Newspapers of different kinds

Number of View: 508

As a part of graduate course of media studies at the International Summer School 2010 at the University of Oslo, I visited, along with classmates, two different newspapers of Norway. Where as Klassekampen, a lowly circulated socialist daily, pride being a serious newspaper with clear ideological stance, Dagblalet, the third-largest selling tabloid pride itself in being innovator and economically sound.

The offices of the newspapers reflect their position. Klassekampen has a relatively small office spread in two floors with everything put tightly together. To accommodate 15 of us, the acting news editor, Pål Hellesnes, briefed us in the canteen in a semi-formal dress.

Dagbladet
was housed in two big floors of a building facing the sea and its editor-in-chief Lars Helle briefed us in a meeting hall with high-tech projection facilities (and, o yes, served us the drinks and fruits) in formal attire.

While both the journalists put forward their views bluntly, sometime even harshly, there were striking difference between their statements and highlighted basically the difference of a serious yet non-neutral perspective newspapers and a market-driven best selling newspaper.

Hellesnes pointed that the paper has long ceased to be a party paper and their perspective is only reflected in opinions, letters and editorials. “The news are factual, accurately reported as per the principals of journalism,” he said adding that the newspaper has been able to increase its subscription in last eight years by marketing campaigns despite threats from digital media.

Helle, describing the long legacy of the newspaper, was blunt that they need to put something on the front page that forced people to pick the newspaper as 97.5% per cent of its sales was single-copy sale. “We have been widely criticized for our expression because we need to sale everyday,” he said. “We need to be sharp on front.”

Dagbladet published a drawing of Prophet Mohammad depicting as pig long after the ‘Cartoon Controversy created by Danish newspaper disappeared’ which generated much of fuss in Norway. “It was news and we can’t protect any religion,” he said adding that ‘the newsroom knew that the news was going to create controversy.’ He defended it with freedom of expression (Although I have nothing to say, I believe it could have been avoided for the better).

ONLINE THREAT

Dagbladet circulation is going down. It was 230,000 in 1994, a year before the paper becomes first mainstream newspaper to jump into the digital edition and now it’s 105,000 copies a day.

According to Helle, when he became the editor-in-chief, he promised that the decrease would slow down. Due to it, they cut down staff and integrated the website into its newsroom to cut the costs.

For Hellesnes, Klassekampen has ignoring the threats from digital media in lack of economic model. “Our subscription is increasing and we don’t want to go to online unless there is a economic model.”

It makes a quite interesting comparison!

OWNERSHIP & CREDITIBILITY

Dagbladet has quite an interesting ‘story’ for their attempt to keep up the creditability. When the newspaper went tabloid in 1983, there were concerns that the change in size may affect their credibility.

And, after much of discussion, they decided to form Dagbladet stiftelse – a foundation of independent people that has the authority to turn down or approve board’s decision on two matters – the appointment of the editor-in-chief and secondly, any change in the proclamation that the paper prints everyday on the top of second page. The foundation’s duty is to ensure the continuation of the paper’s legacy.

Isn’t it quite interesting?

[Slashdot] [Digg] [Reddit] [del.icio.us] [Facebook] [Technorati] [Google] [StumbleUpon]
Posted in Journalism & Media | 2 Comments

A feminist writing

Number of View: 265

[Review of Samrat Upadhyay's Buddha's Orphans]
Samrat Upadhyay’s new novel – Buddha’s Orphans – is atypical to his earlier books. This isn’t because his novel is as good as his earlier three books but rather because it’s a book that, thanks to criticism, doesn’t have excessive sex.

Upadhyay had announced that his forthcoming (this) book would be “something different,” and he has lived by his words. Buddha’s Orphans has a kind of aesthetics in it that satisfies literary hunger despite being a long book with its events stretching over a long period – four generations of characters, to be precise.

Raja, the protagonist, and Nilu, the girl he is fated to love and marry, not only provide two contrasting characterization, but the author has also tried to explore, through them, the meaning, boundary and values of various types of relationships, and their contrasting relationships with their families.

Despite being thrown away, Raja feels constantly connected to the unknown mother and tries to envision the ideals of motherly love within the love he finds from women – his foster mothers – one of whom is a poor street vendor, and the other an affluent childless woman with a mental illness, as well as his wife and his mistress.

Nilu, a daughter of privilege who has lost her father, creates a strong bond with Raja, the son of the serving woman, while detesting the relationship with her mother.

The story begins in a fascinating way: how a beggar discovers a newborn infant and how a street vendor, Kaki, becomes his foster mother. The descriptive beginning of the novel gives a perfect idea of what the city of Kathmandu looked like a few decades ago. In addition, the author, who directs the MFA program at Indiana University and teaches creative writing there, has done a masterful work to keep readers interested in what can be the most boring section of any novel – the setting.

Kaki’s love for the child forces her to work for an affluent family that promises her child a better education but runs away for she feels like the child is being snatched away from her. Her new job, in a rich family, lets the protagonist meet the woman of his destiny. Raja is then kidnapped, and Kaki is unable to get him back as the family bribes a hospital official to make papers to claim the child as their baby.

As destiny would have it, Raja and Nilu meet, fall in love and run away from their families to live in a rented room. Whereas Raja continues to search for the meaning of life and love, Nilu holds the family together with her job. The happiness brought by the birth of their son, and the grief brought by his demise, along with their mid-marriage crisis due to their inability to accept each other in the way they are, creates a void in their life; and they look for “alternative love” as Raja lives with a mistress, and Nilu tries a relationship with a young man.

Upadhyay ensures that they keep together, for their necessity and love, and that her second child, a girl, keeps them tied. The girl’s travel to the US and her return, impregnated by a man she had no serious relationship with, and her acceptance into the family, completes the novel in a happy note – just as what readers like.

The bare storyline doesn’t, however, indicate the beauty of the book’s woven words, together with the political, social and historical backgrounds of Nepal giving a tasteful reading that keeps readers stuck to it. No story is great; the greatness of literature lies in the mastery of words to weave the presentation of the story; and in Buddha’s Orphans, Upadhyay indicates he knows it better than any other Nepali writer.

The novel could pass off as a feministic writing, as Nilu has more protagonistic characteristics than the central character of Raja.

Upadhyay was criticized, mainly in Nepal, for his overly sexual and sometimes unrealistic portrayals of Nepali society in his stories in Arresting God in Kathmandu (2001), the novel The Guru of Love (2003), and the collection of short fiction in The Royal Ghosts (2006). But in Buddha’s Orphans, he has neither used excessive sex nor has portrayed the society unrealistically.

The novel justifies the San Francisco Chronicle’s praise for Upadhyay – “a Buddhist Chekhov…with a sense of cyclical nature of life and its passion and that makes Buddha’s Orphans an absolute must-read from an author who has strode forward to redefining Nepal to the world by the means of words.”

(As published in Republica)

[Slashdot] [Digg] [Reddit] [del.icio.us] [Facebook] [Technorati] [Google] [StumbleUpon]
Posted in Book Talk | Leave a comment