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Forfour decades Karnad composed plays, often using history and mythology to tackle contemporary issues. He translated his plays into English and received acclaim. His plays have been translated into some Indian languages and directed by directors like Ebrahim Alkazi, B. V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur, Satyadev Dubey, Vijaya Mehta, Shyamanand Jalan, Amal Allanaa and Zafer Mohiuddin.[5]

Girish Karnad was born in Chitrapur Saraswat Brahmin family[6] of Matheran, in present-day Maharashtra, in 1938. His mother Krishnabai (ne Mankikar) was a young widow with a son who belonged to a poor family. Since it was necessary for her to earn a living, she began working as a nurse and cook (general housekeeper) for the bedridden wife of a certain Raghunath Karnad, a doctor in the Bombay Medical Services. He was from the Konkani speaking Chitrapur Saraswat Brahmin community.[7]

Some five years later, and while the first wife was still alive, Krishnabai and Raghunath Karnad were married in a private ceremony. The marriage was controversial not because of bigamy (it was legal until 1956 for a Hindu man to have more than one wife) but because of the prevailing social prejudice against widow remarriage. Therefore, the wedding was held privately, and under the dispensation of the Arya Samaj, a reform organization that condones widow remarriage. Girish was the third of the four children born thereafter.[8]

Karnad's initial schooling was in Marathi. Later, after his father was transferred to Sirsi in the Kannada-speaking regions of Bombay Presidency, Karnad was exposed to travelling theatre groups and nataka mandalis (theatre troupes), which were experiencing a period of efflorescence during the iconic Balgandharva era .[9] As a youngster, he was an ardent admirer of Yakshagana and the theater in his village.[10] His family moved to Dharwad in Karnataka when he was fourteen, where he grew up with his two sisters and a niece.[11]

When Karnad started writing plays, Kannada literature was highly influenced by the renaissance in Western literature. Writers would choose a subject that looked entirely alien to manifestation of native soil. C. Rajagopalachari's version of the Mahabharata published in 1951, left a deep impact on him[15] and soon, sometime in the mid-1950s, one day he experienced a rush of dialogues by characters from the Mahabharata in Kannada.

"I could actually hear the dialogues being spoken into my ears ... I was just the scribe," said Karnad in a later interview. Yayati was published in 1961, when he was 23 years old. It is based on the story of King Yayati, one of the ancestors of the Pandavas, who was cursed into premature old age by his preceptor, Shukracharya, who was incensed at Yayati's infidelity.

Yayati, in turn, asks his sons to sacrifice their youth for him, and one of them agrees. It ridicules the ironies of life through characters in Mahabharata. The play in Hindi was adapted by Satyadev Dubey and Amrish Puri was lead actor for the play. It became an instant success, immediately translated and staged in several other Indian languages.[14]

Karnad found a new approach of drawing historical and mythological sources to tackle contemporary themes and existentialist crisis of modern man through characters locked in psychological and philosophical conflicts. His next was Tughlaq (1964), about a rashly idealist 14th-century Sultan of Delhi, Muhammad bin Tughluq, and allegory on the Nehruvian era which started with ambitious idealism and ended up in disillusionment.[15] This established Karnad, now 26 years old, as a promising playwright in the country. It was staged by the National School of Drama Repertory under the direction of Ebrahim Alkazi, with the actor Manohar Singh, playing the visionary king who later becomes disillusioned and turns bitter, amidst the historic Purana Qila in Delhi. It was staged in London by the National School of Drama for the Festival of India in 1982.[5][14]

Hayavadana (1971) was based on a theme drawn from The Transposed Heads, a 1940 novella by Thomas Mann, which is originally found in the 11th-century Sanskrit text Kathasaritsagara. Herein he employed the folk theatre form of Yakshagana. A German version of the play was directed by Vijaya Mehta as part of the repertoire of the Deutsches National Theatre, Weimar.

Naga-Mandala (Play with Cobra, 1988) was based on a folk tale related to him by A. K. Ramanujam, brought him the Karnataka Sahitya Academy Award for the Most Creative Work of 1989. It was directed by J. Garland Wright, as part of the celebrations of the 30th anniversary of Guthrie Theatre, Minneapolis. The theatre subsequently commissioned him to write the play, Agni Mattu Male (The Fire and the Rain). Though before it came Taledanda (Death by Beheading, 1990) which used the backdrop, the rise of Veerashaivism, a radical protest and reform movement in 12th century Karnataka to bring out current issues.[5][16]

Karnad made his acting as well as screenwriting debut in a Kannada movie, Samskara (1970), based on a novel by U.R. Ananthamurthy and directed by Pattabhirama Reddy. That movie won the first President's Golden Lotus Award for Kannada cinema.

He provided the voice of A. P. J. Abdul Kalam, former President of India, in the audiobook of Kalam's autobiography by Charkha Audiobooks, Wings of Fire. He narrated and recorded a collection of folk and mythological stories as 'Karadi the Bear' for the children's book publisher Karadi Tales (Charkha is also an initiative of Karadi Tales for young adults).

At the Tata Literary Festival held in Mumbai in 2012, Karnad was invited to speak about "his life in theater" in an hour-long session. During his speech, he lashed out at V. S. Naipaul for his "antipathy towards Indian Muslims". Naipaul had earlier been conferred the Lifetime achievement award by the festival's organisers. Karnad also criticized the organizers for having honored Naipaul. The audience, which had gathered to hear Karnad speak, had mixed reactions to the speech. Some, like organizer Anil Dharker, tried ineffectually to steer the speech toward less controversial waters. Others were amused by the episode, and some commented on the research and logic that had gone into the speech (unfortunately overshadowed by its 'scandalous' nature).[23]

In November 2015, during celebrations marking the anniversary of 18th-century Muslim ruler Tipu Sultan's birth, Karnad stated that Bangalore International Airport should have been named after Tipu Sultan instead of Kempe Gowda. This created a furore among many people. Karnad apologised the following day.[26][27]

While working in Madras for Oxford University Press on his return from England, Karnad met his future wife Saraswathi Ganapathy at a party. They decided to marry but the marriage was only formalised ten years later, when Karnad was 42 years old. Saraswathi was born to a Parsi mother, Nurgesh Mugaseth, and a Kodava Hindu father, Kodandera Ganapathy.[28] The couple had two children. They lived in Bangalore.[5] He was extremely fluent and well-versed in Marathi, Kannada, Konkani, Hindi, and English.

The fifth year of the Gutenberg-e program brought a fresh sense of encouragement, as well as the standardization of many procedures and protocols. At the past two workshops for authors at Columbia University, we have noted a significant improvement in tone as a growing number of books go online, a number of the authors are advancing toward tenure, and the project as a whole seems to be gaining momentum.

The submissions ranged widely over a large number of regions and time periods. We received 20 offerings in North American history, 17 in European history, 3 transatlantic studies and one each for Asia and Africa. The periods of study skewed rather heavily into the modern period, with 27 dissertations covering the long 20th century, 8 falling in the period between 1700 and 1900, and 7 medieval studies. However, when compared to our surveys of new PhDs being produced, European history was actually overrepresented relative to the pool of possible applicants.

Reviews of the books have started to appear in the American Historical Review and the H-net discussion networks. Those reviews, on the whole, have been very positive and have treated the electronic publications just as they would print publications. The Gutenberg-e website includes links to those reviews. The Gutenberg-e site has also received favorable mention in a number of library journals and surveys of electronic publishing projects.

Arnita Jones, Executive Director of the AHA continues to oversee the management of the competition aspect of the program. Robert Townsend, Assistant Director of Research and Publications manages the day-to-day operations of the competition with the help of research associates Deirdre Murphy (until August 2003) and Elizabeth Fairhead (from August 2003 to present). Elizabeth, who spent a number of years working in electronic publishing before coming to the AHA, came on staff when Deirdre moved on to pursue her dissertation research full time.

Overall, finances for 2003 are running behind our budget projections to date. Fellowships and honoraria were both behind schedule for 2003. The 2002 prize committee selected only three winners, therefore fewer fellowships were disbursed this years. Because of the later deadline for submissions for the 2003 competition, and the corresponding delay in honoraria payments to the prize committee, no honoraria monies were disbursed in 2003. Please note that the budget for 2004 includes only honoraria payments for the 2003 committee, as we anticipate payments for the 2004 committee to be likewise disbursed in 2005.

Content WarningThis page contains words or ideas that might be offensive to modern readers. To maintain the accuracy of historical documentation, the content is reprinted in its entirety as it was originally published. This accurate reproduction of original historical texts therefore contains words and ideas that do not reflect the editorial decisions or views of the American Historical Association.

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