Abstract:
The literature generated by the Dalit awareness is known as Dalit literature. The character of this writing is a struggle against the suppression and humiliation that Dalits have faced in the past and continue to face today under the varna system. Dalit writers' writings are both rebellious and inherently positive and revolutionary, as Dalit sensibility aspires to bring about compatible changes in society consciousness. This paper also tries to present a contrast picture about the handling of Dalits by the writing of a non-dalit woman writer Arundhati Roy and another famous writer who is herself a Dalit Meena Kandasamy. The Gypsy Goddess analysis which involves several social issues, the main one being the Kilvin Mani massacre in 1968. The heinous caste brutality in a small town is a microscopic representation on a national level and pays attention to the break with the classical Indian literary tradition and the emergence of Dalit literature. The God of Small Things where the author being a non-dalit portrays a powerful indictment of ugly social forces which crash an innocent young person who belong to an untouchable class paravan.
Key Words: Dalit, varna, massacre, caste, untouchable
Introduction:
Life is inextricably linked to literature. It is a manifestation of life. Literature, according to Mathew Arnolds, is "life criticism." Life, in all of its facets, becomes the raw material for writing. As Black literature arose in the United States throughout the twentieth century as a voice of protest against racial oppression, Dalit literature is a product of the modern era. The downtrodden and outcaste's sufferings and complaints are reflected in Dalit literature. Dalit literature is literature that educates people about India's caste system and untouchability, as well as its heinous nature and exploitation system. However, Dalit literature can be separated into two groups: those who are Dalits write about themselves, and those who are non-Dalits who comprehend the Dalits' plight and reflect it in their writings. Dalit women writers have the potential to make a substantial contribution to Dalit literature. Dalit women's works have always reflected self-experience and a burning indignation.
Dalit Resistance in the The Gypsy Goddess
Ilavenil Meena Kandasamy, an Indian poet, fiction writer, translator, and activist located in Chennai, Tamil Nadu, India, was born in 1984. The majority of her works are feminism and the anti-caste annihilation campaign of the modern Indian epoch, which is an evident reaction to her being attacked and tormented by the stereo sphere. Meena authored two poetry books, Touch and Ms. Militancy. Two of her poems have won awards in India's poetry competitions. She was the editor of The Dalit, a bi-monthly alternative English magazine published by the Dalit Media Network. Kandasamy sets herself apart from all other Indian writers who are caught between what they should write, what they require, and what she exhibits with the essential truth in the issues of gender inequality and caste injustice. Kandasamy has addressed the Indian system of female subjugation in all of her writings. She shows that women on the margins, in particular, are not victims. Meena is well-known for her outspokenness in the face of patriarchy and the caste system. She examines caste oppression through a feminist lens, having been born into a marginalised nomadic tribe, and delivers it in the form of anthologies, novels, columns in various periodicals, and her social media.Her main interests as a writer are caste destruction, feminism, and linguistic identity. The Gypsy Goddess, Meena Kandasamy's debut novel set in the southern Indian state of Tamil Nadu, addresses the plight of a group of farm labourers who live and work in deplorable conditions, dealing with their callous landowners' constant persecution and devastating atrocities.
The Gypsy Goddess has no hero, or protagonist. A postmodernist storey does not centre on a single character. Meena Kandasamy's writing comes from the outskirts of Dalit literature, which has been influenced for decades by the caste system. She uses her voice not just to draw attention to the Dalits' injustices, but also to represent their fury in response to them. Because of the country's long-standing caste structure, Dalit literature is unique to India. Despite the fact that the caste system was abolished by India's constitution, it still exists in many people's minds. Slavery in the United States and apartheid in Africa are analogous. Despite the fact that the caste system was abolished by India's constitution, it is still deeply embedded in the minds of its residents in many locations. Slavery in the United States and apartheid in Africa are analogous. The importance of women in the operation of caste was clearly portrayed in Meena Kandasamy’s The Gypsy Goddess. The ruling caste maintained their dominance by subjugating the dalit, creating a sense of incident and mockery. They employed exclusion, dominance, exploitation, and stigmatisation as techniques. Women have been held captive and victims of the forces as a result of the development of caste associations, which has supported caste politics. According to one occurrence
“Or, perhaps the first line should not bother about one old woman and, instead it should reflect on a universal issue: untouchability or class struggle Or, perhaps the first line should not concern itself with character or conflict, and instead talk about the land that fed the world but forgot to fed the world but forgot to feed all of her own people.” (Kandaswamy 3)
Caste was shown as a system of institutionalised oppression in this incident. The complex and disputed concept of honour is one of the key points of contact between caste and patriarchy. Through the segments "Background," "Battleground," and "Burial Ground," Kandasamy shows a bleak arc, revealing how 44 disenfranchised Dalit workers, including women and children, were burned alive by their landlords and the ensuing retaliation, termed "India's largest tragedy of castes." According to the author's fictional account of the tragedy, farm labourers go on strike when landowners shoot a popular communist leader, based on real sources and interviews with survivors. The landowners are attempting to bully them into working. They utilize severe sanctions, intimidate Dalit women with the police, and brutally abuse Dalit women. The famished residents of Kilvenmani hamlet, on the other hand, are steadfast in their pursuit of justice. Kilvenmani gathered dozens of peasants into a single cottage and lit it on fire, forcing the landlords to dispatch a formidable force to attack him. The majority of the perpetrators are released despite killing a large number of people and converting their bodies into charred, unidentifiable bodies. Several villagers who lost loved ones in the slaughter have been sentenced to prison in the meanwhile. The novel is equally vivacious, brimming with ideas, dark comedy, and righteous wrath. When viewed through the lenses of postmodernism and politics, this work crosses various aesthetic boundaries, and the narrative is decidedly non-linear. Readers have a variety of bustling voices instead of a central persona. The increasing anguish of landowning marauders has prompted us to form the Paddy Producers Association, whose goals are twofold: to free agricultural cookies from the evil company of these dubious leaders, and to foster a relationship of mutual goodwill and understanding between landowners, tenant farmers, and the agricultural coolies who play such an important role.
The Communist leaders merely keep coming up with a list of demands and inciting their followers to go on strike. When their unreasonable demands are not acceded to, they approach the government, which holds talks between the warring landowners and the labourers, and a Meena demonstrates the heinousness of violence by recording the fortunes of each victim, especially children. Children's deaths are a big cultural event. Children are never obvious adversaries and have no opinions, thus their murder is a particularly horrific act that must be discussed. Meena's storey, on the other hand, is more than a fictionalized account of a national tragedy. The cops indiscriminately count the burned bodies of the dead. The cruelty with which these Dalit dead bodies are tossed brings to mind the horrors of the Nazi era, when the Nazis treated Jewish dead bodies in the same way. a temporary settlement is then reached. (Kandaswamy Prologue)
The narrator reminds us, the audience, of the two uncounted dead bodies on several occasions. These incidents clearly highlight the need for broad legal reforms, as well as the need for police officers to be educated and, last but not least, for society to become more human. There is no data on the number of persons who have been touched by society's crimes, but it is assumed to be a common type of domestic violence. The deceased are reduced to a series of numbers that are kept on file for official purposes. Though it is wrong to do so, the number of individuals who have died on either side (Upper castes and Dalits) is 1:44. Kandasamy's dark humour shines through when she compares the value of one upper caste person's body to the value of forty-four Dalit bodies. Even in death, discrimination mocks the Dalits. . Even after death, caste is a vital part of one's identity. The judiciary wishes to portray landlords, or "mirasdars," as incapable of avenging or perpetrating crime against Dalits on their own, as if doing so would cause them to slide down the caste and class ladder. The High Court associates landlords with a sense of honour, but never the Dalits. In this court, where only upper caste persons are served justice by upper caste justices, the underlying game of caste is in full swing. Despite the efforts of the forebears of the Indian Constitution, this highlights the paucity of representation of Dalits in the governmental apparatus.
Kandasamy knows the secret of empathizing with her characters and strives to do the same with her readers. But, for her, the reader is a collective noun. Her running commentary and crass retorts in advance to the questions she assumes one will ask all point to this. She loses you several times to bursts of self-indulgence and unconnected digressions, but brings you back with jolts of lyrical ache. The book silently asks several questions, most of which are left unanswered. Every chapter is an experiment.( Pillai)
The importance of modernity, development, reason, scientific thought, and enlightenment to Dalit writers is frequently highlighted. Women from higher caste communities are encouraged to develop in society, but women from lower caste and outcaste communities are treated as second-class citizens. Such discourse implies that the emphasis on progress is accompanied by jealousy for upper-caste lifestyles and possibilities, potentially leading to unfavorable social and cultural models. This possibility of interpretation, critical observation, and appraisal is given narrative voice because it exists both inside and outside of dalit experience.
She grew up in a poor home. We thought she would take care of her husband’s people with respect. But we didn’t know her hand is also heavy with weapons,’ Spewed her mother in law (Kandaswamy 63)
When women want to live in a better environment, they are frequently reprimanded and questioned about their behaviour, as well as their responsibilities as a daughter-in-law, mother, and wife. Questions made by society and family members impede their development. The woman must suffer the agony and misfortunes that befall her as an unwelcome visitor. A husband can marry again if he is unsatisfied with his previous wife for reasons such as barrenness, boredom with girl children, age, or a helping hand with household responsibilities.
Dalit Resistance in The God of Small Things
In the democratic India, at the end of the 20th century, untouchability existed, this truth Arundhati has brought before the world. “The God of Small Things”, the prestigious “Booker Prize” awarded novel depicts the cross caste conflicts. In this novel Arundhati very aptly and beautifully portrayed class antagonism and class exploitation, the prosecution of untouchability without any rhyme and reason. It is a complex novel and it has been interpreted in diverse ways. The most striking feature of the novel is the treatment of Dalits. As a matter of fact caste and sub-caste based social divisions have been found in the Hindu society since long. Untouchables are solely mentioned in Hindu holy texts; they are not mentioned in Islam or Christianity. Although Christianity is recognised for its international “brotherhood and humanism,” Arundhati Roy has described a violent cross-cast struggle in her work. The fight is not between touchable Hindus and untouchables, but rather between Syrian culture and untouchables. It demonstrates that in today democratic India, untouchables face misery and torture not only from Hindus but also from other religious communities. As a result, untouchables are caught in the middle of a Hindu majority and a religious minority.
Ayemenem, a small town in Kerala, plays a vital role in this tale, as does Ammu, a young woman whose father worked as a joint director in Imperial Etymology in Delhi. Her father, as an orthodox, had paid little attention to her schooling and had shown no interest in finding her a good life spouse. Her family was completely unconcerned about her upcoming wedding. She eventually forged her own way by marrying a Bengali and working as an Assistant Manager in an Assam tea estate. It was her first attempt to break down a social barrier by marrying someone from another culture. Even now, in rural India, intercommunity caste love marriage is frowned upon. It is regarded as a stain on the family and bloodline. As a result, she was mistreated by her own family shortly after her marriage. Unfortunately, she was unable to enjoy her marriage for an extended period of time. She'd discovered she'd married the wrong man. It was already too late. She and her twin had to return to their hometown of Ayemenem. In rural India, a divorced woman's only option for shelter is to return to her parents' home. Because the orthodox old lady Baby Kochamma, the twins' grandmother, hatefully declares, “A divorced daughter had no position anywhere at all.” As for the divorced daughter from the inter community love marriage she remained silent.
The paravans are considered untouchables in Kerala. When no one else cared for her and her twins, she was naturally drawn to the one person who did, and that person was Velutha, an untouchable Dalit. Velutha taught the twins how to fish and bo”. Ammu also observed “the high delight” 175 the kids faces, what else the rejected mother would expect than the happiness of her kids? at. Because they didn't know what untouchability was, the children liked their study. The friendly meetings of the twins and Velutha had brought them nearer to each other, Velutha and Ammu. And consequently, gradually the young Ammu was fascinated towards the untouchables. She was attracted towards his exercised body, ‘A Swimmer’s Body’. A Swimmer’s carpenter’s body’. Thus the sprouting of love in Ammu’s bosom was very natural. The untouchable felt the same passion. Both of them forgot the ban ‘who should be loved and how and how much. Indian society, particularly Hindu orthodox, had imposed certain laws on whom to love. But Ammu and Velutha both had overthrown the imposed law. Here lust kindled from both sides, no one had trapped anyone. An untouchable affair with a touchable woman is not granted; in rural India, in any community. Even untouchables would not dare to do such things because they know the consequences. It's worth noting that women have long been a source of fascination and debate throughout our history, customs, myths, and tales. She is purportedly accused of a slew of flaws, the majority of which are unfounded. She is considered to represent temptation; she is more of a Fury than a Fairy. Her allure is seductive, but it always leads to ruin and disaster. She's as cunning as a serpent, as powerful as a tiger, and as fickle as a weathercock. Furthermore, her passion is unquenchable, and she enjoys casting her net over her prey. She drags her lover into her web like a queen bee, only to squash him in the end. She is always aware of her attire, diamonds, and frippery. A woman is also defined as someone who seeks comfort and pleasure, as well as attention and slavish devotion. She is vain, empty-headed, narrow-minded, and inflexible. But it's important to remember that the majority of the above-mentioned changes are basically made up. A woman is more emotional, sensitive, and tender than a male, but she also possesses greater endurance and patience. She can be regarded in a variety of ways, but none of them are as powerful as the physical attraction she generates for herself in the male sex. She plays such a crucial part in the sphere of love and mating that the fundamental foundations of creation and procreation will come to a halt. We see her in the roles of beloved, wife, and mother in this scene. She is the heart and soul of the family. She may be less adventurous than a man, preferring to stay in one area and follow a strict routine. Without the presence of the woman, the house becomes a barren wasteland. A good daughter, a loving mother, and a faithful wife all contribute to the creation of a heavenly atmosphere in our earthly lives.
This is what Arundhati Roy's work The God of Small Things aims to convey. She makes a pointed remark about a man's dominance over a woman. She seemed to be implying that women are not merely a toy, a source of pleasure, or a means of satisfying men's baser desires, but rather the noblest and richest aspect of man's life. She responds well to Nietzsche's observation:
God created women. And boredom did
indeed cease from the moment-but many
other things ceased as well. Woman was
God’s second mistake. (Prasad, Gaijan 250)
In Indian literature, caste inequality is one of the most prevalent themes. However, the subject of Dalit women's marginalization and oppression is not addressed. Only scholars and political officials have taken the issue of Dalit women seriously.
Conclusion:
The Indian caste system has a long and deep history in Indian history, and it appears to be a long-standing and durable feature of Indian civilization and social order. Those who live and see it, whether as a matter of practice or as a means of survival, appear to adhere to it through learned habits and perceptions. Attitudes have shifted in various ways. However, there appears to be a basic blueprint that never changes. Women have been excluded from most opportunities that would allow them to advance their position due to their absence from historically male-dominated functions. In a patriarchal society, men hold all of the power. As a non-dalit woman writer Arundhati also portrays the ill fate and fatal tragedy of Velutha’s life which falls upon her because of her relation with a untouchable class. Men are thought to be at the top of the hierarchy because they are thought to be the wisest and so the most likely decision makers. The questioning of a patriarchal leader by a female is an uncommon event, and it is regarded as an extreme cultural activity that frequently results in public punishment. Despite the fact that India is the world's most democratic country, a segment of the population remains subjected to oppression and unspeakable suffering. Due to their social, economic, and political status, Dalits face caste-based violence at the hands of dominant caste members. They were thought to be easily accessible to all sorts of violence. Kilvenmani frequently refers to dalit atrocities as one of the first and most severe crimes committed in post-independence India. True democracy is still a work in progress. One can only speculate how much more dalit aboriginal blood will flow under the bridge until Ambedkar and Mahatma's dream sees the light of day. The Gypsy Goddess's experimental nature permits Kandasamy to face readers with death, excessive brutality, outright injustice, and an unfair and unbearable reality that no traditional realist novel could have presented with such poignancy and force.
Work Cited:
- Amar Nath Prasad, M. B. Gaijan. Dali Literature:A Critical Exploration, Sarup & Sons, 2007
- Arundhati Roy, The god of Small Things, New Delhi, Indralok, 1998
- Kandasamy, Meena. The Gypsy Goddess. New Delhi: Fourth Estate, 2014.Print.
- Pillai, Akshaya. From Here 04 10 2014.