Mumbai: The values that Purushottam Lakshman Deshpande, who strode the post-1960 cultural scene like a colossus, stood for seem to be on the decline. Maharashtra is riven by divisive forces and social unrest as preparations are under way across the state to celebrate the birth centenary of PuLa, who made Marathis laugh at their foibles and follies, helping them retain their faith in humanism, pluralism and democratic values. The year-long celebrations got going in Mumbai last week.Stating that there was something “much more” to the Pu La phenomenon than his ability to tickle the funny bone of Maharashtra, Monika Gajendragadkar, noted litterateur and editor of ‘Mouj’, a literary annual, said, “Deshpande has created a cavalcade of characters who ooze positive energy. Readers strike an instant rapport with them and Deshpande as well and the writer-reader distinction is thus blurred.”“Deshpande was steeped in Maharashtra’s rich cultural practices and traditions. Worried that rampant urbanisation may tear asunder their heritage and create a void in their lives, the burgeoning middle class drew closer to Deshpande,” said Bhanu Kale, editor of ‘Antarnaad’, a Pune-based literary journal.Kale said he felt “disconcerted” that Deshpande failed to win accolades at the all-India level, while Vijay Tendulkar, U R Ananthamurthy and Badal Circar became national figures. “Deshpande’s protagonists never took an anti-establishment stance or professed ideological commitment, factors which earn a writer nationwide recognition in our country. Deshpande remained firmly rooted in Maharashtra and his readers adored him for this,” Kale pointed out. Recalling Deshpande’s amazing ability to bond with readers with his straight-from-the-heart, simple style of writing, media freelancer Mukta Rajadhyaksha said, “He would play with words with incredible ease. You could almost touch his words. His repartees were refreshing. However, empathy was his most remarkable quality. Even today, some of his pieces can bring a lump in your throat.” Deshpande wore many hats, with aplomb: Playwright, essayist, music director, actor, translator, academic, public speaker and raconteur, par excellence. He briefly dabbled in Marathi films, and was linked with All India Radio and Doordarshan.But at the end of the day, Deshpande was, to quote from ‘Jhimma’, noted theatre person Vijaya Mehta’s autobiography, a total cultural personality, a Pied Piper. “Deshpande was a ‘bahurupee’ that was his strength,” observed Gajendragadkar.Brickbats came Deshpande’s way even during the high noon of his popularity, the 1970s, when Dalit literature and the ‘Little Magazine’ crusade hurled a formidable challenge at the Marathi literary establishment. While the Leftists lampooned him for his “middle class sensibilities”, some thought his world view was too naive to understand the stark realities of the post-Cold War era. “But, a writer can’t be ordered around or expected to please every section of the readership,” said Gajendragadkar.Rajadhyaksha pointed out that Deshpande had taken a firm stand against Indira Gandhi’s Emergency in 1975. “He translated Jayaprakash Narayan’s ‘Prison Diary’ into Marathi when India was reeling under police raj,” she said. Also, he praised prominent Dalit writers such as Daya Pawar and Yashwant Manohar. Deshpande could transcend barriers of language to explore new cultures. He spent several months at Shantiniketan in the 1970s and gifted readers a lucid translation of Tagore’s ‘Chelebela’. Moreover, Deshpande’s major plays are adaptations of foreign works, the most celebrated being ‘Tee Phulraani’, the Marathi avatar of Shaw’s ‘Pygmalion’. Deshpande loyalists cite such instances as proof of his abiding social concern.Stating that not all writers can raise slogans, Kale said, “Deshpande’s handsome donations to social and cultural organisations, like Baba Amte’s ashram, is testimony to his commitment to social causes.” However, controversies hardly diminished Deshpande’s eminence as Maharashtra’s conscience keeper. “If Maharashtra gave prominence to literature and theatre over politics, it was thanks to Deshpande’s stature as a writer and his squeaky clean reputation,” said critic Meena Waishampayan. Kale thinks Marathis turn nostalgic today about the Deshpande era as they find no one to keep alive his legacy. Sunita, Deshpande’s wife and a renowned writer, played a significant role in shaping her husband’s career, Waishampayan added.Old-timers recalled how Balasaheb Thackeray slammed Deshpande following the latter’s criticism of the Sena-BJP government after he received the Maharashtra Bhushan, the state’s highest civil honour, in 1996. Thackeray withdrew his remark after widespread public ire, drove down to Pune to offer his regrets to Maharashtra’s cultural ambassador, and his school teacher. Deshpande had the last laugh, always.

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