Saturday, January 29, 2011

What is the 'Idea of India' ?

What is the 'idea behind India or Idea of India'. The idea that defines the identity of India. The thought that comes to my mind is that of a pluralistic jamboree where all revel and survive with the eclectic languages along with the sub-cultures. Or it may be said as a mega culture where many sub cultures flourish. If we start thinking behind the creation of this mega identity called India we realize that this is a sort of phantasmagoria or a metaphor for diversity.In a thoughtful article, Historian Ramchandra Guha articulates this idea as " articulated by Tagore, Gandhi and the Indian Constitution, the idea of India contains within its capacious borders more social diversity than any other nation. It privileges no particular religion, does not enforce a common language, and does not promote patriotism by identifying or demonising a common external (or internal) enemy." This concept of pluralism or Indian unity was basically a product of medieval India. This fact was shared by both Gandhi and Tagore.
 To understand this idea of India, we have to understand its differences with the European idea of 'nationalism' which was rejected fervently by Gandhi and Tagore. Gandhi and Tagore seemed united in thwarting the concept of nationalism but they were heterodox thinkers in many issues.  Here a basic distinction between nationalism and patriotism  has to be made clear. Patriotism is a sort of a sentiment whereas nationalism is an ideology. As Nandy has argued that patriotism doesn't define any specific territoriality (sort of a naturalism) whereas nationalism "is more specific, ideologically tinged, ardent form of “love of one’s own kind” that is essentially ego-defensive and overlies some degree of fearful dislike or positive hostility to “outsiders”. It is egodefensive because it is often a reaction to the inner, unacknowledged fears of atomisation or psychological homelessness induced by the weakening or dissolution of primordial ties and growing individuation, alienating work and the death of vocations, in turn brought about by technocratic capitalism, urbanisation and industrialisation."
Gandhi's idea of India or view of nation was/is considered utopian by many as he talked about an 'enlightened anarchy'. Gandhi was a firm believer of universal equality and considered armed nationalism as a sort of imperialism. Nandy in one of his brilliant essays 'Gandhi after Gandhi' dissects the idea behind Gandhism. Of the four distinct Gandhi's that he describes the first one is an avowed anarchist and anti-modern who doesn't believe in the concept of the nation state. He is patriotic and doesn't subscribe to the nationalist boundaries of private vs public, religious vs secular etc.
"After Independence, the political presence of the Father of the Nation, his memory and his writings were proving very problematic to the functionaries of the young Indian state and to intellectuals who had already begun to specialise in hovering, like so many flies, over the State’s patronage-structure. Not merely the strong anarchist strand in his ideology, but even his peculiar denial of clear-cut divisions between the private and the public, the religious and the secular, and the past and the present, were proving to be a real headache. These intellectuals were as disturbed by him as his assassin was. Nathuram Godse, a self avowed rationalist and modernist, in his last statement in the court that sentenced him to death explicitly claimed he had committed a patricide to save the nascent Indian State from an anti-modern, political neophyte and a lunatic. After independence, Gandhi’s own associates would have liked to bury Gandhi six feet under the ground, while keeping his image intact as an icon of the Indian nation-state. Not because they disliked Gandhi, but because he looked such an anachronism in the post-World War II atmosphere of centralised states, social engineering and ‘realist’ international politics.Since then, Indian statists of both the right and the left have never acknowledged their enormous debt to Mr Nathuram Godse for imposing on the Father of the Nation a premature martyrdom that straightaway gave him a saintly status and effectively finished him off as a live political presence. Their brainchildren still hold it against Gandhi that he has occasionally refused to oblige them and has defied the saintliness imposed on him, presumably as a strategic means of neutralising him. "
In another excellent essay in EPW,   "Nationalism, Genuine and Spurious' Ashis Nandy scrutinizes the Tagorian view against nationalism. Tagore was against the masculine European nationalism. It might seem paradoxical that a person who wrote and composed India and Bangladesh's national anthem and also scored Srilanka's national anthem disgusted the idea of nation state. This dislike was powerfully put by Tagore in his novels. As Nandy argues " In Gora, Tagore gives a powerful psychological definition of nationalism where nationalism becomes a defence against recognising the permeable or porous boundaries of one’s self that the cultures in his part of the world sanction. He in effect argues that the idea of nationalism is intrinsically non- Indian or anti-Indian, an offence against Indian civilisation and its principles of religious and cultural plurality. Ghare Baire is a story of how nationalism dismantles community life and releases the demon of ethnoreligious violence. It destroys the “home” by tinkering with the moral basis of social and cultural reciprocity and hospitality in the Indic civilisation."
Nationalism is in a sense against the idea of freedom of the 'self'. These two great thinkers understood the fallacy behind it and provided an idea of India which was unique and sound. But we are now living in an age where there are forces which are trying to redefine and eliminate the multicultural 'Idea of India'. Ram Guha suggests that we are facing three enemies against this pluralistic idea of India.  The first he argues are the domestic nationalists. As Guha puts "To the “theoretically untidy, improvising, pluralist approach” of Gandhi and Nehru, Khilnani wrote, the Sangh parivar offered the alternative of “a culturally and ethnically cleaned-up homogeneous community with a singular Indian citizenship, defended by a state that had both God and nuclear warheads on its side”. In another piece Nandy also has argued "The various brands of religious and ethnic nationalists have done one better. Modelling themselves on European nationalists, they have actually tried to subvert the organisational frame of the Indian heritage and reconstruct it according to the needs of a modern nationality. If the record of the Hindu Mahasabha and the Rashtriya Swayam Sevak Sangh looks abysmal in the matter of India’s freedom struggle, it is because Hindu nationalism discovered early that silence, if not direct collaboration with colonialism, paid handsome political dividends. Such collaboration left it free to pursue its agenda against the minorities on the one hand and non-modern and non-modernisable Hinduism on the other."  The second challenge that he poses is the Maoist issue and the third is the separatist movements.

There are myriads of other forces also operating against this 'idea of India' such as corruption, economic inequality and criminalization of politics etc.  It requires a rethink on our side the common folks to preserve the 'unique' pluralistic idea of India that our founding fathers had given and nurtured.


Friday, January 28, 2011

Terminal Humour of Martin Amis

I recently  finished a prose driven novel by Martin Amis, where the narration was embellished with great 'terminal humor'. The novel I am scribbling  about is 'Money' by Martin Amis. This has been the most critically acclaimed novel of Amis. Money is a satire on 'money' set in the background of  'market and money' driven London and New York. Amis seems to be quite critical of Margaret Thacher's free market philiosophy where values were sensed to be based on Money. The story revolves around the topsy turvy life of John Self who epitomizes the 'real consumer' in such a money driven world. John Self wallows in all sort of vices and believes that everything in the world can be brought with money. His 'real' business is consumption. Consumption of  whiskey , cigarettes and porn defines his existence. He is portrayed as the archetypal 'incorrigible consumer'.  But behind this escapist philosophy of 'money can buy everything' we see  a John Self living a miserable life. The novel portrays the pschological collapse of a person with this philosophy. And then there is a twist where John Self losses everything and where his friends become  foes. It is not the story that is brilliant rather it is the scintillating narrative and the penetrating satire that makes it a great novel. Amis is a master of prose and his ability to infuse 'terminal humor' is quite unique. I have just started his another fascinating novel 'The Information' which also is quite  humorous and prose infused treat . 

Wednesday, January 19, 2011

Copie conforme: Abbas Kiarostami



Recently I saw a refreshing new movie by the Iranian filmmaker Abbas Kiarostami ' Certified Copy (French: Copie conforme)'. Being a Kiarostami movie we could have expected it to be an Iranian movie rather the film was was set in Tuscany, Italy with English being the major spoken language. The cast was also a surprise with French actress Juliette Binoche and British operatic singer (baritone) William Shimell in the lead. The movie just revolved around the interaction that happens in a day between these two middle aged characters. The film portrays the tussle and the adjustment that these two distinct personalites undergo just within a days meeting. The film reminded me of an earlier hollywood movie that I had watched long back 'Before Sunset' where also the movie revolved around the interaction between the two characters but the difference was that the characters had somewhat synchronous tastes.  Certified Copy is much more subtle and portrays the inconsistency and tension that can occur between couples of diverse tastes. It is a good critical take on relations which can happen naturally without the proper understanding of each others tastes. Juliette Binoche is brilliant as ever with her portrayal of a single mother who is searching and yearning to fill her emotional vacuum  with someone whereas William Shimell portrays a character who enjoys his solitude and is not ready to squeeze anyone new into his life. The film ends without a clear conclusion as in most of  Kiarostami's movies  in the style of 'Waiting for Godot' where the  interpretation is kept open  which in a sense makes the audience more involved towards the end.

Sunday, January 16, 2011

The Sublime Music of Sufism

Sufism is the spiritual and mystical sect that sprang from Islam. The musical tradition of Sufism mainly through Qawalli's is quite rich and Nusrat Fateh Ali Khan  is one of the leading figures in this tradition. He sang many wonderful Sufism infused songs. One song written by Naaz Khiaalvi "Tum Ek Gorakh Dhanda Ho' captures the gist of Sufism in the most sublime way. This song is like a critical indictment or to put in milder terms a complain to God about the puzzles surrounding Him.  
The song starts with these lines.

Kabhi Yahaan Tumhein Dhonda, Kabhi Wahaan Pohncha
Tumhari Deed Ki Khaatir Kahan Kahan Pohcha
Ghareeb Mit Ga’ay, Pamaal Ho Gaye Laikin
Kisi Talak Na Tera Aaj Tak Nishaan Pohncha
Ho Bhi Nahi Aur Her Jaa Ho
Ho Bhi Nahi Aur Her Ja Ho
Tum Ek Gorakh Dhanda Ho

Her Zarray Mein Kiss Shaan Say Tu Jalwa Numa Hai
Hairaan Hai Magar Aqal K Kaisay Hai To Kia Hai
Tum Ek Gorakh Dhanda Ho

Sometimes I looked for you here, and some times there
To have your sight I’ve been ruined and I’ve everywhere
The dear ones vanished, but No one got a lead to you

You are not, yet you are at every place,
You are a puzzle

With what splendour you can be seen in every speck
But the mind is puzzled what you look like and what you are
You are a puzzle.

This is quite a long song.  

 Rest of the  song's translation can be found here.


Saturday, December 11, 2010

Mario Vargas Llosa's Nobel Lecture 2010

"We invent fictions in order to live somehow the many lives we would like to lead when we barely have one at our disposal."

"From the cave to the skyscraper, from the club to weapons of mass destruction, from the tautological life of the tribe to the era of globalisation, the fictions of literature have multiplied human experiences, preventing us from succumbing to lethargy, self-absorption, resignation. Nothing has sown so much disquiet, so disturbed our imagination and our desires as the life of lies we add, thanks to literature, to the one we have, so we can be protagonists in the great adventures, the great passions real life will never give us. The lies of literature become truths through us, the readers transformed, infected with longings and, through the fault of fiction, permanently questioning a mediocre reality. Sorcery, when literature offers us the hope of having what we do not have, being what we are not, acceding to that impossible existence where like pagan gods we feel mortal and eternal at the same time, that introduces into our spirits non-conformity and rebellion, which are behind all the heroic deeds that have contributed to the reduction of violence in human relationships. Reducing violence, not ending it. Because ours will always be, fortunately, an unfinished story. That is why we have to continue dreaming, reading, and writing, the most effective way we have found to alleviate our mortal condition, to defeat the corrosion of time, and to transform the impossible into possibility."

Read the full Nobel  Lecture here


Thursday, December 9, 2010

The End of the Novel of Love

By VIVIAN GORNICK
Beacon Press
Read the Review

CHAPTER ONE  
In a thousand novels of love-in-the-Western-world the progress of feeling between a woman of intelligence and a man of will is charted through a struggle that concludes itself when the woman--at last--melts into romantic longing and the deeper need for union. There are, however, a handful of remarkable novels written late in the last century and early in this one--among them Daniel Deronda, The House of Mirth, Diana of the Crossways, Mrs. Dalloway--where, at the exact moment the woman should melt, her heart unexpectedly hardens. Just at this place where give is required, some flat cold inner remove seems to overtake the female protagonist. In the eyes of the world she becomes opaque ("unnatural" she is called), but we, the privileged readers, know what is happening. The woman has taken a long look down the road of her future. What she sees repels. She cannot "imagine" herself in what lies ahead. Unable to imagine herself, she now thinks she cannot act the part. She will no longer be able to make the motions. The marriage will be a charade. In that moment of clear sight sentimental love, for her, becomes a thing of the past. Which is not to say the marriage will not take place; half the time it will. It is only to say that in these novels this is the point at which the story begins. 

The response of these intelligent fictional women--Gwendolen Harleth, Lily Bart, Diana Warwick, Clarissa Dalloway--to the prospect of married love goes against the grain. Not only because we all know that love is the most formative experience a human being can have and marriage, any marriage, at least in its beginnings, reminds one of its promise, but also because the idea that a woman, any woman, could really want anything other than to be safely settled in the world with a husband has, until very recently, been unthinkable.
So what is it with Gwendolen, Lily, Clarissa, and Diana? 

In Daniel Deronda George Eliot pits the beautiful Gwendolen Harleth (shrewd, vain, ambitious, hungry for a place in the world) against Henleigh Grandcourt, the aristocrat who wishes to marry her, apparently setting in motion the classic struggle between a woman and a man who are evenly matched: in this case both cold, smart, and determined. In the bargain, Gwendolen seems malicious: she taunts and manipulates the arrogant lord as if the exercise of sexual power in and of itself is a necessary plesure. But slowly, steadily--it takes Eliot 200 pages to get them married--we are moved deeper inside Gwendolen and we see that her behavior is meant to be off-putting. She is desperate to keep the action going, delay the moment of decision. We see that she is buying time. She dreads marriage. "It was not," Eliot observes of her, "that she wished to damage men, it was only that she wished not to be damaged by them."

Read the rest here

Tuesday, December 7, 2010

All Time is Unredeemable

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.
                              But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.

BURNT NORTON
(No. 1 of 'Four Quartets')
T.S. Eliot