Thursday, November 15, 2012

Confessions of a Prezwartian (An exercise in hallucinatory realism)



Dear Reader: Greetings!

Established in 1718, PREZWARTS, also known at times as the Oxford or Harvard of the East is the most famous college/university in Ajooba. Presided by MARVOLO SORCERESS and her trusted DE-MENTORS, the institution has recently entered a new age of upgradation with the recruitment of a BAND OF BUGGERS who are actually their devoted disciples.

As a first year student of Prezwarts, as you can probably imagine, my excitement and enthusiasm was enormous.

However, the reality has proved to be a little bit different.

For example, we were told in the class that the masculine form of ‘Duchess’ was ‘Dutch’ (Readers from Netherlands, please do not take offence)!

We even learnt that ‘Professor’ is spelt with a double ‘f’ (WTF?)!

One of them even told us that if we do not write his interpretation we wouldn't get marks.

In another department, a teacher even made a pass at one of my friends and downloaded porn from one of his student’s mobiles.

Is this how things happen in Oxford or Harvard?

A naïve first year grad student that I am, I really have no clue.

Friends, Peers, Seniors…wherever you are, shed me some light. We are running dark…

Friday, December 18, 2009

On Agha Shahid Ali

With this entry, “One Poet’s Notes” begins a regular series of posts titled “Editor’s Picks,” focusing on recently released books concerning poets, poetry, or poetics. I am pleased this continuing feature opens with a recommendation of The Veiled Suite: The Collected Poems by Agha Shahid Ali. Many who read Valparaiso Poetry Review or the editor’s blog regularly regarded Shahid as a friend who delighted all, whether in his poetry or in his personal interaction with others. My thoughts of Shahid consistently bring a smile to my face. His trips to Valparaiso University for readings and his meetings with creative writing students in my classes or in individual conferences can be counted among the most enjoyable experiences with visiting writers. Shahid also provided a number of very pleasant memories involving his ebullient personality—his ability to energize and entertain everyone—especially during various times we met at writers’ conferences.In addition, I recall a conversation we had as he was about to accept a position as professor of English in the creative writing program at the University of Utah, where I had obtained my PhD, and Shahid sought my reassurance that he would enjoy the move. About that time, Shahid also requested that I write a ghazal for an anthology he was compiling and he agreed to someday be a “featured poet” in an issue of Valparaiso Poetry Review. Sadly, I never got around to sending a ghazal to him, and VPR was unable to present an issue featuring his poetry since Shahid was diagnosed with brain cancer shortly after starting his tenure at the University of Utah. Shahid had witnessed this terrible medical condition in his beloved mother, as she had passed away only a few years before.Agha Shahid Ali died in December of 2001 at age 52, but his legacy as a poet now exists in this new volume of collected works, which also includes a succinct and informative introduction by Daniel Hall. As Shahid wrote in the volume’s title poem, the last he composed before his death: “I’m still alive, alive to learn from your eyes / that I am become your veil and I am all you see.”

Praise for the Work of Agha Shahid Ali:
“It’s amazing that Agha Shahid Ali has already been gone eight years. He spent too little time among us. So it’s even more wonderful that his brilliant, funny, and tragic poetry has now been collected in this superb volume. The last couplet of the penultimate poem, ‘Tonight,’ somehow says it all: ‘And I, Shahid, only am escaped to tell thee— / God sobs in my arms. Call me Ishmael tonight.’” —John Ashbery
“Agha Shahid Ali’s Kashmir, in his poems, is our own lost but inalienable homeland. . . . But the grace and wit, the perceptions and illuminations they serve, their accent, are his own.” —W.S. Merwin
“Ali so artfully sustains his contemplation that upon entering his work we experience the play of light through the many prisms of intelligence.” —Carolyn Forché
“Wondrous Poems, mystically intense.” —David Ignatow
“Combining human elegance and moral passion, Ali speaks for Kashmir in a large, generous, compassionate, powerful, and urgent voice. . . . Few poets in the country have such a voice or such a topic.” —Hayden Carruth
“As a Kahmiri, Ali is aware of the historical vicissitudes that breed violence and hatred in people who once lived together peacefully. His poems speak to the enduring qualities of love and friendship.” —Michael Collier
“What is timeless in these poems is the power of grief—sheer cliffs and drops of despair that he masters and spins into verse with astonishing technical virtuosity.” —Carol Muske-Dukes
Posted by Edward Byrne at Sunday, July 05, 2009

Thursday, December 10, 2009

Noble Speech: Especially the Highlighted Bits

Text of Obama's Nobel Peace Prize speech
By The Associated Press The Associated Press – Thu Dec 10, 8:35 am ET
The text of President Obama's Nobel Peace Prize acceptance speech, delivered Thursday in Oslo, Norway, as provided by the White House:
Your Majesties, Your Royal Highnesses, Distinguished Members of the Norwegian Nobel Committee, citizens of America, and citizens of the world:
I receive this honor with deep gratitude and great humility. It is an award that speaks to our highest aspirations — that for all the cruelty and hardship of our world, we are not mere prisoners of fate. Our actions matter, and can bend history in the direction of justice.
And yet I would be remiss if I did not acknowledge the considerable controversy that your generous decision has generated. In part, this is because I am at the beginning, and not the end, of my labors on the world stage. Compared to some of the giants of history who have received this prize — Schweitzer and King; Marshall and Mandela — my accomplishments are slight. And then there are the men and women around the world who have been jailed and beaten in the pursuit of justice; those who toil in humanitarian organizations to relieve suffering; the unrecognized millions whose quiet acts of courage and compassion inspire even the most hardened of cynics. I cannot argue with those who find these men and women — some known, some obscure to all but those they help — to be far more deserving of this honor than I.
But perhaps the most profound issue surrounding my receipt of this prize is the fact that I am the Commander-in-Chief of a nation in the midst of two wars. One of these wars is winding down. The other is a conflict that America did not seek; one in which we are joined by 43 other countries — including Norway — in an effort to defend ourselves and all nations from further attacks.
Still, we are at war, and I am responsible for the deployment of thousands of young Americans to battle in a distant land. Some will kill. Some will be killed. And so I come here with an acute sense of the cost of armed conflict — filled with difficult questions about the relationship between war and peace, and our effort to replace one with the other.
These questions are not new. War, in one form or another, appeared with the first man. At the dawn of history, its morality was not questioned; it was simply a fact, like drought or disease — the manner in which tribes and then civilizations sought power and settled their differences.
Over time, as codes of law sought to control violence within groups, so did philosophers, clerics and statesmen seek to regulate the destructive power of war. The concept of a "just war" emerged, suggesting that war is justified only when it meets certain preconditions: if it is waged as a last resort or in self-defense; if the forced used is proportional; and if, whenever possible, civilians are spared from violence.
For most of history, this concept of just war was rarely observed. The capacity of human beings to think up new ways to kill one another proved inexhaustible, as did our capacity to exempt from mercy those who look different or pray to a different God. Wars between armies gave way to wars between nations — total wars in which the distinction between combatant and civilian became blurred. In the span of 30 years, such carnage would twice engulf this continent. And while it is hard to conceive of a cause more just than the defeat of the Third Reich and the Axis powers, World War II was a conflict in which the total number of civilians who died exceeded the number of soldiers who perished.
In the wake of such destruction, and with the advent of the nuclear age, it became clear to victor and vanquished alike that the world needed institutions to prevent another World War. And so, a quarter century after the United States Senate rejected the League of Nations — an idea for which Woodrow Wilson received this Prize — America led the world in constructing an architecture to keep the peace: a Marshall Plan and a United Nations, mechanisms to govern the waging of war, treaties to protect human rights, prevent genocide and restrict the most dangerous weapons.
In many ways, these efforts succeeded. Yes, terrible wars have been fought, and atrocities committed. But there has been no Third World War. The Cold War ended with jubilant crowds dismantling a wall. Commerce has stitched much of the world together. Billions have been lifted from poverty. The ideals of liberty, self-determination, equality and the rule of law have haltingly advanced. We are the heirs of the fortitude and foresight of generations past, and it is a legacy for which my own country is rightfully proud.
A decade into a new century, this old architecture is buckling under the weight of new threats. The world may no longer shudder at the prospect of war between two nuclear superpowers, but proliferation may increase the risk of catastrophe. Terrorism has long been a tactic, but modern technology allows a few small men with outsized rage to murder innocents on a horrific scale.
Moreover, wars between nations have increasingly given way to wars within nations. The resurgence of ethnic or sectarian conflicts, the growth of secessionist movements, insurgencies and failed states have increasingly trapped civilians in unending chaos. In today's wars, many more civilians are killed than soldiers; the seeds of future conflict are sown, economies are wrecked, civil societies torn asunder, refugees amassed and children scarred.
I do not bring with me today a definitive solution to the problems of war. What I do know is that meeting these challenges will require the same vision, hard work and persistence of those men and women who acted so boldly decades ago. And it will require us to think in new ways about the notions of just war and the imperatives of a just peace.
We must begin by acknowledging the hard truth that we will not eradicate violent conflict in our lifetimes. There will be times when nations — acting individually or in concert — will find the use of force not only necessary but morally justified.
I make this statement mindful of what Martin Luther King said in this same ceremony years ago: "Violence never brings permanent peace. It solves no social problem: It merely creates new and more complicated ones." As someone who stands here as a direct consequence of Dr. King's life's work, I am living testimony to the moral force of non-violence. I know there is nothing weak, nothing passive, nothing naive in the creed and lives of Gandhi and King.
But as a head of state sworn to protect and defend my nation, I cannot be guided by their examples alone. I face the world as it is, and cannot stand idle in the face of threats to the American people. For make no mistake: Evil does exist in the world. A nonviolent movement could not have halted Hitler's armies. Negotiations cannot convince al-Qaidas leaders to lay down their arms. To say that force is sometimes necessary is not a call to cynicism — it is a recognition of history, the imperfections of man and the limits of reason.
I raise this point because in many countries there is a deep ambivalence about military action today, no matter the cause. At times, this is joined by a reflexive suspicion of America, the worlds sole military superpower.
Yet the world must remember that it was not simply international institutions — not just treaties and declarations — that brought stability to a post-World War II world. Whatever mistakes we have made, the plain fact is this: The United States of America has helped underwrite global security for more than six decades with the blood of our citizens and the strength of our arms. The service and sacrifice of our men and women in uniform has promoted peace and prosperity from Germany to Korea, and enabled democracy to take hold in places like the Balkans. We have borne this burden not because we seek to impose our will. We have done so out of enlightened self-interest — because we seek a better future for our children and grandchildren, and we believe that their lives will be better if other people's children and grandchildren can live in freedom and prosperity.
So yes, the instruments of war do have a role to play in preserving the peace. And yet this truth must coexist with another — that no matter how justified, war promises human tragedy. The soldiers courage and sacrifice is full of glory, expressing devotion to country, to cause and to comrades in arms. But war itself is never glorious, and we must never trumpet it as such.
So part of our challenge is reconciling these two seemingly irreconcilable truths — that war is sometimes necessary, and war is at some level an expression of human folly. Concretely, we must direct our effort to the task that President Kennedy called for long ago. "Let us focus," he said, "on a more practical, more attainable peace, based not on a sudden revolution in human nature but on a gradual evolution in human institutions."
What might this evolution look like? What might these practical steps be?
To begin with, I believe that all nations — strong and weak alike — must adhere to standards that govern the use of force. I — like any head of state — reserve the right to act unilaterally if necessary to defend my nation. Nevertheless, I am convinced that adhering to standards strengthens those who do, and isolates — and weakens — those who dont.
The world rallied around America after the 9/11 attacks, and continues to support our efforts in Afghanistan, because of the horror of those senseless attacks and the recognized principle of self-defense. Likewise, the world recognized the need to confront Saddam Hussein when he invaded Kuwait — a consensus that sent a clear message to all about the cost of aggression.
Furthermore, America cannot insist that others follow the rules of the road if we refuse to follow them ourselves. For when we don't, our action can appear arbitrary, and undercut the legitimacy of future intervention — no matter how justified.
This becomes particularly important when the purpose of military action extends beyond self-defense or the defense of one nation against an aggressor. More and more, we all confront difficult questions about how to prevent the slaughter of civilians by their own government, or to stop a civil war whose violence and suffering can engulf an entire region.
I believe that force can be justified on humanitarian grounds, as it was in the Balkans, or in other places that have been scarred by war. Inaction tears at our conscience and can lead to more costly intervention later. That is why all responsible nations must embrace the role that militaries with a clear mandate can play to keep the peace.
America's commitment to global security will never waver. But in a world in which threats are more diffuse, and missions more complex, America cannot act alone. This is true in Afghanistan. This is true in failed states like Somalia, where terrorism and piracy is joined by famine and human suffering. And sadly, it will continue to be true in unstable regions for years to come.
The leaders and soldiers of NATO countries — and other friends and allies — demonstrate this truth through the capacity and courage they have shown in Afghanistan. But in many countries, there is a disconnect between the efforts of those who serve and the ambivalence of the broader public. I understand why war is not popular. But I also know this: The belief that peace is desirable is rarely enough to achieve it. Peace requires responsibility. Peace entails sacrifice. That is why NATO continues to be indispensable. That is why we must strengthen U.N. and regional peacekeeping, and not leave the task to a few countries. That is why we honor those who return home from peacekeeping and training abroad to Oslo and Rome; to Ottawa and Sydney; to Dhaka and Kigali — we honor them not as makers of war, but as wagers of peace.
Let me make one final point about the use of force. Even as we make difficult decisions about going to war, we must also think clearly about how we fight it. The Nobel Committee recognized this truth in awarding its first prize for peace to Henry Dunant — the founder of the Red Cross, and a driving force behind the Geneva Conventions.
Where force is necessary, we have a moral and strategic interest in binding ourselves to certain rules of conduct. And even as we confront a vicious adversary that abides by no rules, I believe that the United States of America must remain a standard bearer in the conduct of war. That is what makes us different from those whom we fight. That is a source of our strength. That is why I prohibited torture. That is why I ordered the prison at Guantanamo Bay closed. And that is why I have reaffirmed America's commitment to abide by the Geneva Conventions. We lose ourselves when we compromise the very ideals that we fight to defend. And we honor those ideals by upholding them not just when it is easy, but when it is hard.
I have spoken to the questions that must weigh on our minds and our hearts as we choose to wage war. But let me turn now to our effort to avoid such tragic choices, and speak of three ways that we can build a just and lasting peace.
First, in dealing with those nations that break rules and laws, I believe that we must develop alternatives to violence that are tough enough to change behavior — for if we want a lasting peace, then the words of the international community must mean something. Those regimes that break the rules must be held accountable. Sanctions must exact a real price. Intransigence must be met with increased pressure — and such pressure exists only when the world stands together as one.
One urgent example is the effort to prevent the spread of nuclear weapons, and to seek a world without them. In the middle of the last century, nations agreed to be bound by a treaty whose bargain is clear: All will have access to peaceful nuclear power; those without nuclear weapons will forsake them; and those with nuclear weapons will work toward disarmament. I am committed to upholding this treaty. It is a centerpiece of my foreign policy. And I am working with President Medvedev to reduce America and Russia's nuclear stockpiles.
But it is also incumbent upon all of us to insist that nations like Iran and North Korea do not game the system. Those who claim to respect international law cannot avert their eyes when those laws are flouted. Those who care for their own security cannot ignore the danger of an arms race in the Middle East or East Asia. Those who seek peace cannot stand idly by as nations arm themselves for nuclear war.
The same principle applies to those who violate international law by brutalizing their own people. When there is genocide in Darfur, systematic rape in Congo or repression in Burma — there must be consequences. And the closer we stand together, the less likely we will be faced with the choice between armed intervention and complicity in oppression.
This brings me to a second point — the nature of the peace that we seek. For peace is not merely the absence of visible conflict. Only a just peace based upon the inherent rights and dignity of every individual can truly be lasting.
It was this insight that drove drafters of the Universal Declaration of Human Rights after the Second World War. In the wake of devastation, they recognized that if human rights are not protected, peace is a hollow promise.
And yet all too often, these words are ignored. In some countries, the failure to uphold human rights is excused by the false suggestion that these are Western principles, foreign to local cultures or stages of a nation's development. And within America, there has long been a tension between those who describe themselves as realists or idealists — a tension that suggests a stark choice between the narrow pursuit of interests or an endless campaign to impose our values.
I reject this choice. I believe that peace is unstable where citizens are denied the right to speak freely or worship as they please, choose their own leaders or assemble without fear. Pent up grievances fester, and the suppression of tribal and religious identity can lead to violence. We also know that the opposite is true. Only when Europe became free did it finally find peace. America has never fought a war against a democracy, and our closest friends are governments that protect the rights of their citizens. No matter how callously defined, neither America's interests — nor the worlds — are served by the denial of human aspirations.
So even as we respect the unique culture and traditions of different countries, America will always be a voice for those aspirations that are universal. We will bear witness to the quiet dignity of reformers like Aung Sang Suu Kyi; to the bravery of Zimbabweans who cast their ballots in the face of beatings; to the hundreds of thousands who have marched silently through the streets of Iran. It is telling that the leaders of these governments fear the aspirations of their own people more than the power of any other nation. And it is the responsibility of all free people and free nations to make clear to these movements that hope and history are on their side.
Let me also say this: The promotion of human rights cannot be about exhortation alone. At times, it must be coupled with painstaking diplomacy. I know that engagement with repressive regimes lacks the satisfying purity of indignation. But I also know that sanctions without outreach — and condemnation without discussion — can carry forward a crippling status quo. No repressive regime can move down a new path unless it has the choice of an open door.
In light of the Cultural Revolution's horrors, Nixon's meeting with Mao appeared inexcusable — and yet it surely helped set China on a path where millions of its citizens have been lifted from poverty, and connected to open societies. Pope John Paul's engagement with Poland created space not just for the Catholic Church, but for labor leaders like Lech Walesa. Ronald Reagan's efforts on arms control and embrace of perestroika not only improved relations with the Soviet Union, but empowered dissidents throughout Eastern Europe. There is no simple formula here. But we must try as best we can to balance isolation and engagement, pressure and incentives, so that human rights and dignity are advanced over time.
Third, a just peace includes not only civil and political rights — it must encompass economic security and opportunity. For true peace is not just freedom from fear, but freedom from want.
It is undoubtedly true that development rarely takes root without security; it is also true that security does not exist where human beings do not have access to enough food, or clean water, or the medicine they need to survive. It does not exist where children cannot aspire to a decent education or a job that supports a family. The absence of hope can rot a society from within.
And that is why helping farmers feed their own people — or nations educate their children and care for the sick — is not mere charity. It is also why the world must come together to confront climate change. There is little scientific dispute that if we do nothing, we will face more drought, famine and mass displacement that will fuel more conflict for decades. For this reason, it is not merely scientists and activists who call for swift and forceful action — it is military leaders in my country and others who understand that our common security hangs in the balance.
Agreements among nations. Strong institutions. Support for human rights. Investments in development. All of these are vital ingredients in bringing about the evolution that President Kennedy spoke about. And yet, I do not believe that we will have the will, or the staying power, to complete this work without something more — and that is the continued expansion of our moral imagination, an insistence that there is something irreducible that we all share.

As the world grows smaller, you might think it would be easier for human beings to recognize how similar we are, to understand that we all basically want the same things, that we all hope for the chance to live out our lives with some measure of happiness and fulfillment for ourselves and our families.
And yet, given the dizzying pace of globalization, and the cultural leveling of modernity, it should come as no surprise that people fear the loss of what they cherish about their particular identities — their race, their tribe and, perhaps most powerfully, their religion. In some places, this fear has led to conflict. At times, it even feels like we are moving backwards. We see it in the Middle East, as the conflict between Arabs and Jews seems to harden. We see it in nations that are torn asunder by tribal lines.
Most dangerously, we see it in the way that religion is used to justify the murder of innocents by those who have distorted and defiled the great religion of Islam, and who attacked my country from Afghanistan. These extremists are not the first to kill in the name of God; the cruelties of the Crusades are amply recorded. But they remind us that no Holy War can ever be a just war. For if you truly believe that you are carrying out divine will, then there is no need for restraint — no need to spare the pregnant mother, or the medic, or even a person of one's own faith. Such a warped view of religion is not just incompatible with the concept of peace, but the purpose of faith — for the one rule that lies at the heart of every major religion is that we do unto others as we would have them do unto us.
Adhering to this law of love has always been the core struggle of human nature. We are fallible. We make mistakes, and fall victim to the temptations of pride, and power, and sometimes evil. Even those of us with the best intentions will at times fail to right the wrongs before us.
But we do not have to think that human nature is perfect for us to still believe that the human condition can be perfected. We do not have to live in an idealized world to still reach for those ideals that will make it a better place. The nonviolence practiced by men like Gandhi and King may not have been practical or possible in every circumstance, but the love that they preached — their faith in human progress — must always be the North Star that guides us on our journey.
For if we lose that faith — if we dismiss it as silly or naive, if we divorce it from the decisions that we make on issues of war and peace — then we lose what is best about humanity. We lose our sense of possibility. We lose our moral compass.
Like generations have before us, we must reject that future. As Dr. King said at this occasion so many years ago: "I refuse to accept despair as the final response to the ambiguities of history. I refuse to accept the idea that the 'isness' of man's present nature makes him morally incapable of reaching up for the eternal 'oughtness' that forever confronts him."
So let us reach for the world that ought to be — that spark of the divine that still stirs within each of our souls. Somewhere today, in the here and now, a soldier sees he's outgunned but stands firm to keep the peace. Somewhere today, in this world, a young protestor awaits the brutality of her government, but has the courage to march on. Somewhere today, a mother facing punishing poverty still takes the time to teach her child, who believes that a cruel world still has a place for his dreams.
Let us live by their example. We can acknowledge that oppression will always be with us, and still strive for justice. We can admit the intractability of deprivation, and still strive for dignity. We can understand that there will be war, and still strive for peace. We can do that — for that is the story of human progress; that is the hope of all the world; and at this moment of challenge, that must be our work here on Earth.

Tuesday, November 17, 2009

Angelie Multani on Final Solutions


Forgiveness is the only Final Solution
A Reading of the play ‘Final Solutions’ by Mahesh Dattani
Angelie Multani
Abstract
1947 is identified as the year that India and Pakistan gained independence
from British Colonial rule. It is also the year that saw the formation of two
separate states from one nation – one, Pakistan apparently founded on a
theocratic principle and the other, India, founded apparently on principles of
democracy and secularism. While the political establishment was celebrating
the achievement of Independence and the formation of sovereign states,
ordinary citizens were reeling from the shock of neighbours turning on each
other, dislocation and being uprooted from the homes their families had lived
in for generations.
Although there have been several literary representations of the violence, of
this traumatic severing of countries on religious and ethnic lines, there has
been very little attempt in literature to link what is now obvious to most
sociologists and even to the layman – that the communal tensions and fault
lines in contemporary India have their origins in the trauma of partition and
the lack of resolution or forgiveness. How does one deal not only with crimes
that were committed against oneself or one’s family in the name of religious
belief, but also with crimes that one committed oneself? While neighbours
and friends turned against each other, much more than countries or political
allegiances were divided – it was the very notion of self and family that
suffered. Mahesh Dattani’s play ‘Final Solutions’ is a rare literary/dramatic
text that connects our contemporary context with the unforgiven trauma of
1947. This play places a modern liberal family in the middle of a communal
riot – while two Muslim men seek sanctuary from the fundamentalist Hindu
mob baying for their blood outside the house, inside the Hindu family must
face their own demons – of the past as well as the present. How far is the past
from our here and now?
Key Words: Partition, violence, memory, Indian-English theatre, Dattani,
forgiveness.
*****
1. Self and Community
Right at the opening of the play Final Solutions the past is fused
with the present with the character of Daksha, a young 15 year old girl
Forgiveness is the only Final Solution
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2
reading out from her diary, while the older Daksha, now known as Hardika,
sits motionless at the same level. Dattani’s play is marked as unusual even in
the stage setting and the positioning of the characters, as he merges a semirealist
set, with a detailed kitchen and pooja (prayer) space within a symbolic
set signifying a house, surrounded by a horse-shoe shaped ramp, on which
stand figures with sticks and masks, denoting the Mob/Chorus. The
Mob/Chorus carry masks that can suggest either religious identity – Hindu or
Muslim, depending on the scene. The use of a Chorus is significant, as it
associates the play with the idea of tragedy, as well as the notions of
collective identity, anonymity and even, as suggested by Ricouer,
forgiveness1.
The set design of the play emphasises Dattani’s contention that the
family unit represents society. The living space of the Gandhi family is
shown through a "barebone presentation, with just wooden blocks for
furniture". The only detailed sets are the kitchen and a pooja room. This is
significant, as really, it is largely through food habits and taboos that we all
draw the lines that separate us from each other. There is a close relationship
between food habits and religious beliefs, and the obvious ‘otherness’ of
different communities is manifested through differences in what/how we and
they eat. We also make sharp distinctions where food and food related
utensils etc are concerned, which perhaps serve to emphasise separation in a
uniquely distinctive and defined manner. Taboos are most clearly expressed
in our realities through these two particularised spaces in Dattani’s sets – the
room for worship, and the space where food is prepared.
The sets also position the family, signified by the home, in relation
to society, which is represented through the Mob/Chorus, who more or less
encircle the Gandhi home. The representation of the younger Hardika
[Daksha] takes place on another level, thus ensuring that the past always
remains in front of us and cannot be forgotten. This conflation of past and
present is an integral aspect of the play, not only in the characters, but in the
central concern, that of communalism and how we deal with it. The idea of
partition in India is usually talked about in terms of ‘partition and the
violence that accompanied it’, "thus making a separation between ‘the
partition’ that was history and the violence that was an aberration."2 FS
makes the point that this was not an aberration, or a one-time eruption of
chaos and inhumane conflict. The play establishes that as long as
communities are divided in their memory and representation of the events of
1947, they will never be able to forgive each other or themselves. The
violence enacted by ordinary human beings during those tumultuous times
has been well documented by historians as witnesses and actors struggle to
make sense of ‘senseless times’. Gyanendra Pandey writes that there are
several interesting aspects in the way that most survivors of 1947 recall the
violence – first of all, the site of violence is usually located outside the space
Angelie Multani
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3
of home – the village/town/community – "What stands out in the victim’s
memory of partition, I submit, is the proposition that the violence was always
out there and never in us."3 Pandey goes on to say:
What violence seems to do in such narrations is to mark
the boundaries of community. … Violence marks the
limits of community, that is to say, violence can occur
only at or beyond that limit. By the same token, what
occurs within the boundaries of the community is, by
definition, not violence.
What is exposed to Daksha/Hardika is the presence and possibility
of violence not just within her community, but inside her home, her bedroom.
When her friendship with Zarine is discovered and misrepresented to the
family, Daksha is beaten and locked up by her husband. She is already
shattered at what she considers a rejection by her friend, her alter ago in
many ways, and is unable to accept the aggression enacted upon her by her
husband. When Daksha sought Zarine out to be her friend, she remarks both
on the latter’s beauty as well as her musical tastes which overlap with her
own, thus in a sense, conflating both identities into one. The idea of a
harmonious ‘golden’ past in which both Hindus and Muslims lived together
in peace and harmony is also hinted at in this construction, as Daksha rediscovers
a joy and abandon in music that she thought she had lost, through
her friendship with Zarine.
Zarine and I talked and laughed for at least ten minutes
before I mentioned the gramophone. I told her my in-laws
didn’t allow me to play our gramophone. She laughed
again and took me upstairs. She asked me what I would
like to listen to. Noor Jehan, of course! She seemed
pleased with my choice. She wound up the machine and
played my favourite song! We both listened and sang
along with Noor Jehan. Three voices singing together in
perfect unison.4
The ‘personal’ and the ‘public’ is constantly merged, as Daksha
reads from her diary:
All my dreams have been shattered … I can never be a
singer, like Noor Jehan. Hari’s family is against my singing
film songs. His parents heard me humming a love song to
Hari last night. And this morning they told him to tell me
… There is so much happening in the world that maybe it
Forgiveness is the only Final Solution
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4
isn’t fair to trouble you with my sadness. I am just a young
girl who does not matter to anyone outside her home.
Maybe I should talk about more important things. Like last
year, in August, a most terrible thing happened to our
country. We … gained independence.
The ‘terrible’ thing referred to by Daksha is of course, partition, the
outbreak of violence, riots and communal chaos that accompanied
independence in India and Pakistan. The idea of gaining freedom is
inextricably linked with the communal conflagration that swept through
different parts of the country as according to various estimates, 16 million
people lost their homes by the beginning of 1948, and many more were
dislocated in the next few years – and many were killed, raped, forced to
convert to other religions and separated from their families.
2. To Forgive, but not to Forget.
While Daksha attempts to re-discover her lost alter ago, the political
and economic battles between the warring communities continue. In her
study of the communal divide in Banaras, Vasanthi Raman points out that the
riots that occurred in that city in the 1990s were, at least partly, based on an
economic and business rivalry between the Hindus and Muslims in the
weaving and saree business.5, Similarly, in the play, Daksha’s family is
attempting to buy over Zarine’s family’s business – when this overture fails,
they take advantage of a communal riot to burn the store down, and then buy
it. Daksha remains unaware of this, but her son Ramniklal carries the guilt of
his father’s act throughout his life, and attempts to atone for it through his
offer of employment to Javed.
The fact that Ramniklal offers Javed a job not out of a sense of
equality, or a genuine desire to help an unemployed young man, but out of
guilt and the desire to expiate his own culpability transforms his gesture into
a communal one, thus exposing his liberalism as a façade:
Ramniklal: I have a saree shop in Kapda Bazaar.
Not a very big shop – now. It used to be but… I
could use your help. The shop is all we have now.
We had a mill … I got rid of it. I should have
gotten rid of the shop and kept the mill… You’ll
like the shop. You can handle those Bohra and
Memen women who usually pass by our
Angelie Multani
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5
showroom. … Please. I would be … happy if you
say yes. I will be … it will be my pleasure to give
you that job. That shop, it used to be … (Pause)
Take the job, please.6
The past lives on and contaminates the present. Daksha vents her
anger and frustration at the implied betrayal by Zarine on the community at
large, and sees the young men as legatees of the tradition of pride and
violence that she projects on to Zarine’s actions:
Daksha: … I had to speak to Zarine and find out
what was wrong. I could tell by their faces that
something had happened. They brought in their
dekshis and thalis and laid them on the table. They
removed the lids and … I smelt their food. "Come
sit with us!" Zarine said to me. I looked at her and
her eyes were red. Her mother never looked at me.
… How cruel could she be? Asking me to … sit
with them. She knew I wouldn’t. She wanted me to
go away. I couldn’t. I sat with them. They started
their meal. … I sat and watched them eat those
things! … And I brought out the contents of my
stomach then and there! Zarine stood up and I
reached out for her thinking she would help me.
She screamed at me instead. …I could hear
Zarine’s voice, "Are you happy? Are you happy?"
I didn’t know what she meant and I didn’t care
then. … Later I learnt from Kanta that Wagh and
Hari had felt sorry for them and had even offered
to help them by buying their burnt-up little shop.
Zarine’s father wanted much more for it. It was not
possible to give him what he demanded and so the
resentment. What wretched people. All this fuss
over such a small matter. I hate people with false
pride. As if it is their birthright to ask for more
than they deserve. Such wretched people! Horrible
people!7
This sense of personal betrayal is generalized to a hatred for the
entire community – Daksha confuses the name of Javed’s sister with that of
her old friend – Zarine. As Daksha cannot forgive Zarine and all she
represents for the suffering visited on her by her own family, Javed cannot
forgive the insult he faced from a Hindu orthodox priest, and he enacts his
Forgiveness is the only Final Solution
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6
revenge upon the entire Hindu community in acts of violence. They are both
trapped in cycles of hate and repeat "I cannot forget. I just cannot forget."
Ramnik, on the other hand, cannot forgive himself for profiting from
a hate crime committed by his father and grandfather. He enacts his revenge
through sneering at the religious beliefs of his wife, an orthodox Hindu and
by inciting his daughter to also arraign herself on his (liberal) side against
that of her mother. In this attempt to isolate his wife and mother on account
of their beliefs, Ramnik does not succeed in consoling himself – rather, he
remains a divided subject, torn between his intellectual beliefs and his
emotional ambivalence. Unable to get over his past, to forgive himself or his
family, he too remains a victim of suppressed prejudice and intolerance.
3. Resolution?
The only note of hope in the play comes right at the end, in the
penultimate scene, as Aruna prepares for her morning prayers. Smita takes
Javed and Bobby out to help fill the water for the ceremony, despite the
religious beliefs that would bar non-Hindus from touching any object or
material required for a prayer ceremony. As the young people step outside
the circumference of the home and the prejudices and beliefs it symbolizes
within its walls, they revert to a playful innocence and splash each other
with the water. After this ‘baptism’ in a sense, they return to the house, to
hear the sound of the prayer bell being rung. As Javed visibly stiffens in an
instinctive reaction as he is reminded of the prejudices he has faced his
entire life, Bobby takes matters into his own hands, and deliberately
walking into the prayer room, picks up the idol of Lord Krishna in his
‘infidel’ hands. This, as anybody acquainted with religious doctrine would
be aware, is potentially tremendously disruptive and ‘profane’. In his
speech, Bobby states that Krishna is not defiled by his touch – he is
welcoming; he accepts and is not humiliated. This is the touch of a human
being who respects another’s beliefs, another religion, and does not reach
out to destroy or contaminate, but to believe and tolerate.
The symbolism of Krishna is significant also, as it in the opening of
the play, young Daksha believed that it was Krishna who was angry with her
for listening to the music of a Muslim singer, and who therefore punished
her by having her records smashed in the riot, and by allowing her father to
be killed. It is Krishna, in the end, who accepts the touch of the Hindu and
the non-Hindu with equal equanimity.
It is only through acknowledging the truth and facing it, that we can be
set free. The Mob/Chorus, which, as I have stated before represents society,
also refers us to the Chorus of Greek tragedy, with resonances of catharsis
and forgiveness. One of the most enduring functions of a narrative, as a
Angelie Multani
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7
choric function is that of catharsis, which is a necessary prelude to
forgiveness. In an interview with Sorin Antohi, Paul Ricoeur says "we are
capable of successive identi.cation with the different characters and then
with the chorus, which represents us"8. Summarizing Antohi’s response, we
conclude that there is a collective side to forgiveness in tragedy represented
and brought about by the chorus. Interestingly, adding to the point raised
earlier, this interview goes on to discuss "the idea of mutual recognition, to
be able to recognize what the other has lost in his turn. One must see that the
other has lost too, that loss is shared.9 Only when we recognize this mutual
loss and acknowledge it, rather than cling on to our own ideas of what we
have lost and how we have suffered, will reconciliation and forgiveness be
possible. It is difficult to reconcile the very idea of a ‘Mob’ with the healing
function of a Chorus, yet this seemingly contradictory conflation is perhaps
the main point of Dattani’s play. The Mob which encircles the Gandhi house,
is ultimately, without religion, a signifier of general social attitudes. They
repeat lines which are clichés in the communal antagonism they represent,
but clichés which nonetheless carry the full force of vituperative violence and
the emotional force of belief behind it. They remain on stage till the very end
– the lights go off last on the Mob/Chorus, and it is here that the final
conflation of self and community occurs. Even if Daksha/Hardika learns to
forgive, even if Javed turns back from the path of violence he has set out on,
until the Mob, or Chorus, which represents each one of us gets over its
hatred, its violence, the fires of communalism will not abate. It is through
identifying with the Mob, thus fulfilling the function of the Chorus device,
that the audience is implicated in the action, is made to feel the burden of
responsibility, and realizes that it cannot be shrugged off.
The first step towards breaking the cycle of violence that is apparent
in the play Final Solutions is of course, understanding and acknowledging
mutual loss, mutual hurt. If Daksha is unable to forget or forgive 1947, and
Javed is in turn unable to forgive the humiliation suffered by him, we will be
locked into an endless cycle of retaliation. Many sociologists and historians
see direct connections between the unresolved legacy of 1947 and
contemporary strife in the sub-continent. Vasanthi Raman writes:
A macabre way in which partition has resurfaced in the lives
of Indian Muslims, particularly since the 1990s, is in the
metaphor of a ‘mini-Pakistan’. Partition is almost reenacted
every time there is a ‘riot’ and Muslim areas have been
affected. The portrayal of the ‘riot’ in the media recreates the
horror of partition along with the entire notion of the
‘dismemberment of the sacred motherland of India’. The
language and slogans of the Hindu right wing during the
series of riots since 1992, when the Babri Masjid was
Forgiveness is the only Final Solution
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8
vandalized, unabashedly recall partition.10
The destruction of the Babri Masjid on December 6, 1992 was
portrayed as a revenge for the ‘Islamisation’ of India that had taken place
during the successive Turk invasions. The destruction of the Masjid was
represented as the ‘re-appropriation’ of Hindu identity, of Hindu space, of
the birthplace of Rama, which had been usurped by the Muslims. This event
in Indian history, (aided and abetted by some state governments) has perhaps
most significantly in the recent past, served to define Hindu-Muslim
relationships in India. The Babri Masjid, relatively anonymous before it was
destroyed, became in a sense, a flashpoint for later communal riots as it was
seen as a failure of the secular nation-state to protect its Muslim citizens,
their identity and their sentiments.
There have been perhaps too many incidents of communal
violence in the years after Babri Masjid, but I would like to mention a few of
the more recent ones, to demonstrate that the cycle of violence has not yet
abated. Almost immediately after the Masjid was destroyed (live, on national
television), there were riots in Bombay, till then one of the most ‘secular’
spaces in the country. It is commonly held that the riots occurred in two
phases – first there was a Muslim reaction to the Babri Masjid’s demolition,
then there was a Hindu backlash, where Muslim dominated areas, businesses
and residential colonies were targeted. There was literally, a re-enactment of
partition, as post riots, many Muslims moved from their homes to live in
Muslim dominated areas, and many more left the city. After the riots, there
was the first attack on Bombay in 1993, a series of 13 bomb blasts in key
areas of the city, commonly believed to have been funded and master-minded
by Muslim mafia leaders, as ‘revenge’ for those who were murdered in the
riots.
In May 2002, a train that had just left Godhra station in the
state of Gujarat was attacked and a coach populated mostly by members of a
Hindu right wing political party was set on fire. After this there was large
scale and unprecedented violence against Muslims in Gujarat – Muslim
homes were targeted, people were caught and set on fire in the streets, and
the scale of violence and carnage was unprecedented in Independent India,
many believe with state complicity. It is difficult to express the extent of
inhuman violence, and the systematic and planned attacks that were carried
out in the towns, cities and villages of Gujarat between February and May
2002.
The most recent aftershock of this cycle of violence was
perhaps seen in Bombay last year, in what is now referred to as the ‘Bombay
Terror Attacks’, or 26/11. A group of perhaps 10 young men alighted on the
beaches of this metropolis from rubber dinghies, carrying guns, ammunition
and dry fruits to tide them over how many ever days of terror they could
Angelie Multani
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9
inflict on the city. There was a phone call made to a Hindi news channel (not
proved true) by a group claiming responsibility for the attack and stating that
it was ‘revenge for the Babri Masjid’. Targeting specific landmarks, iconic
representations of India’s economic capital, these young men who looked
like ‘college students’ according to eye witnesses, who saw them land, were
wearing red thread around their wrists, sacred markers of Hindu identity, so
that they could move around the city without arousing suspicion. This is
perhaps the most frightening and chilling image of all. The sacred thread of
one religion was believed to provide a certain kind of immunity because the
dominant community in India are the Hindus.
The question remains with us – how much longer are we to be
trapped in this mindless cycle? Is there an end to violence and retaliation in
sight? There are no clear answers, just as there are really, no final solutions.
As Daksha asks at the end of FS, ‘Do you think those boys will ever come
back?" Ramnik’s words echo on stage: "If you call them they will come. But
then again – if it’s too late – they may not."
Let us hope it is not too late. That we can finally forgive, and if
we can’t forget, at least hold on to things which we may be glad to
remember.
Forgiveness is the only Final Solution
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10
Notes
1 Memory, History, Forgiveness:A Dialogue Between Paul Ricoeur and
Sorin Antohi (Budapest, March 10, 2003.) www.janushead.org/8-
1/Ricoeur.pdf
2 Smita Tewari Jassal and Eyal Ben_Ari, (Eds.) The Partition Motif in
Contemporary Conflicts, Sage Publications, New Delhi. 2007. Pg. 23.
3 Gyanendra Pandey, Community and Violence: Recalling Partition.
Economic and Political Weekly, August 9, 1997. P 2037.
4 Final Solutions, p 203. Interestingly, when Daksha chooses Noor Jehan as
her favourite singer, she is making an ‘anti national and anti community’
choice, by selecting as a role model, a singer personifying the idea of Muslim
womanhood, a singer who chose to leave India and go to Pakistan in 1947.
(Neeladri Chatterjee, still unpublished)
5 Vasanthi Raman, The Surang (Tunnel) of Madanpura: Partition Motif in
Banaras in The Partition Motif in Contemporary Conflicts. P 260 – 282.
6 FS p 194
7 FS 221
8 Paul Ricoeur interview
9 Paul Ricouer interview
10 Vasanthi Raman, p 276.
Bibliography
Causa, H. Janus Head, janushead.org. History, Forgiveness: A Dialogue
Between Paul Ricoeur and Sorin Antohi (Budapest, March 10, 2003.)
Dattani, Mahesh. Collected Plays 1, Penguin Books, New Delhi, 2000.
Pandey, Gyanendra, Community and Violence: Recalling Partition.
Economic and Political Weekly, August 9, 1997.
Tewari, Jassal Smita and Ben_Ari Eyal, (Eds.). The Partition Motif in
Contemporary Conflicts, Sage Publications, New Delhi, 2007.
Angelie Multani is Assistant Professor of Literature at the Department of
Humanities & Social Sciences, Indian Institute of Technology Delhi. Her
area of specialization is postcolonial and Indian English theatre, although she
is also interested in issues of gender and cultural studies. At present she is
editing a collection of critical essays on the work of Mahesh Dattani.

Monday, November 9, 2009

Assessing 'Final Solutions'

Murari Prasad, S Subhashini – Dattani’s “Final Solutions”

http://www.museindia.com/showfocus15.asp?id=1330

A Scene from Mahesh Dattani's 'Final Solutions.' Courtesy - theatre.sulekha.com

Abstract: The trauma of the vivisection of India and its continuing reverberations inform a good range of Anglophone postcolonial literature in India. However, its sensitive representation in drama is relatively sparse. Mahesh Dattani’s Final Solutions inhabits the communally charged world of the Indian subcontinent and brings out the nuances of the communal intransigence and proclivities, missing in what Suzanne Langer calls the ‘virtual past’ of narrative literature. The play helps to make sense of a major tension in postcolonial Indian society as the two communities of different stripes reclaim their past and re-imagine their future. This paper will examine how the play captures the communal rupture and sectarian impulse. Ironically alluding to Hitler’s racial arrogance and bigotry for a final ethnic cleansing, Dattani zeroes in on the siege within the characters ranged against one another and gestures towards addressing the in-house conflict with tolerance and empathy. The process of misbegotten politicization of religion and the dynamics of contemporary incitements to violence are also investigated, for good measure.

Dattani’s plays, in addition to being engrossing entertainment with satisfying plot dynamics, have substantial thematic meat to keep academics, as John McRae notes, “ at the feast for a long time to come”(in Multani 54). They embody crucial concerns of Indian society. Ranging from many thorny issues to major persistent taboos, the themes of his stage plays, such as Where There’s a Will (1988), Dance Like a Man (1989), Tara (1990), Bravely Fought the Queen (1991), On a Muggy Night in Bombay (1998), Seven Steps around the Fire (1999), Thirty Days in September (2001), as well as his radio plays, have been movingly rendered in the twists and turns of the plot. In Final Solutions (1993), Dattani gets to grips with the sectarian tension and mistrust between two major communities of India. The tense interface between the two communities of India in the aftermath of Partition provides the context for the basic situation. As the situation triggers action, the play unfolds palpable tension which climaxes into a final confrontation between the frenzied bands of the two communities and then into a statement on tolerant togetherness. The initial situation depicts a communal riot which has periodically tended to throw Hindus and Muslims into spontaneous combustion. The play establishes the initial situation in such a way as to foreshadow the tensions which emerge in the action. The ideas which are discussed grow out of and illuminate the course of action embodied in characters.

The play opens with Daksha reading from her diary, reminiscing about the “terrible” loss of pluralism in India’s vivisection even as the country’s tryst with destiny has eventually materialized in the form of its long-cherished Independence. This proud heritage which the British meticulously destroyed has not reasserted itself strongly enough to contain the trauma of Partition. The time span of forty years is squeezed as Daksha’s observations melt into Hardika’s voice: “Yes, things have not changed that much” (167). Her speech fills out the significance of the opening scene: even after 40 years of independence the Hindu-Muslim question has not been sorted out. Flawed reliance on singularity along a rigid line of segregation has bolstered bigotry and made India’s social fabric fragile and politically combustible. The full flavour of the situation derives from the setting, dialogue and intensification of the action that unfolds. The play revolves around the colonial legacy of Partition—its traumatic aftermath with incendiary implications. It sets off a pugnacious perspective on the periodic eruption of communal confrontation fuelled by religious polarization and reductionist conviction. Dattani comes out with flying colours in his dramatic representation of the persistent Hindu-Muslim tension since Partition. The issue of communalist violence and sectarian tension shaped and greatly exacerbated by memories of the Partition conflicts is a crowded and highly contested terrain. In recent years it has generated intensive, bottom-up case studies such as Paul Brass’s The Production of Hindu-Muslim Violence in Contemporary India (2003) as well as macro and top-down approaches like Ashutosh Varshney’s Ethnic Conflict and Civic Life (2002), apart from Partha Chatterjee’s celebrated work in the area, Nations and its Fragments (1993). In addition to these social scientists, Sudhir Kakar has also explored the complex reasons for Hindu-Muslim animosity in his book, The Colours of Violence. In this paper I utilize Kakar’s psychological investigation into the intolerably violent productions to analyze Dattani’s representation of a communalist riot which is the pumping heart of the play. As the play suggests, the hostilities emanating from the communal divide are multi-layered and therefore less tractable than often explained by the pseudo-secularists. In other words, the malady is not amenable to formulaic and stereotyped political management.

In The Colours of Violence, Kakar examines the patterns of collective communal violence which periodically breaks out and snowballs into Hindu-Muslim riots and pogroms in the subcontinent. Rumour and cultural memory serve as active accessories in fomenting mutual distrust. Kakar argues that certain typical ploys commonly recur in rumours fanning riotous activities in the subcontinent. The incendiary motifs include spreading the gossip about water and food supplies being poisoned by the other religious group, weapons being stockpiled in sacred spaces, temples or mosques being desecrated with carcasses of cows or pigs, symbols of faith being mindlessly attacked and sexual organs of the opposed religious group being mutilated, and Indian or Pakistani state getting covertly involved in communal violence (37–59). The rumours producing confrontational frenzy in Dattani’s play contain some tropes very similar to those suggested by Kakar:

[The Mob/Chorus wearing the Hindu masks]

Chorus2, 3. They broke our rath.
They broke our chariot and felled our Gods!
[…]
Chorus 2. The stone that hit our God was no accident!
Chorus 3. The knife that slit the poojari’s stomach was no accident!

[The Mob/Chorus wearing the Muslim masks]

Chorus 1. Their chariot fell in our streets
Chorus 2. Their God now prostrates before us!
Chorus 3. So they blame it on us?
Chorus 1. Was the chariot built by us?
Chorus 2, 3. Blame the builder of those fancy thrones.
Chorus 4. A manufacturing defect!
Chorus 5. Doesn’t their God have a warranty?
Chorus All. We are neither idol makers nor breakers!

Kakar argues that the covert and conspiratorially organised riots are sustained by stylized and self-perpetuating rumours. The canard going on the grapevine gains in street credibility and substitutes the events it talks about (37). The motives of the vile rumourmongers is never scrutinized and impugned nor is any empirical evidence sought to diagnose the oddly parochial correlates of these rumours. The sanity of society is overwhelmed by the rhetorical potency of these rumours and myths based on an astonishingly limited view taken by religious collectivities of one another. Embedded in prejudices, hostilities and quarrels between the two religious groups, these rumours spread quickly and are seized upon by the collective psyche. Of course, in the ongoing discourse of Hindu-Muslim communalism the momentous Partition stands as the most significant event to generate stories of oppression on both sides of the religious divide and so it is regarded as the first catastrophe of the historical consciousness in modern South Asia. The memory of neatly partitioned categories as well as the presumption that the two communities are disparate and disjunctive units has been kept alive, even made sharper, by the accretion of distortions of the religious conflict in the course of hearsay stories about communal pogroms:

Cultural memory is the imaginative basis for a sense of cultural identity. For isn’t imagination not [sic] a memory of vital moments of life freed from their actual, historical context? Cultural memory, too, is a group’s history freed from rootedness in time — it is as much imagination as the actual events that go into its construction. (Kakar 22)

Hard facts are glossed over in the evocative accounts of past violence in that such stories are circulated to construct a quintessential dichotomy and fortify crude ethnic particularities. Increased communal polarisation is promoted by painting the other group as the real culprit. In an interview, Urvashi Butalia points out the grossly partisan role of rumours in stoking up bitter Partition memories: “[I]n individual and collective memory, inside families particularly which is where this history of partition is largely contained, it’s very one-sided. You hear from families about their victimhood, but you never hear about their involvement in the violence” (in Whitehead 234). In a context of intense political mobilisation religious support is sought to be consolidated by mounting a hate campaign against the rival communal group.Dattani has Daksha to corroborate this point:

He [Daksha’s father] said that before leaving, they[the Britishers] had let loose the dogs. I hated to think that he was talking about my friend’s fathers… But that night in Hussainabad in our ancestral house –when I heard them outside –I knew that they were thinking the same of us. And I knew that I was thinking the same, like my father. And as their voices grew louder, I blamed them more and more for my father’s absence. The windows broke , one by one. My mother and myself , we hid in the pooja room. The stones came smashing into our home. I clung to my mother. My mother clung to the family idol of Lord Krishna. ( 167)

Kakar further suggests (53) that the need for solidarity in the face of adversaries across the religious divide is emphasised to rally the members around an all-engulfing identity of cultural affiliation. Intra-communal fissures disappear during the moments charged with religious ethnicity as a person’s all-encompassing identity. This is how rumours cement the communal scene. Inter-faith understanding is in short supply. People tend to be obsessed with parochial predisposition and the trigger sends their sanity and tolerance into unhealthy overdrive and disarray. Religion becomes the sole distinguishing marker of identity, pushing the single agenda of communal rift as the rallying point. Inevitably, other categories of group alliance, such as class, occupation, gender etc. are deeply miniaturised and classsified into a single carton of one-dimensional civilization. When Javed says that he was “ swayed by what now appears to me as cheap sentiment…[the talk] about motherland and fighting to save our faith and how we should get four of theirs for everyone of ours” (205) , he is echoing the words of Hitler: “ ‘The individual […] in becoming an adherent of a new movement feels lonely…[but] receives…the pictures of a greater community, something that has a strengthening and encouraging effect on most people’” (qtd in Kertzer, 165). Javed realizes remorsefully that he has been recruited to spread the raw vehemence of the radical version of his faith.

Dattani’s portrayal of post-Partition riots tacitly reinforces Kakar’s claims. His depiction of the street riots opens when the Gandhi family is retiring for the night. The horrendous strife between the two communities caused by Partition has not healed: “You pray to a god you do not know! You pray to a nothing. You do not know his form. And you seek to destroy our gods! Drive them out! Kill the sons of swine! Kill the sons of swine!” ( 178). As is implicit in the young men’s sweeping accusation by using the term “you” to denote the Muslims who have supposedly broken the chariot and killed the priest, at moments of crisis religious hatred looms like an open sore segregating religious identities sharply: “you…destroy our gods.” The Chorus wearing the Hindu masks give chase and some of their blows strike the two Muslim young men who cry out in pain over the Chorus’s ‘Kill them!’ ‘Kill the sons of swine!’ This kind of intolerant reductionism props up gross generalisation and, as Amartya Sen, refuting Samuel Huntington’s theory of a “civilizational clash,” perceptively notes, deposits human beings into little boxes of “ civilizational confinement” ( Sen 40) .

The incendiary rhetoric and explosive situation are represented with spectacular effects on the stage. Dattani captures the contour of communal conflict on the proscenium by devising split sets. The characters are shown confronting their demons of prejudices, their fragmented identities of religion. The material is suited to the space.The pain, pathos and excitement are packed in the dramatic encounter of the muslim young men—Javed and Bobby—frantically looking for shelter at the door of the Gandhis. There is a quick blackout. The aggressive chorus turns into an unruly mob baying for the blood of their adversaries. The police are indifferent; the town of Amargaon is placed curfew; the Muslim girls’ hostel is reportedly bombed and the girls are trapped inside.The Gandhis epitomize India in that the members of the family represent different levels of social transactions. Daksha’s simmering rancour has hardened into Hardika’s hostility towards the other community. Ramnik Gandhi, her son, is sane and moderately secular. His wife, Aruna, is an orthodox, though compassionate, Hindu woman while their daughter, Smita has a tolerant and liberated mindset. When Ramnik opens the door, they react to the communal strife and the ensuing situation in different ways:

Hardika. Why did he do it?
Daksha. Oh God! Why do I have to suffer?
Hardika. Didn’t he have any feelings for me?
Daksha. I just wanted them to be my friends!
Hardika. How could he let these people into my house?...They killed his grandfather!
[…]
Bobby. Please don’t throw us out!
Javed. They will kill us!
Aruna. Call the police!... Don’t listen to them!
[…] Chorus All. Thwart them. So we may live in peace.
Ramnik. We?...We who are right.
Chorus All. They who are wrong. Since we are right. And they oppose us…Do you doubt us? Your own people?
Ramnik. I have the right to doubt which is my own! No! I will not open the door! Go away!

The Hindu chorus declares the Gandhis traitors for their support and rescue of the two Muslim men running for cover. Ramnik sticks his neck out and gestures towards Javed and Bobby with empathy and concern.

Dattani identifies the tight binds between Muslims and Hindus, and suggests that even the undeniable hatred between the two communities is a sign of their enduring emotional bond. Although sliced apart by Partition, their inter-communal ties forged by way of composite cultural inheritance are not totally severed. He sees the cleaved homeland—borders between India and Pakistan—and the enormous psychological anguish as an inexorable dynamic of Partition. Unlike run-of-the-mill partition narratives, wherein the effects of violence and displacement are usually stressed , Dattani engages with the psychological effects of the country’s division and its brutal potential. However, the extent to which religion has segregated the two communities from each other is not invariably the same. Hardika and Javed are caught in the middle of the sectarian impulse with little demurral, whereas Ramnik Gandhi and Smita prefer a humanist pursuit of broad reach. Hardika, carrying over Daksha’s communal animosity, finds the cultural ties between the religious groups snapped and their composite identity in shreds. On the other hand, Ramnik Ganghi sees that they have more in common in their long shared history than parochial cultural identity sharpened by the division and disaffection since Partition: “I have always maintained that if you want peace…that is , if you treat peace as a commodity and you go looking for it—you will find it hidden in the armpits of the majority”( 191). Like Amitav Ghosh, Dattani insists on the continuing closeness between the Hindu and Muslim communities. He also seems to endorse the view of Indian secularist historians who argue that religion became a potent factor to fracture India’s multi-religious society with the advent of the British “divide and rule policy”. In Final Solutions, Daksha says: “He[my father] was happy we were rid of the Britishers. He also said something I did not understand then. He said that before leaving, they had let loose the dogs. I hated to think that he was talking about my friends’ fathers… But that night in Hussainabad in our ancestral house—when I heard them outside—I knew that they were thinking the same of us” (167).

However, while secularists emphasize the syncretism of Indian culture, disregarding instances of violence in pre-colonial India, Kakar finds their plea less than compelling in that it does not explain the dark and menacing forces behind recruiting religion for the periodic outbreaks of sectarian violence. In other words, the secularist approach makes light of the inexplicably hostile paradigms of identity that demarcate the two inflexibly opposed communities as well as demote and downgrade India’s composite and nondenominational heritage. Kakar writes that “the secularist has tended to downplay the dark side of Hindu-Muslim relations in India” (21).While Dattani in no way downplays the horrors of interreligious hatred, he finds it difficult, as a secularist with an optimistic view of the interchange between the two communities, to regard the communal barriers as insuperable. As John McCarie notes, “The redemptive power of Bobby’s touching the idol at the end of Final Solutions cauterizes the wounds of a society divided by communal religious violence[…]” (in Multani, 57).

Dattani’s play gets past the cold pessimism or any pallid view or blinkered vision of civilizational partitioning; it rather climaxes into a moving resolution endorsed by the central strength and sanity of characters on both sides of the communal divide. Smita mildly snubs her inward-looking mother:

Because you know they don’t believe in all the things that you feel are true. Doesn’t that make your belief that much more weak? Do two young boys make you so insecure? Come on , mummy. This is a time for strength! I am so glad these two dropped in. We would never have spoken about what makes us so different from each other. We would have gone on living our lives with our petty similarities. ( 211)

Bobby picks up the tiny image of Krishna in his palm and declares:

See, Javed! He does not humiliate you. He does not cringe from my touch. He welcomes the warmth of my hand. He feels me. And He welcomes it!...(To Aruna.) You can bathe him day and night, you can splash holy waters on Him but you cannot remove my touch from His form. You cannot remove my smell with sandal paste and attars and fragrant flowers because it belongs to a human being who believes, and tolerates, and respects what other human beings believe. That is the strongest fragrance in the world! (224-225)

The speaker makes a robust pitch for secular interaction in order to provide a positive contrast to confrontational militancy between religious communities of the subcontinent. Dattani does not elide the specificities of religious and ethnic diversities in which the communal issue is embedded but envisions a reassuring scenario of amity and tolerance.

Dattani’s device of communicating the specific resonance of sadistic thrill has compelling spectacular effects. The representation of historical rift in the form of Daksha’s diary and her reminiscences about the partition riots in tandem with the present riot-rousers and their hired accomplices evokes the state of entrenched communalist prejudices prone to peak into insane frenzy. The Mob/Chorus wearing and changing their masks (five men and ten masks on sticks) conveniently exposes the radical elements clinging to the externals of faith. The Gandhi family on the set represents the mixed values of middle class Hindu India. Adhering to secularism only instrumentally has failed to contain the circulation of religious nationalism. If we make peace with our conscience by withdrawing from the public domain, the space will be hijacked by the merchants of faith. Dattani does not sidestep the impediments to interfaith harmony.What the play suggests, at any rate, is that exemplars of secular tolerance should carry the torch of inter-religious harmony, otherwise exclusionary focus on religious rituals and separatist propensities will promote coarse characterisation of religious identity and, consequently, a sectarian conception of India. With shallow ideologies of secularism the Hindus and the Muslims have remained mired in their inane vesions of communalism and parochialism.Like Amitav Ghosh again, Dattani, too, cautions against exclusive identity in an increasingly multi-cultural society and looks for a locus of symbiotic embrace.To say the least, Dattani’s postcolonial play is a moving and creative intervention in strongly perceived cultural and religious differences in India.

[We are indebted to Claire Chambers’ analysis of Sudhir Kakkar’s insight into the complex issue of Hindu-Muslim animosity in India. See her excellent essay “ Riots, Rumours, and Relics: Amitav Ghosh’s The Shadow Lines” in Amitav Ghosh’s The Shadow Lines: Critical Perspectives, ed. Murari Prasad, Pencraft International, Delhi, 2008, pp.37-55.]

Works Cited

Butalia, Urvashi. “Blood.” Granta 57 (Spring 1997): 13–22.
Dattani, Mahesh. Collected Plays.
New Delhi: Penguin Books India,2000.
Kakar, Sudhir. The Colours of Violence.
Delhi: Penguin, 1995.
Kertzer, David. Ritual, Politics and Power.
New Haven and London: Yale University Press, 1988.
Multani, Angelie (ed). Mahesh Dattani’s Plays: Critical Perspectives.
Delhi: Pencraft International, 2007.
Sen, Amartya. Identity and Violence: The Illusion of Destiny.
London: Allen Lane,2006.

Dialogue with Dattani

Mahesh Dattani - The Invisible Observer - a profile by Anita Nair


Act I

Koshy's, a popular restaurant located on St Marks Road, Bangalore. This is the new improved Koshy's where a lonely looking flower arrangement greets one and the exit and entrance have merged into a common door. But the walls remain the same - the colour of watered down chicken. And the chairs are covered with brown Rexene that on a warm days sticks to the skin.

A crowd of lawyers with the shut-in demeanour of Emperor Penguins on an ice floe argue; silent salesmen sip at a stealthy beer; a lone foreign tourist sprawled on a chair nurses an omelette, reading a book; a bunch of ferocious-faced women activists in khadi kurtas and terracotta earrings hold court; a young couple sit quietly brushing shoulders, entwining fingers; an old man in a tweed coat stirs sugar into his cup of coffee...

Waiters like silver -fish scurrying through the pages of an old book, dart between tables. Bottles glint from the bar at the farther end. Fans mounted high whir their heads this way and that. Laughter, the clink of cutlery, the scraping of a chair leg and stray words rise up to receive the audience.

I slide into place, perch my elbows on the table and stare at the world through the window. St. Marks Road trembles and trills with early noon traffic.

A waiter hovers. I say, " I'm waiting for someone to arrive."

Mahesh Dattani is forty-one years old. An age when most men have got around to acquiring wives, babies, a time-share in a holiday resort and a retirement plan. An age when all men began to encounter their fathers in their bathroom mirrors. An age when men let the relief of not having to worry about what comes next in life fill their insides and show as soft fleshy folds around their middles.

Mahesh Dattani sweeps into Koshy's in a kurta-pajama clutching a jute bag that holds nothing beyond a few papers and a cell- phone. His face belies his age and there is something about his comportment that cocks a thumb at all the frill of middle class middle-agedom. Ironically it is the middle-class milieu, Mahesh Dattani has claimed for his own.

Heads swirl. This is the theatre personality Mahesh Dattani that young aspiring theatre types are forever hoping to meet and connect with. The creator of plays such as On a Muggy Night in Mumbai, Bravely Fought the Queen, Final Solutions, Dance like a Man. The Sahitya Akademi winner whom the Bangalore media and the regulars at Koshy's woo.

A prince in his court, he stops at several tables to shake a hand, offer a cheek or sometimes he simply laughs in that distinctive way anyone who knows Mahesh Dattani will recognize. A nasal neigh that comes in three short bursts and if he is very amused, some more…

What does it mean to be a playwright? I ask.

"I see myself as a craftsman and not as a writer. To me, being a playwright is about seeing myself as a part of the process of a production. I write plays for the sheer pleasure of communicating through this dynamic medium."

*Dattani began life as an advertising copywriter and subsequently worked with his father in the family business.

*He formed his theatre group Playpen in 1984 and directed several plays for them ranging from classical Greek to contemporary works.

These are facts that are offered for public consumption time and again just as the story of how Mahesh wrote his first full length play Where there is a Will in 1986. {The Deccan Herald play festival was on and Mahesh and his group were still searching for a play. At which point Mahesh pulled out the 10-12 hand written sheets of a play he had begun work on and the response to it was so encouraging that he went on to complete it and direct and act in it.]

Most writers begin with a short story collection or a novel. Why a play?

"I'm a reluctant playwright. I would choose to direct first before I write. But I wanted more plays written primarily in the English language for Indian audiences. In fact, I began by trying to adapt a Gujarati play 'Kumarni Agashe' [ Kumar's Terrace] but it just wasn't working."

Mahesh Dattani had done it all. From acting to writing his plays to directing it to maintaining creative control when others produce/direct it. Rather like a chameleon he changes shades as he shifts from one role to another. Is there a conflict of interest somewhere at some point?

Does the actor in you battle with the playwright who battles with the director? Do you find yourself making compromises torn between the three roles?

"The actor, the playwright and the director are all complimentary to each other in a production. It is like gardening; where a whole is made of many parts. So many conditions determine a garden's lushness, its beauty.

I write for an actor in the true sense of the word and not to pander to vanity actors. There is no theatre without an actor or an audience. Everything is geared towards 'rasa'.

Which is why I always direct the first production of any play I write. That enables me to put in more stage instructions which goes on to become a kind of blue print for other directors. That way, there is no conflict"

The cell phone rings. All through our conversation, we have been interrupted several times. Later in the evening Mahesh Dattani's book 'Collected Plays' published by Penguin is to be launched in Bangalore. Everyone who is anyone wants an invitation. Right now, it is going to be difficult to get behind the skin of Mahesh Dattani.

Act II

An upper class living room in a very nice part of Bangalore. Mahesh Dattani's 'Collected Plays' have been displayed at vantage points. The focus is on a corner of the room where two chairs have been placed at angles to each other.

The guests - a film critic and his novelist wife, several actors, painters, members of a book club, corporate types, culture vultures begin to arrive and the rugs and floor cushions scattered on the ground, an L-shaped sofa, a chaise lounge begin to fill; a plump writer usurps the plump single sofa; for the latecomers there are several dining table chairs and even a high chair.

The two actors make an entrance and begin the reading of excerpts from the 'Collected Plays'.

Mahesh Dattani the playwright is an observer. Whether it is in a stage play like On a Muggy Night in Mumbai or in the radio play Do the needful, the characters speak his words. But he maintains the position of an outsider and never allows himself room in the plays he writes. In many ways it is a reflection of the person he is - someone who is non-judgmental and hence the stance of an observer.

There is little attempt to advocate change or even convey a message.

Do you this do this consciously? I ask.

Mahesh thinks for a moment and carefully frames his reply. "Theatre to me is a reflection of what you observe. To do anything more would be to become didactic and then it ceases to be theatre."

But by simply holding up a mirror to the society and by not showing the way, isn't it expecting too much of an audience? That they formulate their own answers…

"Audiences need to make the effort. Unlike TV or cinema where the viewer doesn't have to contribute, theatre is a collective experience.

In fact, at a moment of truth, you will find how people who don't know each other join in from all corners of the darkened hall to applaud and declare their appreciation of that important moment. And that's when you know a play works."

The reading goes on with tremendous energy and as Mahesh claimed earlier, a moment of truth does arrive and the audience in the living room applauds.

But more than the theme of the play itself, what makes his plays highly enjoyable is his characterization. He knows the world he is talking about and shows it just the way it is - the hypocrisy, the prejudices, the dilemmas, nothing is spared. And yet, if there is a point where Mahesh stumbles, then it is when unconsciously the characters who have his sympathies end up much more resolved and developed even if they are not the principal ones. Sharad from On a Muggy Night in Mumbai. Anarkali from Seven Steps Around the Fire. Alpesh from Do the needful. I tackle him on this.

"Shouldn't you be resolving your principal characters more than the ones who have your sympathies?"

"Where am I focussing? Where do I want the attention to be placed? If I were to present it to the audience the way I see it, they wouldn't be able to connect. So they have to be taken through a journey of the familiar before they are presented with something that is totally alien."

In the preface to the volume, Mahesh writes of how he is often accosted by the remark - ' It would make sense in Hindi or Kannada. Meaning, "we are not bigots, it's those bloody vernacs who need to think about all this." That too in the same breath as professing to be liberal-minded and secular.'

There is anger there and Mahesh minces no words when he says what makes him angry.

"I believe in justice and fairness and something that isn't makes me angry. Just as prejudices too."

The reading ends and a vociferous member of the audience has a whole list of questions for Mahesh. How on earth can someone who confesses to having seen only one of Mahesh's plays generalize so blatantly? I wonder.

I haven't seen too many of Mahesh's plays either but I do have an advantage in having read the book from cover to cover.

Are plays meant to be read or performed? And when they are read, do you read them as you would perhaps a collection of short stories or try to remind yourself at every page that this was written to be performed.

In a volume, certain idiosyncrasies of the playwright come to light, which wouldn't otherwise. Mahesh has his when it comes to names. Four names occur again and again in his plays and these names represent more than just syllables. Daksha is helplessness. Lata means confidence. Salim indicates a passivity and Praful is the uncle who can be depended upon. While this can be dismissed as a mere quirk, there is one aspect that requires serious attention.

In your plays, the traditional woman as the mother is portrayed with some contempt, be it Sonal of Where there is a Will, Prema Gowda in Do the needful, Baa in Bravely fought the Queen, Aruna in Final solutions. While the younger woman is depicted as a scheming problem solver; Lata in Do the Needful, Ratna in Dance like a Man, Bharati in Tara… In contrast, men are not treated with such disdain and are often shown to be as victims suffering from a woman's machinations - Jairaj and Ratna, Patel and Bharati, Preeti and Hasmukh. Why?

"It's to do with my perceptions. I don't mean to say that this is a definitive view of life. But several of the images that we carry around in our minds are politically generated images and we accept them to be as true. However I don't think so and my characters are simply a personification of my perceptions."

Yet another feature of Mahesh's plays are how there are no pat endings. All the plays end with a question in the audience's mind. What is going to happen next? is something you'll have to answer as you drive back home after watching a performance. Even more so when you read the plays back to back. But Mahesh has an answer.

"You can't treat a play like a roller coaster ride which even at its most terrifying moment you know will end soon and quite happily when you hit terra firma. It's only when you are left hanging in air you start to question your own personality, perceptions etc. Like I said before, the theatre is a collective experience and the audience have to finish in their own heads what the playwright began."

Act III

Once this would have been called the outskirts of Bangalore. Now it is just another residential area. One side of the road is park with trees planted in symmetrical rows. A little signboard reads Mini Forest.

Half way down the road is a plot with very high mud walls shrouded in green. This is 'Mahesh's Studio'.

The gate leads to the mini amphitheater on the left. Three rows of semi-circular seating, spotlights, and high walls that are draped with Bougainvillea and jasmine. Straight ahead is the staircase with thirteen steps, a landing and then four more steps. The staircase is flanked on one side by plants. Morning glory, roses, geraniums… everything is green and bountiful.

Mahesh's Studio is exactly what it set out be. A creative person's retreat and living space. The accent is on art and craft without being expensive - naked brick walls, mirror work cushions, notices of Mahesh 's plays framed, masks, terra-cotta figurines etc. Inside is a tall and spacious room where theatre workshops are held.

Once upon a time Mahesh Dattani had a dream. The Studio. A place where he could be who he was and do what he likes to do best. Whether it was to work on a play or stage a small production or conduct a theatre workshop or simply host an art exhibition.

And now that dream has been realised. It is here Mahesh writes; using a computer. In fact, Mahesh admits that he is a disciplined and hard working writer and if it weren't so, he wouldn't be as prolific as he was. Like all creative souls, he has his pattern. He works best in the mornings and begins the thinking process from the bathroom.

I look around me; the beauty of Mahesh's studio overwhelms me. In many ways, this is every creative person's dream. A place of one's own. And to be able to live off one's art. There is no compromise here. The day job is also the ruling passion.

"Oh, I couldn't live off writing plays alone. I supplement my income by teaching and conducting workshops," Mahesh says when I tell him how fortunate he is to be a full-time writer.

But it would be silly to treat that as a complaint for Mahesh is merely correcting my perception of his life. And once again I am struck by how much at peace he seems to be with himself.

"What makes you happy?" I ask

"When I'm directing a play, I feel like I'm a complete human being. That makes me happy. And also when I meet people with a passion. It reaffirms all that I do.

I'm enjoying what I'm doing and I don't want to do anything else."

Mahesh Dattani as a playwright will never be a brand. His plays have varied content and varied appeal. His characters seldom mouth lines, which will be quoted by just about everyone. Nor does his thematic content rise to extraordinary heights. But what makes Mahesh Dattani one of India's finest playwrights is in the manner that he speaks to the audience straight from the heart.

Much as his plays make commercial sense, his expectations of his audience is high and therein lies the difference between art and commerce. He does not provide ready-made solutions or fully resolved endings.

He aims not at changing society but only seeks to offer some scope for reflection in the hope that his plays will give the audience some kind of insight into their own lives.