Bone China by Roma Tearne

Biography

Roma Tearne is a Sri Lankan born artist living and working in Britain. She arrived, with her parents in this country at the age of ten. She trained as a painter, completing her MA at the Ruskin School of Drawing and Fine Art, Oxford. For nearly twenty years her work as a painter, installation artist, and filmmaker has dealt with the traces of history and memory within public and private spaces.

In 1998 the Royal Academy of Arts, London, highlighted one of her paintings, “Watching the Procession,” for its Summer Exhibition. As a result her work became more widely known and was included in the South Asian Arts Festival at the Ikon Gallery, Birmingham in 1992.

In 1993, Cadogan Contempories, London, began showing her paintings. In 2000, the Arts Council of England funded a touring exhibition of her work. Entitled ‘The House of Small Things’, this exhibition consisted of paintings and photographs based on childhood memories. They were the start of what was to become a preoccupation on issues of loss and migration.

She became Leverhulme Artist in Residence at the Ashmolean Museum, Oxford in 2002 and it was while working at the Ashmolean, as a response to public interest, that she began to write.
In 2003 she had a solo exhibition, Nel Corpo delle città (In the Body of the City), at the MLAC Gallery in Rome.

In 2006 she was awarded a three-year AHRC (Arts and Humanities Research Council) Fellowship, at Brookes University, Oxford where she worked on the

relationship between narrative and memory in museums throughout Europe.

Out of this work came Watermuseum a film set in Venice which was shown at the Coastings exhibition in Nottingham in 2008. In 2008 she received funding from the Arts council of England in order to make a film on memory and migration. This film is due to be premiered in 2010.

Her second novel Bone China was published in April 2008 and her third Brixton Beach will be published in June 2009.

She will be having her first solo exhibition since 2001 at the 198 Gallery, Brixton at the same time.
Roma Tearne is currently a Creative Writing Fellow at Brookes University, Oxford.

Roma Tearne: The enemy within

Writer and painter Roma Tearne saw Sri Lanka's civil strife played out within her family. Julie wheelwright talks to her about the arts of memory and survival

Roma Tearne gives me a wry smile over our lunch at a local bistro near her Oxford home. "You know," she says, leaning confidentially over the onion soup, "You didn't ask me anything about the civil war." For a moment I blanch before she laughs. "What a relief! I get so tired of being asked about the obvious." The family of the Sri Lankan-born writer and artist left Colombo in the early 1960s, when the former British colony had already seen a series of violently suppressed uprisings that left many civilians dead.

The conflict, which escalated into a full-blown civil war between Tamil rebels and the Sinhalese-dominated state in 1983, is the background to her first novel, Mosquito, and plays a central role in her new book, Bone China (HarperPress, £16.99). In both, Tearne's characters are shaped by war. Whether she writes about a suicide bomber, an immigrant torn apart by longing for the past or a matriarch whose children flee the country, all are affected by forces beyond their control.

But Tearne has the gift of scratching beneath the surface of the headline events to reveal war's subtle and devastating effects. In Bone China, she explores three generations of the De Silva family, who see the decline of their tea plantation in the political limbo between independence after 1948 and the rise of a Sinhalese government that imposes draconian language laws. Three sons head for Britain, their idealised land of refined literary culture.

What they encounter in 1960s London, however, is indifference and disappointment. As Savitha, wife of Thornton de Silva observes, "We are nobody... we are displaced people." Life for the family in Colombo is little better as Grace and her alcoholic husband, Aloysius, struggle to survive against the increasing violence and hatred towards the Tamil minority. They pour all of their hopes into the next generation, their only grandchild Anna-Meeka.

At the launch for Bone China, Tearne says she tackled the issue of autobiographical elements in her novel head-on: "The story of the De Silva family evolved from traces of real incidents and real events." Her parents' "terrible sense of loss stayed with them until they died". They never returned to Sri Lanka, and the civil war was played out in microcosm between their families. Her Tamil father was a poet who wrote for a local newspaper on which her mother, a Sinhalese, was a journalist. They secretly corresponded for years, knowing that because of their religious and ethnic differences a relationship was forbidden.

Finally, they met and fell in love. "My mother eloped in the middle of the night," says Tearne. "My father met her on the station platform in Colombo, wearing dark glasses and looking devastating."

By crossing this divide, Tearne's parents were made outcasts. "How naive of them to think that their families would accept them," she says, a hand fluttering up into the spring sunshine. Her mother's family disowned their daughter, the father demanding that she should be banned from coming within a mile of his grave. "My uncles, her brothers whom she adored, would have nothing to do with her." The rupture even affected Tearne, who as a child spoke English, the lingua franca, rather than Sinhalese or Tamil. "I got caught right in the middle of it," she says. Meanwhile, her father was struggling to find work because he belonged to the Tamil minority.

"My father was being persecuted, and both families hated each other and hated the fact that they had married." Her parents decided to emigrate to Britain, the country of George Eliot and hope. Or so they thought. She remembers her father weeping when his UK visa was denied. "I was seven or eight. He was this very beautiful man and tears were pouring down his face." But when the family finally left on a rough 21-day ocean crossing, with their Tamil relatives following them over the years, the families remained unforgiving. "My mother's family felt betrayed when she left. Not only had she married a Tamil and was bringing up a child speaking English... but she left, like a rat on a sinking ship," says Tearne.

All these elements are reflected in the fictional relationship between Savitha and Thornton, who settle in south London and attempt to carve out a life. They feel a poignant loss of status. But their 10-year-old daughter, Anna-Meeka, who goes to the local state school, has little trouble fitting into British society. Tearne admits that this reflected her own experience.

"What I wanted more than anything else was straight hair. Naturally, I wanted it to be blonde and I wanted to speak with a cockney accent, which I managed to do," says Tearne, who now speaks a perfect RP. The accent was just another way to fit in among her peers, who were incredibly accepting of her. "I thought Brixton was paradise – I really thought it was wonderful."

Ironically, Tearne saw her parents as "huge snobs" who found the adjustment to living in Britain much more difficult. "I didn't want to be like them," she says. "It was the old, old story of children rebelling, but they took it so terribly personally because to get here had cost them so much."

Tearne did, inevitably, encounter more than just "open-hearted generosity" as the child of immigrant parents. After school, she took up a place at a teacher-training college in Rugby. But when she wrote an essay on Charles Dickens, a lecturer accused her of plagiarism because, he said, "if I could write like that I wouldn't be at this university, I'd be at Oxford".

Tearne was so appalled that she dropped out and soon after married her husband, an English professor. It wasn't until her youngest child was a toddler that she went back to university and, rather than reading English, studied painting at the Ruskin School of Drawing and Fine Art in Oxford. Since then, she has steadily sold her work, had exhibitions at the Royal Academy, won a prestigious Leverhulme residency at the Ashmolean Museum, and currently has a fellowship at Oxford Brookes University.

Recently, Tearne has rented a studio, where she plans to begin painting again after four years writing fiction. "I'm longing to physically touch the paint and to stretch a canvas," she says. But, she adds wistfully, "I might not have anything there; I might not be able to work on my next novel and paint at the same time."

There is a strong connection for Tearne between the themes of loss, longing and memory, central to her fiction and art. She is working on a project about found objects, and a photography exhibition on the memory of the displaced in Bradford, drawing on the neighbourhood where she grew up. Back at Tearne's home, she produces an album of photographs which show the family house in decay; the garden, once her father's greatest pride, now blousy and overgrown. It is a vivid and sensual illustration of the loss and longing Tearne captures in her fiction. "The writing and the visual work," she says, "they're constantly working together." Even Bone China grew from a painting, and Tearne's desire to work on her themes in another medium.

A few months after her mother's death in 1993, she painted a woman with her face hidden and only the back of her head visible. One night, coming home, she saw her painting through the window. "I thought, that's my mother, and I cried for the first time since her death." It was her mother's idealised image of home that contrasted sharply with her family's rejection, and the violence of the civil war, that moved her to begin writing. But she set aside this first story, and instead began Mosquito, a novel about a middle-aged Sri Lankan writer who falls in love with a 17-year-old artist. This first novel dealt much more directly with the civil war.

For Tearne, however, there is something more elemental at work than the way that political violence and racial hatred has distorted lives. "What I'm really interested in is the slippage between the gaps of daily interaction – the things we don't see – and the half-hidden suppressed truths, the lies we tell ourselves." As a child, she felt constantly in the dark, having to guess at the real source of the pain that her parents carried. Even now, she says, her parents' families in Sri Lanka stubbornly cling to their sense of betrayal. After Mosquito was published, she rang her Sinhalese relatives to tell them. "There was complete and utter indifference," she says. "The bitterness is still pretty endemic."

http://www.independent.co.uk/arts-entertainment/books/features/roma-tearne-the-enemy-within-810743.html

World War II, 1942 to 1945

During World War II, Ceylon, as featured in the movie "Bridge on the River Kwai", was of major logistical importance for the British. In 1942 the Japanese airforce bombed Colombo and Trincomalee. In 1944 a Japanese submarine was to land four Ceylonese members of Hikari Kikan, trained in Penang, on their native island, with the task of reporting intelligence via radio transmitter. However, they were landed near Madras in southern India, where they were caught and executed by the British. Overall, Ceylon was firmly under British control and far away from military action; from her ports at Colombo and Trincomalee the fleet recapturing Malaya and Singapore from the Japanese in 1945 set out.
The Cocos Islands in 1942 experienced the mutiny of 15 members of the Ceylon Defence Force under Captain G. Fernando; the mutiny was quickly subdued.

http://www.zum.de/whkmla/region/india/ceylon19311948.html