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State government at this stage shall not insist on making language compulsory. We are of the prima facie view that matter with respect to Kannada Language being made compulsory language in higher studies on the basis of National Education Policy, is a question which requires consideration. His creativity and spontaneity were incredible.A division bench of Chief Justice Ritu Raj Awashti and Justice Sachin Shankar Magadum said, " We have considered the submissions. Tata would then begin to spin the entire tale in the next instant. I could, for example, say, ‘Today, I want a story in which there is ondu rajakumari, ondu rakshasa, ondu kaadu’ (a princess, an ogre and a jungle). He would give me a choice on the theme of the day’s story. That story would go on for about an hour. At about 8 in the evening, Tata would tell me a story. And “the best thing that happened during the day was a ritual we enacted just before bedtime. So Tata would put me on his lap, hold my hands and legs tight and force me to drink it.” Karanth took along Malavika for his evening walk to Puttur. I also recall there was a bitter medicine that I refused to take. “When I was sick with fever and cough, he would hug me to his chest and pat me through the night. Her father was also mother to her, says Kshama. Malavika, Kshama and Ullas narrate the various stages of their life. All these individuals had a lasting influence in shaping the persona of Shivaram Karanth. Above all, it brings back to public domain people from Dakshina Kannada who have been forgotten in the course of history: Gulvadi Venkata Rao, Karnad Sadashiva Rao, Vombatkere Pandrang Rao, Kudmul Ranga Rao and many more who were leaders in social reform movements. It records friendships, laughter and sacrifices that existed for their own sake. The book is rich with people, stories and pursuits. Ullas Karanth, Malavika Kapur and Kshama Rau, Westland Publications, 226 pages, ₹699. When Leela passed away, busloads of people came to pay their last respects. She angrily retorted: “Who will bathe me, you?” Leela indeed gave her a bath, a fresh set of clothes and hot food.
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A mentally troubled woman who came into Balavana was stinking. In their home Balavana, Puttur, it was a continuous flow of people. She never staked claim in Karanth’s share of sunshine though – she was quietly in the audience when Karanth was up on stage. The greatness of Leela was therefore her own, and that which added to the greatness of Shivaram Karanth. She made herself available to everyone with an all-embracing kindness and generosity. She’d hold long conversations with writers, scientists and intellectuals who visited the Karanth household, and had a deep commitment to society and fellow human beings. She was forthright, read Russell and Freud in her youth, sang, danced and acted in plays. Standing by Karanth in all his social and cultural missions, Leela was an enlightened person. The other important part of Karanth’s life is Leela and the children bring her alive from their memories poignantly. Ba and Bapu were at once a collective, and yet individuals in their own right-as a reader I couldn’t help making this connection. She had a shorter innings, the emotional impact of the ups and downs in family life had a devastating effect on her health, but none of it takes away the fact that she was memorable. If the ‘Karanth world’ or the ‘Karanth concern’ gained such conviction and force in the public life of Karnataka, Leela Karanth’s contribution is immense. Exceptional that she is, the three children of Shivaram and Leela Karanth paint an intimate and moving portrayal of their mother. Shivaram Karanth may well be the nucleus of the universe that unfolds in this book, but his wife Leela Karanth emerges as the hero of their lives.
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The cover of Growing Up Karanth (Westland, 2021) has the photograph of the extraordinary literary genius Shivaram Karanth: a clear indication that he is the protagonist of this work by his three children-Malavika Kapur, Ullas Karanth and Kshama Rau-who are in their 70s now.