSeth, Nephew of the then Prime Minister to Nizam, Maharaja Kishen pershad in 1945. On the day of marriage itself Indira Dhanrajgir beat SrikeshenSeth up and ran away from him. She did not stop at that. She propagated among his friends and relatives and near and dear that he was not enough of a man and unfit for conjugal/marital life. She filed a divorce case against him and dragged it till 1969/70. Lion’s share of her husband’s life got evaporated and was sapped completely by then. His parents used to approach Indira Dhanrajgir’s father and plead with him to preavail upon his daughter, put sense into her head and see that she either lives with their son or dissolves the marriage legally so that they can remarry off their son. But Indira Dhanrajgir did not heed. Raja Dhanrajgir after getting disgusted with her nasty activities stipulated a mandatory condition in his will. He stated that Indira Dhanrajgir would be entitled to get a share of his property only if she is married.
This is the reason why INDIRA DHANRAJGIR who has no respect for the institution of marriage or regard or desire for marital life, in the guise of love and love poetry inflicted indelible blemish on the institution of marriage which is unprecedented in the literary history of the world. After my father’s death she has been indulging in more rigorous false publicity along with her coterie of touts.
KAMOSTAV: STORY OF INDIRA DHANRAJGIR’S SOUL:
With this novel Kamostav, father’s literary life came to an end for good. He did not produce literary works worth mentioning in his later phase of life. During those days he asked for my opinion on that novel. I told him clearly that it lacks the form and content of a novel; it does not have a story line, plot, sequences, characters and eventually a message which every novel gives. Hence it is a trash. Several people went to court and got its publication in a weekly stopped. INDIRA DHANRAJGIR got this very trash rewritten completely by Chandrasekhara Rao and printed it. This kind of heinous development has never taken place in the recorded history of Telugu literature till date. A writing which brought disrepute to my father in the literary field and isolated him in the society, why did she get it rewritten by somebody and publish it claiming copyright to be hers? What is her motive? What is her aim? That is why Kamotsav is INDIRA DHANRAJGIR’s biography, story of her inner soul.
SESHENDRA’S COPYRIGHTS:
My father gifted away copyrights of his entire works along with their translations to me by way of birth day gift to me on 2.12.1989. Since then I have published several of his works during his lifetime itself. Kamostav, the version that is secretly made available is the dirty work of cheapsters and lumpens under the leadership of INDIRA DHANRAJGIR. It is much worse than violation of copyrights. That is the reason why I have been reluctant to take action so far. If she and her debased henchmen try to violate copyrights of my father’s works bequeathed to me, I shall take exemplary legal action against them.
INDIRA DHANRAJGIR made 2 public notices to the effect that my father cancelled all his earlier transfer of copyrights and retransferred all his rights to her. This is a palace intrigue in the modern era in our civilized society.
WHAT DOES LAW SAY ABOUT COPYRIGHTS?
An author can transfer copyrights of his works to any one as per her/his wish. But the Copyrights Act 1957 and the Supreme Court in its various judgments has clearly stipulated a procedure to revoke earlier assignment and transferring of copyrights to somebody else subsequently. The author has to issue a notice to the 1st assignee, giving 6 months time for reply. Depending on the reply the author can take his next step. Where as in my father’s copyrights matter he did not even inform me orally of any such cancellation. INDIRA DHANRAJGIR claims that she has a typed document of transfer of copyrights signed by my father on 5.1.2006. Between 5.1.2006 and 30.5.2007, leave alone issuing a notice, he did not even inform me orally.
My father who assigned copyrights to me in his own handwriting, when he was relatively young and physically fit did not require to cancel the 1st assignment when he was totally dilapidated, almost bedridden and was counting his days. Another important aspect of the matter is that I have printed the Xerox of my father’s document in his own works as early as 1995 and have been doing so from time to time during his life time. Where as INDIRA DHANRAJGIR claims to possess a document after my father’s death and she has not made it public so far. Indira Dhanrajgir tried to get my father’s complete works published in different languages by
FATHER PASSED AWAY:
In 1997 when he suffered the 1st heart attack he was half-dead. Dr. Sudhakar Reddy, cardiologist of Medicity Hospitals (Native of Warangal, A.P.) performed angiogram and diagnosed that he had blocks in arteries and one valve was damaged completely. He advised open heart surgery. But INDIRA DHANRAJGIR averted it and got angioplasty performed. His health declined rapidly since then and was leading the life of virtually an invalid till he breathed his last. He suffered inexplicable mental and physical torture for about a decade. During the last leg of his journey he was isolated from his family completely. He was deserted by one and all in the literary field. When his younger brother passed away, his younger sister passed away he did not visit his ancestral home in his village and call on those families. He became target of jealousy and animosity in the society. He became a victim of false impression with the society that he was an aristocrat and rolling in luxuries. Whereas, he was deprived of even his native vegetarian food for decades together. As a silent and helpless witness to these painful happenings, I was subject to untold mental agony.
In the later half of March 2007 on one of my visits to him, I was aghast at his condition. His entire body was swollen. His appearance was like that of a stuffed gunny bag. I told him to get hospitalized. I told INDIRA DHANRAJGIR to rush him to a hospital. But of no avail. On 30th May 2007 at about 11 pm I got a phone call from her “Come soon/Serious” she said. As I entered at 11.15 pm “Go inside/he is no more” she said.
“”One day when swarms of lamps vanish, in the light of a lonely lamp I ask the dumb pillars.
“Can’t you liberate me from the disgust of this existence?
I ask those stand still forest flame trees
Which blossom flowers at that very place year after year” can’t you rescue me?
I ask those high roof tops and this Venetian furniture
Which every one feels are greater than me,
“can’t you rescue me from the disgust of this existence?”
All these answer in a melancholic voice
“We have been languishing since more than 100 years watching the same unchanging scenes we are older prisoners than you are” (Janavamsham: Telugu: Seshendra: Page 80-81:1993: Translated by me)
My father’s first biography (in Hindi) titled “Rashtrendu Seshendra: Ashesh Aayaam” by Dr. Vishranth Vasishth appeared in 1994. Touching upon these very sensitive aspects of my father’s life he commented in that book “SONE KE PINJRE ME PANCHCHI” (A bird in a golden cage). Alarmed and agonized by his rapidly declining health as early as June 2002, in order to bring pressure on INDIRA DHANRAJGIR, I gave a 2 cassettes long interview to Vijayaviharam of Janaharsha group. Later on when I enquired about that interview they said that in the raids conducted on their premises, they got destroyed.
I wanted to rescue my father and bring him back home when he was in good health. Alas! At last, I took him to the burial ground, laid him on the funeral pyre and consigned him to flames and returned home all alone.
G. Satyaki
S/o Late G.Seshendra Sharma
32, Janata Flats, Kanthi Sikhara Complex,
Punjagutta, Hyderabad – 500 482.
Cell: 094410 70985, 7702964402
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