Realism and the Realist

I was 13 in 1973 ... Beshak Masjid Mandil Todo ( Maksud dia , roboh lah masjid dan Kuil , .... )

Form One , merge dengan budak dari SK ke SM , mereka dah pi remove class se tahun , so depa tua dari aku 1 tahun , but schools day ... friends comes and go , friendship remain forever ...
mana ada , ada duit , ada prestige kawan ramai lah yang mengaku kawan , jika tak ada apa , kawan pun tak mengaku kawan , kawan lah tu definasi aku ...

Apa pun , kawan kawan yang dulu dan sekarang ....

Narenda Chanchal tak dapat nama , yang dapat nama Bobby , tapi Bobby tu betina tu , bukan hero pun..

booley lah , booley lah , bukan boleh lah , mangkuk hayun

and then this crap

mera dil mera imaan

Realism and the Realist

Realism is an aesthetic mode which broke with the classical demands of art to show life as it should be in order to show life "as it is." The work of realist art tends to eschew the elevated subject matter of tragedy in favour of the quotidian; the average, the commonplace, the middle classes and their daily struggles with the mean verities of everyday existence--these are the typical subject matters of realism.

The attempt, however, to render life as it is, to use language as a kind of undistorting mirror of, or perfectly transparent window to, the "real" is fraught with contradictions. Realism in this simplified sense must assume a one-to-one relationship between the signifier (the word, "tree" for example) and the thing it represents (the actual arboreal object typically found in forests). Realism must, in effect, disguise its own status as artifice, must try and force language into transparency through an appeal to our ideologically constructed sense of the real. The reader must be addressed in such a way that he or she is always, in some way, saying, "Yes. That's it, that's how it really is."

Realism can never fully offer up the world in all its complexity, its irreducible plenitude. Its verisimilitude is an effect achieved through the deployment of certain literary and ideological conventions which have been invested with a kind of truth value. The use of an omniscient narrator who gives us access to a character's thoughts, feelings and motivations, for example, is a highly formalized convention that produces a sense of psychological depth; the characters seem to have "lives" independent of the text itself. They, of course, do not; the sense that they do is achieved entirely by the fact that both the author and the reader share these codes of the real. The consensual nature of such codes is so deep that we forget that we are in the presence of fiction. As Terry Eagleton notes,

Bahasa Mudah .. apa yang aku habaq , betui lah . itu lah sebenarnya .. Real .

Real ... tapi , payah lah orang nak percaya , tapi manusia bersangka baik , dalam agama Islam pun suruh begitu , kanna kanna .. buah kana... , Vespakana , Datsun buah kana...