Bodhini Samaratunga is an accomplished emerging writer from Sri Lanka who is now based in Sweden. Her writing is firmly centred on social change, powered by her extensive experience as a medical professional working with marginalised populations. Bodhini is a strong advocate for purposeful writing, asserting that it transcends mere leisure.

The Asian Review proudly features her in the full-length interview series, The Opinion. 

Q: You are a medical professional with years of writing experience, and you are now represented by The Asian Literary Agency, which establishes you as a professional author. How would you describe the dynamic interaction between the chemistry of these two professions? Have you ever encountered situations where your role as a doctor began to overshadow your identity as a writer? If so, how did you handle those situations?

A: Literature has always been more than just a profession for me; it has been a way of life since childhood. As I grew older, my passion for writing and reading intertwined with my calling as a healer. I firmly believe that medicine and literature are connected in numerous ways, helping to cultivate the humane and empathetic aspects of the writer while contributing to the betterment of society. 

Both literature and philosophy have expanded my understanding of life’s complexities, including illness, suffering, death, and healing. Throughout my journey as a doctor and a writer, I have gained deeper insights into the psychosocial dimensions of healthcare practices. I recognised the significance of ‘medical storytelling’ during my early years working in the post-war regions of northern Sri Lanka. 

As doctors, we listen to patients’ narratives to understand the underlying factors in their medical history. While I am required to document medical information and facts—especially when aiming to educate the public—I often find myself drawn to storytelling, even when it is not explicitly necessary.

Even when I wrote non-medical content in recent months, I had a tendency to go beyond what was required and explain medical information as I used to do in my past series of medical stories. The healer in me often collides with the medical material I write in a creative narrative, and it takes a considerable amount of persuasion to bypass that. As I am also into academic writing and my area of expertise is related to public health – I often find myself going the extra mile when I’m writing a story with a pinch of medical scenario in it. 

I wouldn’t say that the doctor in me dictates the writer, but the interaction between the two is more like an aged and experienced medically-qualified master is inspiring a young writer to develop, and hence, rubbing off her wisdom in the inspiration provided to the young writer, who, with choice and reverence, incorporates it into her writing.

Q: According to your experience, what is the difference between a directly published author and an author represented by a literary agency?

A: It has been a lonely walk throughout the initial part of my journey as a writer, and when it came to finding publishers and editors and carrying out publicity campaigns, it was a tough call. However, this year, I was fortunate to be represented by a literary agency, empowering me to express my beliefs through my works. Their support has given me a sense of security against the often hidden manipulations of the publishing industry. With their assistance, I have become much more informed about my author rights and the intricacies of contracts for long-term projects such as translations, cinematic adaptations, and digital platforms. Previously, I had not worked with long-term or strategic goals in my writing, but now I receive guidance on everything from manuscript refinement to marketing, as well as support in expanding opportunities beyond traditional publishing. I also feel more confident in asserting my demands, which in turn adds credibility to my work. Since this concept is quite new to the Sri Lankan literature scene, I have faced questions from various writers and publishers on this topic. Nevertheless, I have found it significantly easier to navigate the publishing industry and gain international recognition for my work.

Q: In one of your interviews, you mentioned that you write for social change. We would like to hear your insights on the potential of art to inspire positive societal transformations. Specifically, we are interested in your views on areas where art succeeds in achieving this goal and where it falls short, along with the reasons behind these outcomes.

A: Art has always been a powerful tool for driving social change, and this change can take many forms. I aim to focus my work on fostering positive societal transformations, as I believe that art can be used to raise awareness, shift public opinion, and amplify the voices of those who are often unheard.

Since I began my career as a medical doctor, I have been passionate about writing to share knowledge. Growing up, I read books that sparked historical revolutions and transformed societal systems, particularly in the political sphere. I encountered novels, short stories, and poetry that reshaped readers’ thoughts. Although these stories differ in style and content, creative writing has the power to inspire audiences through various forms—such as descriptive prose, laments, and comic scenes. A writer’s goal should be to foster a deeper understanding that goes beyond mere enjoyment. In a world where much writing primarily seeks to entertain, I intentionally choose a different path by focusing my writing on promoting social and individual change.

I believe that every creative work—whether it’s a book, a song, a poem, or a film—has a social function. Each piece of art has the potential to effect positive change and promote justice within its society, sometimes influencing generations. The primary purpose of my writing is to inspire healthy change in the reader’s mind, encouraging them to do good, stand up for their beliefs, and become better citizens.

Sri Lanka is currently facing a challenging period, and as I have mentioned before, I cannot write without considering the broader issues affecting our country. I cannot create literature simply for enjoyment or entertainment, naively believing that everything is fine or hoping it will improve without active engagement in the present situation. From my experience, I understand that literature can shape public opinion. If a writer views their purpose as solely providing enjoyment or entertainment, I do not criticise them for that. However, every opportunity to connect with an audience is also an opportunity to inspire change.

As I mentioned, my goal is to educate readers about life, health, and social issues through my work. While I respect those who focus solely on entertainment, I am also amazed by the wide variety of novels and poems available, especially as a reading enthusiast myself. However, as writers, we must recognise our responsibility to positively influence others through our writing because “words are powerful catalysts for actions.”

Q:  You began your journey with online media, including blogs and social media platforms, before achieving success in printed media. I’m curious about how blogging and social media writing have shaped you as a writer. What are the advantages, disadvantages, and challenges you faced during this transition?

A: I began writing online in 2006 when I discovered forums and websites dedicated to creative writing. Soon after, personal blogging platforms emerged, providing me with a comfortable space to publish my work while living in Europe, away from print media back home. Online writing allowed me to engage with live audiences, which encouraged me to write regularly.

While I can’t say it was entirely positive, it was a strong and valuable starting point. Blogs and social media offered an initial platform to connect with readers worldwide. I also used these outlets to communicate during major health crises and to share knowledge.

My medical storytelling primarily took place on social media, where it gained the attention of mainstream media as people shared my writing. From 2018 to 2020, I wrote a weekly health column for a national newspaper. By employing storytelling techniques, I was able to keep the column active until the newspaper ceased print publication.

There are both advantages and disadvantages to using social media for creative writing. One significant benefit is the opportunity for instant feedback, which allows writers to engage actively with their audience. This interaction can motivate writers to revise or improve their work based on the responses they receive. Additionally, social media provides visibility into the audience, helping writers understand their quantitative reach. I believe that social media also facilitates connections between writers and professionals in the literary field, such as publishers, editors, and fellow authors, thereby creating a valuable online network.

Live feedback and networking on social media can be advantageous, but it also has its downsides. One significant issue is that it can lead to negative impacts on one’s creations. Social media opens the door for biased criticism, trolling, and plagiarism. It took me some time to adjust to the privileges that social media users enjoy, especially considering the risks involved.

A major disadvantage is that anyone can copy or misuse creative works, as there are often inadequate intellectual property protections in place. I have personally experienced the theft of my creative content and felt helpless at times due to the lack of clear guidelines on how to respond to such incidents.

While social media can help quantify audience size and reach, the quality of engagement is often questionable. We’ve been led to believe that print media holds higher quality and standards, but my recent experiences with publishing have shown me that these qualitative standards are consistently upheld not by all publishers.

Q: Your first few works were set in the north of Sri Lanka. Sri Lanka’s war literature, as any other part of the world, has been very much subjective work; how do you see your work? And how have different groups perceived your work? And did you have situations where you had to go for a third opinion to deal with your biases? 

A: I worked in Wanni, in the north of Sri Lanka, during the postwar era. I realised that the narrative presented to us about these issues differed significantly from the reality on the ground. We are the generation that grew up in a war-torn society, constantly exposed to the news reported by state media. At that time, the Internet was not a common household commodity, and smartphones were non-existent. Our primary sources of information were mainstream media outlets, such as television, newspapers, and magazines. Naturally, we believed what we saw through those channels.

I carried many biases with me while growing up, but I was fortunate to spend part of my youth in Europe, where I had access to the Internet. This experience expanded my perspectives and deepened my understanding of the parts of my country that had been alienated from us for years. I witnessed how divisions were created over time based on ethnic, political, and religious disputes. I saw both the humane and sometimes stereotypical aspects of these divisions.

As I embarked on my journey to become a medical doctor, adhering to the Hippocratic Oath and medical ethics, I sought to equip myself with accurate information. This commitment helped me grow into a civilised, humane, and unbiased medical professional, and I believe it has greatly influenced my literary journey as well.

I worked in two hospitals in the North of Sri Lanka during the most crucial and devastating times. There were a few incidents that shattered me, shocked me, and helped me to understand the deep-rooted problem of a war that spanned over decades. There were many instances where the ex-combatants, or internally displaced civilians who were predominantly of Tamil ethnicity, poured out their anger on my particular ethnic group, the Sinhalese, that they were told to be scared of. I have been spat on, yelled at, hit, or screamed at, but those situations have taught me and helped develop more on my empathy, resilience, and patience – and as I had no hostile reaction from my end, I have managed to change the other person’s view, especially the Tamil civilians who had a biased view on Sinhalese. I have penned such encounters and my experiences along with health information in my medical stories, which were also translated and published in Tamil in India by Vamsi Publications. It is known as Mariththuwak Kurippugal Allathavei. 

Q: Traveling from the north, you arrive in Colombo with your new work. “Magepassen Enna” (Follow Me) showcases a chaotic literary style in its settings and characters. It has been widely discussed, with numerous notes of appreciation and formal reviews available online. What inspired you on this writing journey?

A: My writing has always served a social purpose. Since my younger years, I have been engaged in this practice, feeling as though I was destined to do so. Through my writing, I have been able to address social issues and reach wider audiences. As a result, I have devoted myself to highlighting socially and ethically important topics for my readers.

I began writing “Mage Passen Enna,” which translates to ‘Follow Me,’ as an online novel in 2006 while I was a fourth-year medical student. Growing up in a developing country, I witnessed many social issues firsthand. I had hoped that we would see our country become more developed in the future, but unfortunately, that vision did not materialize during my formative years.

Citizens of a country have many responsibilities that contribute to the nation’s growth and well-being. However, this doesn’t stop them from hoping for change, especially when they face difficult daily lives, which they often attribute to their karma or fate. Many do not realize that there is a significant failure within the social system, which allows a particular group of people to take undue advantage of the situation. They fail to understand that the state is responsible for providing comfort and improved living conditions for all its citizens. I believe it is essential to change this mindset and address the unhealthy attitudes of the population, particularly among the youth.

The world is becoming increasingly chaotic as we lose the magic of empathy. Many educated, high-achieving professionals—writers, poets, and healers—seem to lack empathy and emotional intelligence. In light of this, I started writing, firmly believing that my stories can help readers understand how their actions and thoughts influence society.

In Sweden, where I reside at present, the social system is established well to create an easy, comfortable lifestyle for children and vulnerable groups. To make children’s lives easier, they need to have regular education, a comfortable environment, and good health. Similarly, while talking about society, we cannot ignore health issues. The revamped and updated version of the original online novel ‘Mage Passen Enna’ was brought out as a printed novel, and it revolves around my concerns on the previously mentioned issues. I also suggest solutions for such issues through characters and incidents in this novel, even though some are a bit overwhelming and dramatic at times.

The story revolves around a university student, his friends, and a young medical doctor who gather to form a movement that benefits society in many aspects by finding means to eliminate wrong in the society they live in. The conflicts and challenges they go through are somewhat similar to what we see or experience in any developing country. 

As some of the reviewers said, the book is published at the most crucial times when society is in need of such social and political reforms. 

Q: Readers have opinions about books, and writers should accept feedback constructively. However, in Sri Lanka, there is a growing trend of writers sharing their opinions about each other’s books on the Internet. What is your honest opinion on this matter?

A: I believe that any form of feedback on a book is beneficial for a writer. We shouldn’t dismiss reviews from friendly critics. Additionally, I think we should refrain from using our fame and credibility to entertain familiar audiences because that’s not the purpose of a writer. I didn’t see the need for people to discuss my book solely for an audience of supporters or acquaintances who already know me. I would prefer to have critiques from readers I don’t know personally. What truly matters is the feedback from readers.

I believe that a book should resonate with its audience independently. I’ve come across a saying that states, ‘Writers should not write books for their friends.’ I completely agree with this sentiment because my writing serves a greater purpose than simply being entertaining or personal. I am mindful of my audience, and I seek to engage readers on a broader level. 

I want readers to approach the book with an open mind regarding its ideology, characters, and dramatic elements, even if they hold personal opinions that contradict those presented in the work. I don’t expect them to be blindly gullible just because they are fans of the writer or the writing style. Such an uncritical attitude can undermine the value of a book. A thoughtful and educated response from readers enriches the reading experience immensely.

Q: Sri Lanka may be small in terms of market size, but it has produced notable writers who are recognised worldwide. Many of these authors write in English and have their work published outside of Sri Lanka. What improvements do you think are necessary for the country’s publishing industry to help the authors who write in Sinhala reach a global audience?

A: Translations play a crucial role in helping local authors connect with a global audience. While there tends to be a greater focus on translating works from English and other languages into Sinhala or Tamil, there are relatively few instances of translations from these local languages into English within the local literary scene.

High-quality translators and global distribution through printable digital platforms will greatly enhance reach and accessibility. Establishing partnerships with reputable agencies or literary organisations is essential for achieving a worldwide audience. This is an opportunity I am currently benefiting from, and I encourage all writers in my country to embrace this possibility.

Q: Sri Lanka’s contemporary literature closely reflects the challenges faced by its people since gaining independence. After 75 years, Sri Lankans have democratically elected a leader from the ordinary people, moving away from the political elites who are descendants of the pro-colonial aristocracy. As an author who has written about empowering people, what are your thoughts on this development?

A: I believe this is the first time people have taken a strong stance toward enacting change based on their beliefs. This change is significant, as political patterns have shifted in an unprecedented manner after decades of hoping for improvement without action. I have been writing and sharing my views on these issues because I believe in the power of citizens to influence political movements and society. While that influence can take many forms, voting remains a fundamental way for people to express their preferences.

As I have emphasised in my writings, individuals must recognise their power, clarify what they want, and take their responsibilities seriously when electing their leaders. Having worked as a public servant in the government sector for over a decade, I have witnessed how tolerant we can be, even when basic needs or services are insufficient.

It is crucial for people to understand how a country should be governed, and they should actively seek knowledge and explore alternatives. Reading is essential! We have seen how generations have been misled by misinformation and a distorted version of history. Today, with information readily available at our fingertips, it seems we are still easily misled.

Throughout our lives, we have often complained that the system is broken and that we elect the wrong people to govern our country. However, following the people’s protests in 2022, it seems that people are beginning to recognise their power as citizens. Knowledge sharing plays a vital role in empowering individuals. While books, articles, and various forms of information can educate the public, people tend to remember and grasp concepts better when they are presented in story form. 

I believe it is crucial to share the truth about ‘the chaos’ so that people can understand their ability to enact change. One must realise that they have a greater purpose beyond their everyday lives. There is a well-known saying: ‘We eat with our hard-earned money,’ which many use to avoid confronting harsh truths or engaging in political or social issues. However, we need to recognise that to earn our daily bread, we must first achieve economic stability within our country. 

Regardless of the people in power—be it political, religious, or economic—we require a steady and autonomous system that functions effectively. This is where the empowerment of the people becomes essential. I firmly believe that storytelling can transform the perspectives of readers, and I have witnessed this impact through my medical storytelling. Thus, writing “Mage Passen Enna” serves the purpose of empowering citizens with knowledge.

Q: Do you have a new work in the pipeline? If yes, can you give a hint about that to our 50,000-plus readers? 

A: I am currently working on some untold stories based on my past experiences, which I believe are not commonly shared in our society. The younger generations, especially those born after 2000, have not witnessed the war or the ethnic conflicts that we experienced. Because of this, I see many biases and misinformation present in our discussions. 

By writing about my unique experiences while serving vulnerable and disadvantaged communities, I hope to bridge the gaps and mend misunderstandings. My writing aims to foster empathy and humanise the issues within multicultural Sri Lankan society. I served in the north of Sri Lanka during the post-war era, and my previous books have predominantly focused on these “once in a lifetime” personal experiences. 

Over time, I have broadened my horizons through exposure to world literature and academic writing, which has helped me grow as a writer. There are ongoing discussions about translating my new novel into English, and I look forward to reaching a global audience very soon.

Q: Any parting words? 

I firmly believe that we have a social responsibility to fulfil amid the pleasure and entertainment we create for our audiences. I often wonder why so many people fail to recognise that life is not permanent; we do not live forever. I encounter citizens from various nations who have had to abandon everything they built to protect their children from war, crisis, or conflict. Imagine how it feels to leave behind years and decades of hard work—homes filled with belongings, all of which become meaningless when chaos strikes.

I recall my experiences from ‘Sayanika Satahan Nove.’ We grew up in a war environment, practising safety drills and learning how to respond to explosions. Unlike many who have always lived in secure areas, I now live in a European country. Here, I see my child and others—children and adults—who have never experienced conflict. They have their lives neatly arranged: jobs, families, holidays, and homes. While I am happy for them, I do not believe I am programmed to remain silent or indifferent to my own experiences.

Some of us have served as healers throughout our lives, and that role is one we will continue to embody. Courageous and fearless words can inspire empowerment and social change, ultimately bringing light and harmony to all. 

Another issue I frequently ponder is hypocrisy. I firmly believe that a writer should not be a hypocrite; one must “walk the talk” in every sense. Your expressions of humane qualities and principles in your writing should genuinely reflect your beliefs. For instance, one cannot simply preach about goodness, righteousness, and ethics in their books while failing to embody those values in their own actions.

As Stephan King once said, ‘Books are a uniquely portable magic.’ And I believe that we, as authors, ought to consciously and conscientiously focus on creating that magic more often. 

By Amanda Klopp