Telugu Literary Profiles-13

[In this series, Dr. Chengalva Ramalakshmi and Mr. Boddapati Chandrasekhar introduce renowned Telugu short story writers.]

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A Prolific Writer with 177 Prize-winning Stories:

Simhaprasad is a distinguished and prolific Telugu novelist, short story writer, and playwright. Sri Simhaprasad has carved a niche for himself among the Telugu short Story Story Writers.

Prasad’s 177 prizes for short stories prize wins are his pride and his peers’ envy.

Early Life and Education

Born in 1952 into an agricultural family in Mallavaram village (Narasapuram Mandal, West Godavari District), Simhaprasad is the son of Chelamkoori Tayaramma and Narasimha Murthy. He pursued his education across Mallavaram, Matsyapuri, Narsapuram, and Hyderabad.

The Literary Journey:

Inspired by Mahakavi Sri Sri’s ‘Mahaprasthanam’, he began his creative journey in 1973 writing free verse.

Literary Debuts & Milestones

With the publication of his first story Kathaga Mugiyani Katha (A Story Without a Story’s End),he went on writing.

So far, has written 500 stories and has published 17 story anthologies.

First Playlet: Ooravatala (Beyond the Precincts of the Village) – Won the ARASAM Award, Vizianagaram in 1974.

First Novel:* Dabbu (Money) – Won the Andhra Jyothi Weekly Prize in 1977.

National Recognition:

His anthology ‘125 Bahumathi Kathalu’ (125 Award-Winning Stories) is officially registered in the ‘India Book of Records’.

His acclaimed plays Daadi (The Attack), Grahanam (The Eclipse), and playlet.. Moolyam.. another acclaimed playlet. Staged 36 times

9 of his stories have been adapted for the stage.

In 2014, he penned the dialogues for the film Jagannayakudu, directed by the veteran P. Chandrasekhara Reddy (P.C. Reddy).

His stories into other languages:

His 51 short stories and 4 novels have been translated into Kannada, Tamil, Hindi, and English**.

Notable among these are his novels Vivaha Vedam, serialized in the Kannada weekly Kendhooli, and Kannula Panduga, serialized in the premier Kannada weekly Taranga.

Magnum Opuses & Major Works

Beyond fiction, Simhaprasad has authored monumental research-oriented volumes:

Vivaha Vedam..: A comprehensive encyclopedia on the philosophy of Hindu marriage. It won the prestigious Potti Sreeramulu Telugu University Literary Award.

Tirumala Divya Kshetram (A comprehensive compendium of information on Lord Venkateswara and the sacred shrine of Tirumala)

Sriramudi Dharmapatham (The Righteous Path of Lord Rama).

Academic Research and Critical Acclaim

Dr. Narendra Prasad (Sri Venkateswara University) was awarded a PhD for his research on Simhaprasad’s award-winning short stories.

Dr. Poshamma (Andhra University) earned a PhD for her doctoral thesis on his other short stories.

Currently, research scholar Srinivas (Sri Venkateswara University) is pursuing a PhD focusing exclusively on Simhaprasad’s novels.

Distinguished Awards and Honors

Has won prizes for 165 short stories, 25 novels, and 9 plays.

Although Simhaprasad’s LITERARY GENIUS embraced many literary genres, it chiefly rests on his short stories.

Let’s look at his way of telling a story and his technique(SILPAM ) by getting acquainted with some of his stories by reading between the lines.

1.Trāhi (SAVE /Protect (ME )

“Next is my daughter’s marriage Sunday.

To place it the feet of the goddess seeking her blessings, have come to Vijayawada.

Do attend it along with your wife.. Remember the address? Malakpet.. same house.”

Are there any auspicious muhurtas?

If our words are good, everything will be auspicious.

Very surprisingly looked at him.

In our college days, you were a staunch Hindu. Used to twirl the ends of the moustache

Remember?..!

And now, such words from your mouth….!”

Comment:

His friend, MADHAV, a diehard upholder of Hindu rituals, is ignoring / by passing them.

How come..!

It is beyond Prakasam’s comprehension.

It is this change that has surprised Prakasam very much.

Precisely, this subtle shift that Simhaprasad put in the character, gives a wonderful dimension to the story. Also beauty!

CONTEXT: 2

Prakasam is Madhav’s house

The door is open.

A girl is offering Namaz

Shocked, he came out and checked the name plate.. Lakshmi Madhava..

No doubt. It is Madhava’s house only..

Then that woman.. a domestic help?

That must be. That’s all.

Can Madhav, who doesn’t bear the presence of Muslims, take Muslim girl as a servant?

Impossible..!

Comment:

​“Who is this young woman offering namaz in Madhav’s home? Her very presence signals a profound, yet subtle transformation in a man once defined by prejudice. How did she come to be embraced as a member of this household?

Dear readers, hold your breath as the mystery unfolds..

CONTEXT: 3

​“Barely ten or fifteen days after our eldest was born, communal riots erupted in the city. Religious hatred bared its fangs.. Hindus and Muslims sharpened their knives and slit each other’s throats. Arson, looting, and rapes ran rampant..

​It was then that a Muslim woman, bleeding from a stab wound, fell at my feet and begged for help, placing her one-year-old child before me. I looked at the infant. Bringing the child-who hadn’t even seen a full year of life-inside, I slammed the door shut. The baby suddenly burst into tears.

​My wife rushed forward and nursed the child.”

COMMENT:

This powerful passage highlights the triumph of human empathy over sectarian hatred. By contrasting the raw brutality of the riots with a universal act of maternal love-where the wife immediately nurses the helpless baby of a woman from the

“opposing” the community-the text beautifully reminds us that the instinct to protect life knows no religious boundaries.

WHAT MADHAV DISPLAYED IS JUST AN EMPATHETIC

OR

A KIND GESTURE;

IT IS A NOBLE HUMAN ACT.

DOESN’T THIS INCIDENT REMIND US THAT HUMANITY STANDS ABOVE EVERYTHING…CASTE, CREED, RELIGION, STATUS OR WEALTH?

CONTEXT:4

It is Farjana’s wedding-Madhav’s daughter by divine grace.

​The marriage is being celebrated according to Muslim tradition. Grand arrangements are made. Hindus stand on the side of the bridegroom, and Muslims stand on the side of the bride. An unprecedented confluence!

​”I will offer Namaz for a moment, Abbajaan (father).”

“Go ahead, my child.”

She turned towards Madhav and offered her Namaz. My astonishment knew no bounds.

“Farjana, why did you turn toward me instead of turning toward Mecca?”

(MADHAV)

“You are my Mecca.” (Farjana)

​COMMENT:

​Farjana’s act shows her profound gratitude. More than that, she considers Madhav as sacred as Mecca itself.

​Madhav’s act of taking a Muslim child into his fold, and Farjana’s act of offering Namaz turning toward Madhav, have given this story a sense of nobility. It is a coronation of humanity.

Kudos to Sri Simhaprasad.

TITLE SIGNIFICANCE:

“Trāhi” means “Save!” or “Protect!” By choosing this title, Simhaprasad seems to suggest that people like Madhav are the true saviours of humanity. Their compassion, empathy, and selfless actions protect and uphold the values that keep humanity alive.

May his tribe increase!

STORY 2: ​

“Practice compassion towards the cow” (గో చర)

Outline of the Story..

A Muslim bus driver accidentally runs over and kills a calf. The incident fills him with unbearable guilt. He is overwhelmed by the feeling that he has committed a grave sin. He repents.

Around the same time, his wife gives birth to a healthy and beautiful baby. But, strangely, she can’t breastfeed the child as they milk flows.

The driver cannot free himself from the haunting thought: “I killed that innocent calf. Perhaps this is God’s punishment for my sin.” The guilt torments him.

At last, he goes to a slaughterhouse and buys a weak, emaciated cow that is no longer of any use. He brings it home, feeds it with fresh grass, and gives it water.

Then comes the story’s moving climax. As Mumtaz watches her husband caring for the helpless animal with compassion, her blouse suddenly becomes soaked with breast milk.

Comment:

This story beautifully reflects Simhaprasad’s deep concern for communal harmony and the universal values of love, compassion, and humanity. With remarkable tact and sensitivity, he transcends religious boundaries and shows that kindness towards all living beings is the highest form of religion.

The miraculous ending is not meant to be taken merely as a supernatural event; rather, it symbolizes the redemptive power of compassion and the cleansing of a guilt-ridden conscience.

It is no wonder that this touching story brought Sri Simhaprasad widespread recognition and appreciation. Through this moving narrative, he reminds us that humanity stands above all religions, and compassion knows no religious boundaries.

​Just as Dharmam Chara is a call to conduct oneself with righteousness, Go Chara serves as a moral imperative to conduct oneself with ahimsa (non-violence), empathy, and active compassion toward all life.

​​STORY3: IDENTITY (Asthitvam)

Context 1:

My grandmother used to sing the lullaby of Urmila Devi so melodiously. No sooner is she asked by the assembled women than she would start singing it. I can’t sing to save my life, but I always listened to her with such love and fascination.”

​Comment:

​For Yuktha, the prime protagonist of the story, the song was once a tapestry of pure, melodic wonder – even without knowing a single word of its lyrics. The very song became very loathsome after her marriage. The reason for this transformation is the heart of the story.

What is that reason?

My dear readers..

Wait for the final note, will you?

Context 2:

“Yuktha! How fortunate you are! A great alliance has come for you on its own,” her father said, beaming with elation.

​“I wept, fearing they would put an end to my education once I was married,” I muttered to myself. “I will not marry until I have my degree in hand.”

Comment:

Note Yuktha’s penchant for education.

It is this that transforms her into IAS Officer after marriage much against the will of her husband and in-laws.

​Her struggle forms the very narrative of this story.

Context 3:

Five minutes after entering the room with a glass of milk, I lifted the veil of my shyness and looked at him. He was remarkably handsome and charming.

“Come on, Yuktha.. Be seated.”

I pricked up my ears, eager to hear some sweet conversation.

He spoke very well. But every word was about himself.

His education.. His job.. His promotions..

His earnings.. His dreams for the future..

And also..

No question of having children for the next five years.

Comment:

It isn’t the conversation that a newly wedded woman (wife) eagerly listens to from her husband, is it?

​Have you noticed, my dear readers, just how selfish he is? Every word he uttered was solely about himself. Another striking thing I found is his intense, insatiable desire to earn money.

Whether Yuktha’s life is going to be harmonious and fulfilling or not, we don’t get any idea here.

Context 4:

“Argument is unnecessary. Decide what matters more to you—your position as an officer or your place as a wife. You can’t have both.

A woman, especially a married woman, should never soar. In fact, she shouldn’t have wings at all. And if she happens to grow wings, she must clip them herself and dedicate her life entirely to her husband. She should never imagine that she has a life or a world of her own. That’s how it should be.”

“Is that so?”

“Yes. What do you say?”

“I find you disgusting.”

Comment:

Have you followed, dear readers, the argument between Yuktha and her husband, Sarvari? Through this powerful exchange, Simhaprasad exposes the mindset of male domination and chauvinism.

While her husband worked in the Gulf, Yuktha resumed her education. Driven by neglect, humiliation, and her determination to build an identity of her own, she completed her degree, postgraduate studies, and eventually cleared the Civil Services Examination, securing an officer’s post.

When she wished to continue both her career and her married life, this was her husband’s response.

Though the story was written about thirteen years ago, its central concern remains relevant. Through this episode, Simhaprasad sharply critiques the patriarchal belief that a married woman’s ambitions must always yield to her husband’s authority.

STORY 4: My Home

This story revolves around a man’s deep longing to own a house. The narrator, a retired schoolteacher, dreams of spending the evening of his life in his own village house amidst the serenity of nature. His dream comes true, but soon he falls seriously ill.

He is not afraid of death. What comforts him is the thought that he will breathe his last in his own house. Simhaprasad recalls the teacher’s childhood memory of his mother’s dead body being placed outside the house – a painful incident that made him determined to ensure that neither he nor his wife would meet the same fate.

Ironically, when death approaches, his children and the elders carry him outside, fearing the ritual consequences of a death inside the house. Still alive, he hears their decision.

 His silent agony is heartbreaking.

In a sense, he dies the moment he is taken out of his beloved home.

Simhaprasad portrays the old teacher’s inner anguish with remarkable sensitivity. Through this poignant story, he echoes the universal human longing to breathe one’s last in one’s own house.

No wonder.. this story has brought many accolades for him.

Even today, Simhaprasad continues to receive praise from readers for this story.

This is how Simhaprasad wields his pen and writes stories.

Simhaprasad’s stories deal with universal, social, and individual concerns, reflecting broad humanism and the writer’s abiding motto: ‘Manishi Unnati – Samajapu Abhyunnati’ – the upliftment of the individual and the welfare of society.

A Great Tribute:

The tribute conferred on Simhaprasad by Katha Rishi Sri Munipalle Raju:

“Your writings reveal remarkable maturity, philosophical depth,and a profound vision of life’s ultimate purpose. and a firm grounding in realism.”.

🌹🌹🌹

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Dr. Chengalva Ramalakshmi is a Telugu lecturer and a researcher on the works of Gurajada Apparao. Her writings – ranging from literary essays, short stories, poetry, to spiritual articles – have appeared in various journals and magazines. Her published works include the short story collection Chengalva Poolu, and two biographical-literary studies: Mahakavi Gurajada Apparao and Mahakavi Joshua: Life and Literature.

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Boddapati Chandrasekhar is an English lecturer and literary essayist. He contributes to Antaryami.. a Spiritual Column in Eenadu. In an online daily titled Kathavalokanam, he analyzes and reviews short stories by various writers. So far, he has evaluated around 60 stories by 20 noted Telugu short story writers under this column. He also writes literary essays and book reviews.