Words of Warning

Business in Burma exists without sufficient regulation by the ruling military junta. Doing business is not easy, and success comes o­nly to a select few. o­ne avid reader of Burmese literature acknowledged that despite the popularity of the “success books,” the post-1988 era has been o­ne of failure. And failure is the mother of depression, he added.

Perhaps this explains the widespread popularity of religious texts in Burma after 1988. “You should buy o­ne of U Zawtika’s books whenever you buy o­ne of Pe Myint’s,” the reader said. The latter author is known for his many success-oriented novels, while the former is a Buddhist monk who writes about meditation-based relaxation techniques. “You have to take some kind of meditation after you have failed,” the reader quipped.

Burma’s ruling junta proudly announces that the country’s economic growth exceeds 10 percent, though most Burmese live well below the poverty line. o­ne short story writer said that the Burmese feel that they have no way out, and so seek comfort in mysticism.

“That is why they go to the fortune tellers. That is why the occult journals and magazines sell a great deal,” the writer said.

Some critics say that non-fiction writers have gained the upper hand in modern Burmese literature, citing the popularity of works by Nandar Thein Zan, Maung Sue San, Kyaw Win and Ko Tar. Nandar Thein Zan writes philosophical articles. Maung Sue San and Kyaw Win focus o­n global trends and political economy. Ko Tar is best known for works o­n alternative thinking.

“Those who are not satisfied with the formal education love to read Ko Tar and Kyaw Win,” said the well known writer in exile May Nyein. “But they are not enthusiastic about reading fiction.”

Before 1988, the most influential Burmese authors were novelists and short story writers. In subsequent years, writers of non-fiction became preeminent, leading some to worry about the downfall of Burmese literature.

Paragu, o­ne of Burma’s most respected writers, has noted that Burmese literature as a whole has lost influence since 1988. The poet Dagon Taryar agreed, saying that literature suffered after the rise of Ne Win—a situation that has o­nly gotten worse in the last two decades, and which he attributes to the country’s strict censorship laws. “No freedom, no development,” he said.

The goals of modern Burmese literature have become confused, according to Dagon Taryar, and he feels uncertain about its future.