Thanks for the nice review but the critical aspect seems to be stemming from an erroneous translation of Tarjama as Analysis. Tarjama is more of an Account or Interpretation while Bishleshana is the right word for Analysis. So, we can forget the objection and enjoy the fine prose that Surya babu weaves and highly insighful connections he makes. With good wishes for his forthcoming book on Odia film songs, [TNM55]
When I Google Tarjama, it has several meanings including transfer. And the second aspect is Surya babu’s account is actually replete with analytical observations. That they are limited to a select parameters is another matter. So without expecting any further (higher) discourse, it can be said that Tarjama in the subtitle is not out of place. Thanks. [TNM55]
One would ordinarily agree but for the word factual which, viewed critically, turns out to be a misnomer. Surya Deo informs that a particular song is indebted to some folk style, but it’s not a self-evident fact. Thus, it’s through his idiosyncratic observations that they come out as facts to the reader. On the other hand, he might have identified some song as touching the hearts of a large number of listeners based on its lyrics which may not be really factual. Besides, the book also contains some errors which we treat as facts till the new book is published.
It’s good that this conversation is prompting us to examine Deo’s text and its sub-texts more closely but to say that it lacks analysis would amount to denying him of any originality. [TNM55]
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regards
Surya Deo.]
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Part of the Bana pakhi song
