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Rewriting History: a Study of Shalimar the Clown and the Collaborator As Counter Narratives of the Kashmir Conflict

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Rewriting History: a Study of Shalimar the Clown and the Collaborator As Counter Narratives of the Kashmir Conflict Rewriting History: A Study of Shalimar the Clown and The Collaborator as Counter Narratives of the Kashmir Conflict A Dissertation Submitted in Partial Fulfillment of the Requirements for the Award of the Degree of Master of Philosophy in English by B. Raghavi (Reg. No.1630018) Under the Supervision of Abhaya N B Associate Professor Department of English CHRIST (Deemed to be University) BENGALURU, INDIA July, 2018 Approval of Dissertation Dissertation entitled Rewriting History: A Study of Shalimar the Clown and The Collaborator as Counter narratives by B Raghavi 1630018 is approved for the award of the degree of Master of Philosophy in English. Supervisor ___________________ ___________________ Chairperson ___________________ ___________________ General Research Coordinator ___________________________________________ Date: ………………… Place: Bengaluru Declaration I B Raghavi hereby declare that the dissertation, titled ‘Rewriting History: A study of Shalimar the Clown and The Collaborator as Counter narratives’ is a record of original research work undertaken by me for the award of the degree of Master of Philosophy in English. I have completed this study under the supervision of Abhaya N B, Associate Professor, Department of English. I also declare that this dissertation has not been submitted for the award of any degree, diploma, associateship, fellowship or other title. It has not been sent for any publication or presentation purpose. I hereby confirm the originality of the work and that there is no plagiarism in any part of the dissertation. Place: Bengaluru Date: B Raghavi Reg No.1630018 Department of English CHRIST (Deemed to be University) Bengaluru Certificate This is to certify that the dissertation submitted by B Raghavi 1630018 ‘Rewriting History: A Study of Shalimar the Clown and The Collaborator as Counter narratives’ is a record of research done by her during the academic year 2016-2018 under my supervision in partial fulfilment for the award of Master of Philosophy in English This dissertation has not been submitted for the award of any degree, diploma, associateship, fellowship or other title. I hereby confirm the originality of the work and that there is no plagiarism in any part of the dissertation. Place: Bengaluru Date: Abhaya N B Head of the Department Department of English CHRIST (Deemed to be University) Bengaluru Signature of the Head of the Department Department of English CHRIST (Deemed to be University) Bengaluru 3 Acknowledgement I would like to express my sincere gratitude to my supervisor Dr. Abhaya N. B for her continuous support and guidance throughout the course of my MPhil research. Her patience and motivation has helped me at all times of writing my dissertation. I extend my gratitude to my university for providing an excellent coursework and library facilities. My sincere thanks also goes to my internal examiner Dr. Sushma for her timely suggestions and feedback. I am thankful to my friends and family for being by my side at all times of the research. Abstract This research is a detailed analysis of Shalimar the Clown by Salman Rushdie and The Collaborator by Mirza Waheed as counter narratives which narrate the history of conflict in Kashmir from the perspective of Kashmiris as it engulfed their lives, families and villages. The novels foreground the stories and voices of the people of Kashmir which remains largely unrecorded in the nationalist discourse. By incorporating local and plural narratives, the novels break the monopoly of singular and grand nationalist history and provide an alternative view and understanding of the history of violence in Kashmir. The Collaborator tells the poignant story of a young Kashmiri Gujjar boy whose dilemma over whether or not to follow his friends across the Line of Control to train as a militant gives an insight into the mental workings and confusions faced by Kashmiri youth who are pressured and lured by competing ideological groups. It also portrays the dark and unethical operations of the Indian Army in remote villages of Kashmir which remain generally unknown and unreported. Shalimar the Clown presents its central plot of the union between a Kashmiri Muslim boy, Shalimar and a Kashmiri Pandit girl, Boonyi and the fateful intervention in their relationship of the American ambassador to India Max Ophlus as a semi allegorical tale to expound the conflation of multiple forces that gave rise to the situation of conflict in Kashmir. The novel illustrates the plight of Kashmiris caught in a power struggle between military oppression, religious extremism and neo imperialism. Through personal stories the novels weave the larger narrative of the social, political and ideological climate of Kashmir. This research explores how revisiting and reinvestigating this complex history from the perspective of Kashmiris provides fresh insights and paves the path towards understanding the conflict in all its intricacies. Contents Approval of Dissertation ii Declaration iii Certificate iv Acknowledgement v Abstract vi Contents vii 1. Introduction 1 1.1 Primary Sources: Shalimar the Clown and The Collaborator 6 1.2 Methodology: Historiography 9 1.3 Literature Review 16 1.4 Need to examine the conflict in the 21st Century 24 Works Cited 26 2. Kashmir: The story of a shattered utopia 29 2.1 The implications of Globalization 32 2.2 The heydays of Kashmiriyat 40 2.3 The political allegory and the demise of Kashmiriyat 43 2.4 Shalimar the Clown as a Counter Narrative 48 Works Cited 50 3. The Story of the lost generation of Kashmir 51 3.1 Contrast between the blissful past and the dismal present 52 3.2 The Rise of the Liberation movement and the underlying contradictions 55 3.3 Critique of the unchecked power vested in the Indian army 61 3.4 The dilemma of the protagonist 66 3.5 The death of a community and a village 71 3.5.1 A loving Portrait of Kashmiri Culture and its demise 78 3.6 Final defiance 79 Works Cited 81 4. Conclusion 83 Works Cited 94 Bibliography 95 Raghavi 1 Chapter 1 Introduction Salman Rushdie is a distinguished and renowned literary figure in the world today. Born into a Muslim family, he went to school in Mumbai and later studied History at King‟s college, Cambridge, England. He lived in Pakistan briefly in 1964 when his family relocated there. Before he began his journey as a writer, his career included stints as a Television writer and a copywriter for an advertising agency based in England. His first novel Grimus, a part science fiction and fantasy tale, was published in 1975 and didn‟t see much success. His second novel Midnight’s Children published in 1981 propelled him into literary stardom and international fame. It brought him abundant critical acclaim and renown. Midnight’s Children won the Man Booker Prize for the year 1981, the Booker of Bookers prize in 1993 to commemorate the award‟s twenty-fifth anniversary since its inception and The Best of the Bookers in 2008 to mark the prestigious award‟s fortieth anniversary. The success of his subsequent novels made him a name to reckon with in the literary world. Raghavi 2 Rushdie ran into an enormous and heated controversy with the publication of his fourth novel The Satanic Verses in 1988. The book drew the ire of conservative Muslims across the world and was deemed blasphemous for its alleged insults against Islam. Escalating matters further, Iran‟s supreme religious leader Ayatollah Khomeini issued a fatwa against him on 14 Feb 1989. Following the death sentence the writer had to spend about a decade in hiding under the protection of the British Government. However, Rushdie continued to write during his hideaway time and remained an unapologetic and fierce advocate of the freedom of speech and writing carrying out his rebellion against religious tyranny. More recently in 2015 he came out openly in support of the satirical French weekly Charlie Hebdo and condemned the attack on its headquarters in Paris. Rushdie wrote, "Religions, like all other ideas, deserve criticism, satire, and, yes, our fearless disrespect" (qtd. in Feeney). Recipient of leading literary awards and international honours, Rushdie was knighted by Queen Elizabeth II for his services to literature in 2007. A prolific and versatile writer, he is the author of twelve novels. Rushdie has ventured into other styles of writing and wielded his pen as a novelist, essayist, critic, short story writer, editor and playwright adapting his stories for the stage including Midnight’s Children and Haroun and the Sea of Stories. He also wrote the screenplay for the cinematic adaption of his novel Midnight’s Children. Rushdie‟s works deal with several themes some of which could broadly be classified under diasporic and postcolonial concerns. The idea of home, homeland, exile, migration, rootlessness, nationality and cultural collisions are common diasporic themes explored in his books. Postcolonial concerns with respect to the Indian subcontinent and Pakistan are recurrent in his works. These include examination of the effect of colonization on post- colonial societies, particularly highlighting the tension in realms such as identity, history, transformation and evolution of culture, political struggles, social changes and the status of Raghavi 3 women. His novels are also an exploration into the political, social and cultural scenario of India and Pakistan in the horrific aftermath of the partition. His fiction often problematizes sharp binary oppositions of self and the other, east vs. west, home vs. homelessness, rational vs. irrational, history vs. fiction to reveal complicated personalities, cultures and histories impacted by processes of colonization, migration and globalization. His novels celebrate cultural hybridity, plural identities and heterogeneity and express strong disapproval towards the abusive control and tyranny of religion. Revisiting and resurrecting historical events, personalities, myths, epics, fables and ancient characters into contemporary scenarios to achieve satirical ends is a frequent motif in his works.
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