A critical study on dynamic narrative techniques in Sinhala short stories (Based on selected short stories of Ajith Thilakasena)

Abstract

In the expression of experiences in short stories, it can be observed that the structure is arranged to suit the narrative or the subject matter. This serves as the mode of presenting content to realize the creator's objective. Ajith Thilakasena can be identified as a writer who left a modernist imprint on the contemporary Sinhala short story. Having moved towards establishing his unique identity with the short story collection Sathuro (1960), he aligned aspects such as written and spoken language and spelling specifically towards his creative purpose. In his first collection, an adherence to the Chekhovian realistic style and the usage of narrative techniques consistent with realism are evident. Through his second collection, Pituwahal Kara Sitiddi (1964), he highlighted the independence of his narrative style and technical characteristics. It is a well-known statement of his that he pays greater attention to "how it is said rather than what is said." This represents a potent concept regarding the narratology of a creative work. Although numerous techniques can be uncovered through the structural features of his short stories, the "dynamic nature" (or dynamism) of the short story can be introduced as a significant technical characteristic among them. This dynamic nature refers to the kinetic flow of the plot; it is a dramatically developing quality that changes instantaneously. Since a drama is written with the aim of stage production, the techniques employed therein are constructed based on practicality. The research problem here is to investigate the suitability of employing technical characteristics inherent to drama within a written medium such as the short story. To this end, primary attention is focused on the short stories: 'Hoda Ayo' from the Pituwahal Kara Sitiddi collection, 'Vaddan Samaga Yuda Wadinnata' from Sunnadduli (1970), 'Thun Weniya' from Sadaya (1992), 'Wathura' from Wandanawa (1996), and 'Atharamaga' from the Susuma Saha Pidawa (2000) collection. The objective of the research is to study how the depiction of events and the stimulating nature of dialogues employed to generate this dynamism nourish the author's unique identity within these stories.