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International Research Journal of Management Sociology & Humanities International Research Journal of Management Sociology & Humanities ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print) An Internationally Indexed Peer Reviewed & Refereed Journal Shri Param Hans Education & Research Foundation Trust www.IRJMSH.com www.SPHERT.org Published by iSaRa Solutions IRJMSH Vol 5 Issue 6 [Year 2014] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Representation of Anger and Agony in the writings of Marathi Dalit Writers Anuradha Sharma MA. MPhil. Assistant Professor Dalit literature fights for purgation of defiled social system. It deals not only with the themes of marginality and resistance but also explains about the Marxist changes influencing their condition. It is a living, breathing literary movement that is intent on establishing itself as an integral part of the field of Indian literature. Dalit literature protests against all forms of exploitation based on class, race, caste or occupation. It has not been recognized as a literature till 1970 but now its name is being heard all around the world. It has made the people to think against the exploitation and suppression. The rise of this literature marks a new chapter for India's marginalized class. Umpteen magazines, literary forums and workshops about Dalit came into existence because of this literature. Many well known Dalit writers are emerged from villages and towns. The poets, short story writers, novelists are receiving both exposure and opportunity in the marketplace that they have never before received. This chapter basically tries to focus on how the Dalit literature fights for purgation of defiled social system. To unfold the major and even minor complexities faced by them, Dalit literature came into existence. The studies are now firmly established as an important and indispensable aspect of all attempts to understand and analyze the complexities of Indian society. In connection to this, J. Jayakiran Sebastian says: “For far too long, there seemed to be an almost embarrassed silence when it came to fleshing out the harsh experiences of Dalit communities in independent India. Should one speak of an ‘Embarrassed silence’ or of a ‘conspiracy of silence’ when it comes to such matters? Or the resurgence of Dalit pride and the increasing recognition of the vital role played by Dalit communities in the political land.”1 I would discuss each important writer associated with Marathi Dalit literature, beginning with Namdeo Dhasal’s Dalit writing. Though Dalit literature is much older than Dhasal and the progressive writings of Phule and Ambedkar. Namdeo Dhasal’s writings mark a new kind of beginning in the kind of literature produced on Dalits. His writings were the most aggressive and violent display of the agonies of Dalit lives, particularly in Maharashtra. Dhasal wrote in Marathi and made use of a diction which people use in day to day life but mostly the abusive one. The odds against which Namdeo Dhasal fought his way to the centre of Marathi literature and culture 1 J. Jayakiran Sebastian “Can I Now Bypass That Truth?” (Padma Publication: Bombay, 2008) 23 International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 128 www.irjmsh.com IRJMSH Vol 5 Issue 6 [Year 2014] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) makes a very different yet as compelling a story as Ambedakr’s battle to win human dignity and to wrest equality for his community downgraded by Hindu scriptures. The earlier Dalit writers including Dhasal begin their writing carrier with poetry. With its affinity for the spoken word, poetry is the one literary genre that conveys subtle tones of intimacy and powerful thrusts of urgency even in its textual incarnation. It is here that Indian poetry distinctly breaks away from its post-Gutenbergan western counterpart. In its eternal form, poetry is located in the human voice. Even when it is appropriated and re-voiced as a performed text, it does not cease to have a live addressor and a live addressee and thus remained loquation. Dhasal resorted this quintessential quality of live performance to his extremely complex poetry from the outset. His first collection of poems Golpitha (1972) is written in an idiolect fashioned in the streets of the red light district of central Mumbai, and from the Mahar dialect spoken in the Maval region of the Pune district in Maharashtra- his native tongue. In Mumbai, Dhasal’s language had a generous infusion from Bambaiya Hindi or Bombay Hindi. However, the Kamatipura in which Golpitha is a landmark has Muslim speaking Urdu; Labourers from Andhra speaking Telugu, prostitutes migrated from Karnataka and Nepal- a unique ethno-linguistic entity. It seems that Dhasal was not shy of making this his poetic register and identity. He is clear that he would meet literature on his own terms and his brash confidence sometimes spill over from his intensely charged poems. Golpitha can be read as a sequence of interrelated poems, or even as a journey poem that takes us simultaneously through a specific location and the mind of its spokeperson. Marathi playwright and writer Vijay Tendulkar wrote a foreword to the first edition of Golpitha and was struck by its rootedness in space and time, and by the language that defied penetration beyond a point. Tendulkar writes, “The world of Namdeo Dhasal’s poetry-the world known as ‘Golpitha’ in the city of Mumbai-begins where the frontier of Mumbai’s white-collar world ends and no- man’s land opens up. This is a world where the night is reversed into the day, where stomachs are empty or half-empty, of desperation against death, of the next day’s anxieties, of bodies left over after being consumed by shame and sensibilities, of insufferably flowing sewage, of diseased young bodies lying by the gutters braving the cold by folding up their keens to their bellies, of the jobless, of beggars, of pickpockets, of holy mendicants, of neighbourhood tough guys and pimps...”2 Laxman Mane: Published in 1984 in Marathi, Mane’s Upara gives a detailed account of the writer’s struggle in life within the repressive framework of Hindu caste society. It vividly portrays the process of subjugation of the Kaikadis, a nomadic character of the community the Kaikadis are always looked down upon by the upper caste. For this reason Mane calls them Upara or the outsider to bring in a counter with the settled upper caste communities who are definitely privileged as 2 Dilip Chitre’s translation of the word ‘Dalit’ in the introduction of ‘Namdeo Dhasal: Poet of the Underworld’ (Navayana Publication:Chennai, 2007)10 International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 129 www.irjmsh.com IRJMSH Vol 5 Issue 6 [Year 2014] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) compared to the Kaikadis. Mane, a Kaikadi himself, narrates how he and his family and his community were suppressed and oppressed by the village people and at times expelled from their village. It is the gripping story of a man’s struggle that yearned for a life of dignity but failed. As a community of the landless and homeless, the Kaikadis, Mane writes, travelled from village to village selling baskets made of cane and repairing old baskets. They always stayed in places where village people relived themselves or in the cemeteries. If their business did not go well, they lived by begging. Sometimes on leftover food thrown to them by upper caste. Mane writes, “I took a bowl in my hand and went from house to house begging for food. Standing in front of each house, I would call out loudly: “Aunty, throw some crumbs of bhakri into my bowl...I beg of you...Grandma dear, throw the stale let-over into my bowl, please ...for pity’s sake.” Some women put rotten bread, stale curry and things like that into my begging bowl. In an hour or two. The bowl was full. I returned home followed by street dogs. Pelting stones at them and brandishing the cane, I reached the hut. Hunger had made us feeble. We ate enough from the begging bowl and we preserved the rest to eat later.”3 Throughout his autobiography Mane narrates the ambivalent and often, retaliatory and undignified attitude of the better- placed upper- caste with whom his community directly came in contact with for their livelihood. The majority of upper caste mindlessly exploitated the kaikadis in vary many ways. They were frequently beaten accusing them of stealing and robbing. In 1997, after thirteen year of Upara in Marathi, his autobiography came out in English. By that time Mane had received an overwhelming response from the mainstream literary critics in Marathi as well as from the general public. He had also won several prestigious awards including a Ford Foundation fellowship to visit America. But still, the existential condition of the kaikadis remained the same. Therefore, he writes sadly about the pitiable condition of his community: Even so I still felt as ill at ease and restless as never before. For the question is not of an individual. The question is of hundreds of thousands who are living in slums. On pavements, on the outskirts of villages, and those who do not have even such places who are suffering in miserable condition in the vales and valleys, hills and rocky planes. They do not have even two meals a day! Such a world have I been seeing with my own eyes-the world where one doubts one’s very existence. 4 As an autobiography, Upara portrays the life of the author while he was in highly emotional state. At times, the abject submission of the author and at other times, his rebellion in the book, makes it a moving human story-not merely a social document about caste oppression.
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