Writing isn’t a lonely craft
by Zahra Mayeesha
Why is it that though the heart of writing as an art form is connection and communication, the quintessential picture of a ‘writer’ is one who, burning the midnight oil, creates at her desk alone? The act of writing might be a solitary act, but being a writer does not end there—writers must connect with readers, with editors and publishers, with other artists, in order to sharpen their skill and advocate for writing and publishing opportunities. But beyond that, a local literary culture encourages creativity and the standard of literature to grow, the fostering of writer friendships and collaborations, and the growth of literary journals and periodicals. Creative communities change literature.
The literary arts have always run a gamut of barriers in South Asia—a history of colonial occupations, wars, the displacement and fractures of peoples, the postcolonial struggle for identity and nationhood. For Bangladesh in particular, the decimation of the intellectual and cultural social milieu in East Pakistan on the eve of independence interrupted the inheritance of literary traditions and arts. What had once been a vibrant community of writers, editors, readers, booksellers, educators, journalists, and students, has become a monopolised and slow-moving publishing market.
There have certainly been efforts to rekindle a ‘literary scene’ in Dhaka. But in most cases, these efforts remain inconsistent and unable to grow into a sustained community of people, nor inculcate a stimulating literary arts culture. The exception to the rule has been The Daily Star, Bangladesh’s largest English-language newspaper. With its historic and considerable reputation, young writers and readers swarm towards events hosted by or under the umbrella of The Daily Star. The newspaper has done a great deal for the English-language writing world in Dhaka, supporting burgeoning literary initiatives when possible on top of running Star Books & Literature, which features and platforms Bangladeshi authors. But the culture remains stifled and gatekept under its monopoly on the market. And at the end of the day, the Star is a newspaper business and a platform, so the extent of its literary community ends with those they publish.
This struggle is linked to Dhaka’s lack of cultural spaces and libraries, specifically those that are public and foster an arts community. A combination of this lack, the publishing world’s growing presence online and Bangladesh’s social media practices on Facebook, have led to creation of virtual literary communities like Talespeople, digital magazines, and virtual workshops, many like our very own Write Beyond Borders, demonstrating a great yearning for more literary networks and activities. With real-life locations being replaced by social media platforms, writers and readers congregate on Facebook, market their work on Instagram, and remain at their desks.
But though the digitalisation of Dhaka’s literary community increases accessibility and reach across homes, borders and among diaspora, there is a deep need for physical places where like-minded and literary people may gather and organise, where ideas and creativity may generate and connect, places that act as literary loci to a community of writers and readers. The opportunity to share one’s work with other writers, receive constructive criticism and editing suggestions, share ideas about writing and researching technique: these are all crucial for a writer’s development. The supportive environment writer friends provide makes writing easier — and even more importantly, engenders creativity, collaboration, and experimentation. The importance of such literary communities to a writer’s growth cannot be overstated. If the literary arts must blossom, the loneliness of our writers must first disappear.
Write Beyond Borders 