Arundhati Roy: The Assault on Meaning

 

Writing fiction is a prayer, a song: Arundhati Roy

Zac O'Yeah in The Hindu


Arundhati Roy opens her door and lets me in – into her kitchen. I wonder if I’ve knocked on the wrong door: the delivery entrance, perhaps? I quickly hand over the humble gift of fresh coffee beans I’ve brought her, on the assumption that all serious writers love coffee.

As we sit down around her solid wood kitchen table surrounded by funky chairs, I realize that the kitchen is the warm heart of her self-designed apartment in central New Delhi. Apart from long work counters, there’s a sofa, a bookshelf, a sit-out terrace with an antique-looking bench – altogether a place where one could spend a lifetime.

But right now she’s all over the world and is somewhat jet-lagged after having just flown in from New York. Following a bunch of interviews in town, she’s soon off again on a worldwide promotion tour for her new novel. The Ministry of Utmost Happiness is her first in two decades since the globally bestselling, Booker Prize-winning, The God of Small Things. It appears to be the literary happening of the decade and according to her publishers ‘it reinvents what a novel can do and can be’. I’ve started reading it and can say that it is a ruthlessly probing and wide-ranging narrative on contemporary India, written with a linguistic felicity that reminds me of Salman Rushdie’s classic Midnight’s Children. On the whole, it makes interviewing her an intimidating prospect. While she makes coffee, I rig up my electronic defences consisting of three audio recorders (two of which conk out during the interview) and a backup video camera. She looks on bemusedly and seems used to a barrage of microphones. We embark on a three-hour interview session. Excerpts:

Generations of new Indian writers have seen you as an inspiration, as someone who allowed them to dream that one could sit in India and write and then be read all over the world. How does your iconic status feel to you? Do you ever think about it?

Not really, because I am equally balanced by the kind of rage and craziness that I evoke. For me, I live inside my work. Although I must say that I was thinking at some time about writers who like to remain anonymous – but I’ve never been that person. Because, in this country it is important, especially as a woman, to say: “Hey! Here I am! I am going to take you on! And this is what I think and I’m not going to hide.” So if I have helped to give courage to anybody… to experiment… to step out of line… That’s lovely, I think it is very important for us to say: “We can! And we will! And don’t f*** with us!” You know, come on.


I’ve noticed that you don’t often appear at literary festivals. There are more than a hundred in India these days, and I’ve been to quite a few myself, but never met you before. Do you keep away from other writers?

It’s not about other writers. I don’t know if you’ve read this essay I wrote called Capitalism – A Ghost Story and Walking with the Comrades? The thing is that the Jaipur Literature Festival is funded by a kind of notorious mining company that is silencing the voices of the Adivasis, kicking them out of their homes, and now it is also funded by Zee TV which is half the time baying for my blood. So in principle I won’t go. How can I? I’m writing against them. I mean, it’s not that I’m a pure person, like all of us I have contradictions and issues, I’m not like Gandhiji, you know, but in theory I abide by this. How can you be silencing and snuffing out the voices of the poorest people in the world, and then become this glittering platform for free speech and flying writers all around the place? I have a problem with that.


Do you read a lot of new Indian fiction or non-fiction?

When I’ve been writing this book, I haven’t been very up on current things. I’m not even on Facebook and all that. I don’t have any problem [with it], but as Edward Snowden told me, the CIA celebrated when Facebook was started, because they just got all the information without having to collect it. That aside, I think that when you’re writing, you tend to be a bit strange about reading: sometimes I’m not reading whole books, I’m dipping into things to check my own sanity. ’ (She waves her left hand in a kind of elegantly psychedelic mudra before her face.) ‘Am I on the same planet?


Is there any particular Indian writer who you admire?

I think that Naipaul is a very accomplished writer, although we are worlds apart in our worldviews. But I’m not really that influenced by anybody, you know. I have to say that I find it incredible that writers in India, or almost all Indian writers, or at least the well-known writers… Let’s not say writers, but there’s been a level of eliding of things that have been at the heart of the society, like caste. You see there is something very wrong here. It is like people in apartheid South Africa writing without mentioning that there is apartheid.


Your writing is hard-hitting and outspoken – have you experienced any adverse repercussions?

My God, that’s to put it mildly. Other than of course going to jail and all that. Even now, when the last book of essays was released in Delhi, called Broken Republic, a gang of vigilantes came on stage, smashed the stage up. The right wing, the mobs, vigilantes, they are there at every meeting, threatening violence, threatening all kinds of things. I still go to speak, to Punjab, in Orissa, wherever, I’m not really that writer who is sequestered somewhere and I live perhaps alone, but in the heart of the crowd.


It must have been a bit of a shock, after expressing a personal opinion, to suddenly find yourself behind bars in Tihar Jail?

Tihar. (She sighs deeply.) Yes, it is shocking, but at the same time look at how many thousands of people are behind bars, people who have no understanding of the language, who don’t even know what they’re charged with. So I can’t really be dramatic about what happened to me, because people are in jail for years for nothing – nothing! It’s crazy! I’m currently being tried for contempt of court again for an essay I wrote called Professor P.O.W. which you can read in Outlook Magazine.


Have you ever felt that you should leave India and live in a country where you don’t have to face such problems?

Everything that I know is here! Everyone that I know! And I’ve never really lived outside, abroad, so the idea of going to live all alone in some strange country is also terrifying. But right now I think India is poised in an extremely dangerous place, I don’t know what is going to happen to anybody – to me or to anybody. There are just these mobs that decide who should be killed, who should be shot, who should be lynched, you know? I think it is probably the first time that people in India, writers and other people, are facing the kind of trauma that people have faced in Chile and Latin America. There’s a kind of terror building up here which we have not fully got the measure of. You go through periods when you are feeling very worried, then angry, and then defiant. I think this story is still unfolding.


Do you anticipate upsetting people with the new book? Though the mobs don’t read anything sophisticated, do they?

It’s never about the book or what they read or don’t read, it is about some arbitrary rules they have made about what can be said, what can’t be said, who can say what, who can kill whom – all of that. Yeah, I mean I live here, and I write here, and this book is about here. But the situation here is out of control, from the bottom! It is not about just getting killed, but it is about: How do you even sit in a train or a bus now if you are a Muslim without risking your life? So what happens with me, I have no idea. I’ve written a book and it’s taken me ten years to write it, and there are thirty countries in the world where the biggest publishers are publishing it. I’m not going to allow some idiots to come and disrupt it and snatch all the headlines. Why should I? It is not about their little brains, it is about literature. It has to be protected and tactically done in this climate.


Let’s talk about the book. What was it that made you publish a new novel after spending twenty years being a public intellectual?

Well, this novel has been ten years in the writing, but I think in the twenty years between The God of Small Things and now, I have travelled and been involved with so many things that are happening and written about them at length. There was this huge sense of urgency when I was writing the political essays, each time you wanted to blow a space open, on any issue. But fiction takes its time and is layered. The insanity of what is going on in a place like Kashmir: how do you describe the terror in the air there? It is not just a human rights report about how many people have been killed and where. How do you describe the psychosis of what is going on? Except through fiction.


So that is why you chose…

But it is not that. I didn’t choose to write fiction because I wanted to say something about Kashmir, but fiction chooses you. I don’t think it is that simple that I had some information to impart and therefore I wanted to write a book. Not at all. It is a way of seeing. A way of thinking, it is a prayer, it is a song.


In the book you use a remarkably poetic language to talk about the harshest subjects.

Language is something so natural to you, you know, not something you can manufacture, not for me.

Having studied architecture, you must have at some point thought of that as your field, while today you are one of the most celebrated novelists on the planet. What does your interest in language stem from?

Actually, the idea of language was far before architecture, because in a way architecture came to me as a very pragmatic thing. I left home when I was seventeen and I needed somehow to…

(At this point one of her dogs climbs all over me. I’m more accustomed to dogs barking the moment they see me but, puzzlingly, this one appears to want to lick my face. Arundhati laughs.)

She’s flirting with you. They are both street dogs. She was born outside a drain. Then her mother was hit by a car. That other one I found tied to a lamppost, cruelly.


Do your dogs have names?

Yeah, her name is Begum Filthy Jaan and this one is Maati K. Lal. That means “beloved of the earth”. Both Lal and Jaan mean beloved.


So they make up your family?

Yes.


They’re very well behaved to be street dogs.

Street dogs are more civilized than other dogs. They’re the best. I’m also a bit of a street dog.


I see. So we were talking about your relationship with language and how you left home at 17.

The relationship with language was there from the time I was very, very young. The only thing is that it didn’t seem possible that I would ever be in a position to be a writer.


Why not?

No money… How are you going to earn a living? In the early years of my life my only ambition was to survive somehow, pay my rent. So it didn’t seem like there’d ever be that time where you could actually sit and write something but you’d be so busy earning. It was just a question of: How do you survive?


How did you survive then?

I used to work in this place called the National Institute of Urban Affairs where I earned almost nothing. I used to live in this little hole-in-the-wall near the Nizamuddin Dargah and hire a bicycle for one rupee a day to go to work. All my time I spent thinking about money. (She giggles.)


So at that point you were almost about to become a bureaucrat?

No, no, architect! I could never have become a bureaucrat.


But a government servant?

No, not even that. I was just a temporary, you know at the edges of it.


So then the writing really started with the film scripts?

Basically after Annie [In Which Annie Gives It Those Ones (1989)] – a film that just made its own secret little pathways into the world away from the big hit films – I wrote a second film called Electric Moon and then The God of Small Things. And after that, the essays.


And now you’re making a fiction comeback. Was there any particular idea or incident that triggered off the new book? It seems to be a meditation on the state of the nation.

(She takes a large sip of coffee and rubs her eyes.) ‘It’s a meditation, let’s say, just a meditation. Always, some things spark something and I think in my case I don’t think what sparks it is necessarily what it’s about. Obviously so many years of one’s life and thinking and encounters and all that… but I think one of those nights that I used to spend in front of Jantar Mantar with all these [protesters] who come there, a baby did appear and people were asking: “What to do?” Nobody was sure what to do. So that was one of the things.


I recall that sequence in the novel, and you also narrate many of the individual stories behind the characters you meet at Jantar Mantar?

That was one of the ideas for me that I would – experiment. As you can imagine with any writer who writes a “successful” book, then everybody wants to sign contracts and give you lots of money… and I didn’t want that. I wanted to experiment. I wanted to write a book in which I don’t walk past anyone, even the smallest child, or woman, but sit down, smoke a cigarette, have a chat. It is not a story with a beginning, middle and an end, as much as a map of a city or a building. Or like the structure of a classical raga, where you have these notes and you keep exploring them from different angles, in different ways, different ups, different downs.


About the first hundred pages of the book are set in Old Delhi. What is your relationship to that part of town?

I actually have a place there.


Near Jama Masjid?

Yes, a rented place, a small room, so I’ve been there for many years.


But why do you need that place when you have this apartment?

You sometimes feel under siege. It was not that I went there because I was going to write about it, but because I went there it became very much part [of the book]. I go there, wander around late at night.


All those rabid street dogs, they don’t chase you?

No. Not at all. Humans are rabid, dogs are okay.


The title is intriguing – The Ministry of Utmost Happiness – because inside the book there’s quite a lot of darkness.

But yeah, there’s also quite a lot of light. And the light is in the most unexpected places.


There’s also a character called Tilo, who seems to me very much like Radha in In Which Annie Gives It Those Ones. Is she a continuation of that character?

(She laughs.) She’s not actually like Radha when you carry on [reading]. Yeah, she’s in architecture school, but I think Tilo is a very different person actually.


But how much autobiographical detail do you use in your writing?

It is hard to say, because where does your imagination end and your experience begin? Your memories? It is all a soup. Like in The God of Small Things when Esthappen says, “If in a dream you’ve eaten fish, does it mean you’ve eaten fish?” Or if you’re happy in a dream, does it count? To me this book is not a thinly veiled political essay masquerading as a novel, it is a novel. And in novels, everything gets processed and sweated out on your skin, has to become part of your DNA and it is as complicated as anything that lives inside your body.


On that note, let me ask: in the years you worked on the novel, did you get tired of it at some point or were you happily engrossed in it for an entire decade?

When I write fiction I have a very easy relationship with it in the sense that I’m not in a hurry. Partly, I really want to see if it will live with me, you know, for long. If I got fed up with it, I would leave it and imagine the world would get fed up too. I need to develop a relationship with it almost like…(She goes quiet.)


Like with another human perhaps?

Or a group of humans. We all live together.


Nerdy question time – are there any rituals you have to go through like putting on a jazz record or uncorking a bottle of Old Monk before you start writing?

Let’s say when I was breaking the stones and really trying to understand what I was trying to do I would never be able to work for very long, just a few hours a day. There were two phases in writing this book, one was about generating the smoke, and then it’s like sculpting it, none of which is the same as writing and rewriting, or making drafts. But when you’re generating the smoke, it would be like – I could write three sentences and then just fall asleep out of exhaustion. But when the book was finally clear to me, I’d be working long hours. It was the same with The God of Small Things, there would be that single sentence which would send me to sleep. Like a strange trance almost.


Has your training as an architect been helpful to you?

Not just helped, it is central to the way I write.


How?

Because to me a story is like the map of a city or a map of a building, structured: the way you tell it, the way you enter it, exit it… None of it is simple, straightforward, time and chronology is like building material, so yeah, architecture to me is absolutely central.


I recall Vikram Chandra once telling me how he adapted a construction project management software, used by architects and builders to control the supply chains and all that, to plan and track all the elements in his novel Sacred Games. Do you – as an architect – plan your writing like that?

Oh God! There’s no algorithm involved in my writing, it is all instinctive… rhythm.


What’s a good writing day like then? You get up at five o’clock and take strong coffee or do you wake at three in the afternoon and pour yourself a glass of champagne before hitting the desk?

I don’t seem to have any rituals as such, it is just a very open encounter between me and myself and my writing. I don’t actually understand what we mean by “when you write” because I kind of wonder when am I not writing? I am always writing inside my head! But right now, I feel almost like if I weighed myself, I’d be half my weight, because the last ten years it’s just been in my head, all the time! At least now’ (she points at the book on the kitchen table) ‘it is with me, but it is not on the weighing scale. You know?


What do you do for inspiration?

You know, one of the reasons it would be so hard for me to leave this country, is that everywhere I turn there is something so deep going on. That way I’m lucky in terms of the worlds that I move through here whether it is in the Narmada Valley or in Kashmir. It is a very anarchic, unformatted world that I live in. To me, if anything it is an overload of every kind of stimulus. I suppose I’m not closed off in some family thing. There’s a porous border between me and the world and lots of things come and go. That’s the way I live. There are so many brilliant people doing things around me all the time, like even just in the process of making this book – if I want someone who is an insane … who’s actually not a human being, but a printing machine, I lean this way. If I want someone who is skulking around the city taking pictures, I lean that way. One is just surrounded by unorthodox brilliance all the time. And that’s my real inspiration. If I want really badly behaved dogs I have them too.(She laughs and hugs one of her dogs who is barking in the background, presumably impatient with our interviewing.)


Between writing fiction and non-fiction – which one gives you more pleasure or are they equally satisfactory?

No, there’s no comparison between them for me. Non-fiction is not about pleasure; non-fiction has a sort of urgency to it and another kind of intensity. But fiction is about pleasure. I know for some people it is very painful, but for me not.


What do you do then when you celebrate a good writing day or a well done story? Do you open a bottle of Old Monk?

(She bursts out laughing.)

You’re just stuck on your Old Monk! No, I… I think I just float around.

“Spare Afzal Guru and hang Arundhati Roy.” A Tribute to Vinod Mehta from Arundhati Roy

When he published the Radia tapes, Vinod Mehta did what a good editor should. By making public the dirty diaries of the ongoing cluster-f..k between politicians, journalists, journalist/lobbyists and their corporate sponsors, he broke the club rules of the cosy oligarchy that runs our country. Not surprisingly, when the curtain went down on the show, for the people who were exposed in the Radia tapes, it turned out to be nothing more than a slightly embarrassing blip in the upward arc of their ambitions. For Vinod Mehta, however, the consequences were serious. I have no doubt they played a role in hastening his end.

Anyway, he’s gone now, and with him perhaps the era of the intractable, unpredictable, idiosyncratic editor. Not because there aren’t idiosyncratic folks around any more, but because we live in a climate where it’s becoming increasingly difficult for them to function. The outpouring of grief at his passing by all kinds of people, including those who are professionally his polar opposite, seems to be as much for him as for the end of idea of the independent-minded editor. In some ways it must be seen as a credit to Outlook’s proprietors that they made room for a maverick like Vinod Mehta, despite being targeted and having their offices raided several times. As for the rest of us, while we grieve for Vinod, we cannot give up on the possibility that there can be independent editors in future too.

I will miss Vinod very much. He played such an important part in my life as a writer.

It’s not that we agreed about everything, we certainly had our differences—about the Congress party, about Kashmir (of course), about the politics of caste, about his strange, recently rehashed biography of Meena Kumari. But this time around, the disagreement between us is permanent and irreversible. I maintain that he shouldn’t have left. He could have stuck around with us a little longer. But he’s just bloody well gone. It’s ridiculous. I don’t agree.

After The God of Small Things was published in 1997, I was aware that I ran the risk of turning into a sort of Interpreter of the East for the western media. This I did not wish upon myself. Whatever I wrote, whatever arguments I got into, whatever hooliganism I was involved in, I wanted it to be here. Not for reasons of any great nationalism on my part, nor because this is my country, but simply because this is where I live. Vinod Mehta became my partner in this enterprise. Almost everything I have written since 1998 was first published by him in Outlook.

There we were, Advani and I, across Vinod’s body. Perhaps it showed grace on his part, none on mine. Wonder what Vinod would’ve thought.

Very early on in our alliance, regardless of any commentary to the contrary (and of that there was plenty) we both understood that neither was doing the other a favour. That, I believe, is a rare and wonderful thing in any relationship. Over the many years we worked together, we spoke several times on the phone, but we hardly ever met. I’ve never been to his house. He visited me only once, recently, but it was more like an inspection tour than a visit. It was as though he had come just to confirm an idea he had in his head about the way I live. He shuffled in, took a look around and shuffled out. I don’t think either of us knew how to play Guest and Host. At any rate we weren’t very good at it. That’s about it as far as our social life went.


And yet, out of this peculiar, laconic, minimalist relationship came a body of work that amounts to five volumes of collected essays and interviews that have been subsequently republished in several languages in several newspapers and magazines in India as well as the rest of the world. What does all this have to do with Vinod Mehta?  Quite a lot actually. I wrote the essays, yes, but the freedom and the urgency with which I wrote had much to do with knowing that Vinod Mehta would publish them—without force-fitting them into some pre-determined magazine format. This was no joke. Outlook was, and is, a major, commercial, mass-circulation newsmagazine. That is its strength. And yet, Vinod had the self-confidence and the flexibility to publish, from time to time, these long, unorthodox, often unpopular essays that almost always created a storm.

The rules were set early on. When I sent him The End of Imagination, the essay I wrote after the 1998 nuclear tests, he called me and said, “Do you really want to say ‘Who the hell is the Prime Minister to have his finger on the nuclear button?’ Can I change it to ‘Who is the Prime Minister?’” I said I’d rather he didn’t. So ‘who the hell’ stayed. Then came my turn to ask him for something. Acutely aware of the mined terrain I was wading into, I asked him whether he could avoid putting a picture of me on the cover. He said he’d see what he could do. It was his delicate way of telling me to take a hike. The issue came out, with a photograph of me on the cover, and the most controversial sentence in the essay splashed across it: I Secede. All hell broke loose.

These then, were our unspoken Rules of Engagement. Vinod would not make any alteration to my text without my consent. In turn, even if my essay was going to be the cover story, I would stay out of any discussions about the content and design of the cover. This went on for fifteen years.

The three of us—Arnab, I and Vinod—on stage together. Hilarious. I’d have done it for Vinod Mehta, though. Gladly. He shouldn’t have gone.

At one point during his funeral, there was a strange, poignant moment that I don’t really know what to make of. I found myself facing L.K. Advani, separated by the length of Vinod’s flower bedecked body. Advani was laying a wreath at his feet. I was standing around trying to say goodbye (or not) to Vinod in my head. I was reminded of the only time he ever cautioned me. It was 2006. The papers had announced that Afzal Guru, convicted for his role in the December 13, 2001, Parliament attack, was going to be hanged in a few days. I was dismayed because I had followed the case closely for several years and had studied the legal papers. I knew that much of the evidence was either extremely flimsy or fabricated. (There was plenty to suggest that it could even have been a false flag attack.) Hanging Afzal would mean putting an end to the possibility of getting answers to some very disturbing questions. Outrageously, the Supreme Court judgement said that though there was no direct evidence against Afzal, it was sentencing him to death “in order to satisfy the collective conscience of society”. Meanwhile, the BJP, with Advani at the forefront (he was the home minister in 2001 when the attack took place), had begun a noisy campaign: “Desh abhi sharminda hai, Afzal abhi bhi zinda hai  (The country is ashamed, because Afzal is still alive).” I knew I would not be able to live with myself if I said nothing despite knowing what I knew. I called Vinod and said I wanted to write something. For the first (and only) time he said: “Arundhati, don’t. The mood is ugly. They will turn on us. They will harm you.” It didn’t take long to convince him that we could not keep quiet on this one. I wrote a long essay called And his Life Should be made Extinct—the title was a quote from the Supreme Court judgement. 

The Outlook cover said, in bold letters,Don’t Hang Afzal. (Of course, the Congress-led UPA government—and not the BJP—did eventually hang him a few years later, in 2013, in the most cowardly, illegal and shabby way.)


After the issue came out, the floodgates opened and once again Outlook was deluged with insults for weeks. But this was the other part of our Rules of Engagement. Vinod would publish what I wrote, but then would open up the letters pages for abusive responses for weeks at a stretch. (After the 2008 Mumbai attacks, Sashi, Vinod’s secretary of 25 years showed me some angry letters-to-the editor that had begun to arrive even before I had written anything.) No other magazine I know publishes insults to itself, its contributors and its editor so gleefully. Vinod seemed to derive endless amusement from those letters. Occasionally, he would call and chuckle about the ones he particularly liked. His favourite letter after the Afzal Guru issue was one that said, “Spare Afzal Guru and hang Arundhati Roy.” Of course, he published it.

And now, suddenly, here we were, Advani and I, grieving at his funeral. I was unnerved. Perhaps it showed grace on Advani’s part and none on mine. I don’t know. I can’t imagine what Vinod would have thought.

The last essay of mine that Vinod published before he retired as the editor of Outlook was Walking with the Comrades, my account of the weeks I spent inside the forest in Bastar with Maoist guerrillas. B.G. Verghese, who recently passed away too, wrote a response to it. And then extraordinarily, Vinod published a reply to his response by Cherukuri Rajkumar, better known as Comrade Azad, a member of the politburo of the CPI (Maoist). It was a remarkable thing for him to have done. He called me, sounding pleasantly surprised at how calm and reasonable Azad sounded. By the time his reply (A Last Note to a Neo-colonialist) was published, Azad had been kidnapped in Nagpur by plainclothes policemen and summarily executed in the Dandakaranya forest on the Andhra-Chhattisgarh border.

I had a last phone call from Vinod just before he fell ill. He said, “Listen Arundhati, I’ve never asked you for anything, but I’m asking now. Actually I’m not asking you, I’m telling you. You have to launch my new book, Editor Unplugged. I know you don’t do these things, but you just have to.” I laughed and said I would. A few days later he called again, naughtily. “Oh, I didn’t tell you, but the other person on stage with us will be Arnab Goswami.” I don’t think he told Arnab his plans. The crafty old fox was playing us!

The three of us on stage together. Hilarious. I’d have done it for Vinod Mehta, though. Gladly. But now he’s shuffled off somewhere. He shouldn’t have gone. I really need to talk to him.

The State of India

Part 1

Part 2

The Doctor and the Saint

The Problem with the Pankaj Mishras and Arundhati Roys of Indophiles

Omar Ali in Outlook India

Pankaj Mishra and Arundhati Roy have both spoken by now about the election results in India and if you are a Modi voter, you are likely not too happy with their views. I would like to suggest that if you are not a Modi voter, you should also be a bit unhappy at how much attention these particular writers get as “the voice of the Left/Liberal/Secular side of India”. I really think that far too many highly educated South Asian people read Pankaj Mishra, Arundhati Roy and their ilk.

Obviously, I also believe far too many people in the Western elite read them, but at least their admiration is more understandable. They need native informants who can reinforce their preconceived notions and if these native informants helpfully repeat the Western Left’s own pet theories back to them, so much the better. That is not my main concern today. 

I am concerned that too many good, intelligent Desi people who want to make a positive contribution to their societies and whose elite status puts them in a position to do so are lost to useful causes because they have been enthralled by fashionable writers like Pankaj Mishra, Arundhati Roy and Tariq Ali (heretofore shortened to Pankajism, with any internal disagreements between various factions of the People’s Front of Judea being ignored).
The opportunity cost of this mish-mash of Marxism-Leninism, postmodernism, “postcolonial theory”, environmentalism and emotional massage (not necessarily in that order) is not trivial for liberals and leftists in the Indian subcontinent. It's worth noting that there is no significant market for Pankajism in China or Korea for advice about their own societies, though they may use it as an anti-imperialist propaganda tool should the need arise; a fact that may have a tiny bearing on some of the difference between China and India.

I believe the damage extends beyond self-identified liberals and leftists; variants of Pankajism are so widely circulated within the English speaking elites of the world that they seep into our arguments and discussions without any explicit acknowledgement or awareness of their presence. 

What I present below is not a systematic theses (though it is, among other things, an appeal to someone more academically inclined to write exactly such a thesis) but a conversation starter:

1. There are some people who have what they regard as a Marxist-Leninist worldview. This post is NOT about them. Whether they are right or wrong (and I now think the notion of a violent “people’s revolution” is wrong in some very fundamental ways), there is a certain internal logic to their choices. 

They do not expect electoral politics and social democratic reformist parties to deliver the change they desire, though they may participate in such politics and support such parties as a tactical matter (for that matter they may also support right wing parties if the revolutionary situation so demands). 

They are also very clear about the role of propaganda in revolutionary politics and therefore may consciously take positions that appear simplistic or even silly to pedantic observers, in the interest of the greater revolutionary cause. 

Their choices, their methods and their aims are all open to criticism, but they make some sort of internally consistent sense within their own worldview. In so far as their worldview fails to fit the facts of the world, they have to invent epicycles and equants to fit facts to theory, but that is not the topic today. IF you are a believer in “old fashioned Marxist-Leninist revolution” and regard “bourgeois politics” as a fraud, then this post is not about you.

2. But most of the left-leaning or liberal members of the South Asian educated elite (and a significant percentage of the educated elite in India and Pakistan are left leaning and/or liberal, at least in theory; just look around you) are not self-identified revolutionary socialists. 

I deliberately picked on Pankaj Mishra and Arundhati Roy because both seem to fall in this category (if they are committed “hardcore Marxists” then they have done a very good job of obfuscating this fact). 

Tariq Ali may appear to be a different case (he seems to have been consciously Marxist-Leninist and “revolutionary” at some point), but for all practical purposes, he has joined the Pankajists by now; relying on mindless repetition of slogans and formulas and recycled scraps of conversation to manage his brand. 

If you consider him a Marxist-Leninist (or if he does so himself), you may mentally delete him from this argument.

3. The Pankajists are not revolutionaries, though they like revolutionaries and occasionally fantasize about walking with the comrades (but somehow always make sure to get back to their pads in London or Delhi for dinner). 

They are not avowedly Marxist, though they admire Marx; they strongly disapprove of capitalists and corporations, but they have never said they would like to hang the last capitalist with the entrails of the last priest. 

So are they then social democrats? Perish the thought. They would not be caught dead in a reformist social democratic party.

4. They hate how Westernization is destroying traditional cultures, but every single position they have ever held was first advocated by someone in the West (and 99% were never formulated in this form by anyone in the traditional cultures they apparently prefer to “Westernization”). 

In fact most of their “social positions” (gay rights, feminism, etc) were anathema to the “traditional cultures” they want to protect and utterly transform at the same time. They are totally Eurocentric (in that their discourse and its obsessions are borrowed whole from completely Western sources), but simultaneously fetishize the need to be “anti-European” and “authentic”.

Here it is important to note that most of their most cherished prejudices actually arose in the context of the great 20th century Marxist-Leninist revolutionary struggle. e.g. the valorization of revolution and of “people’s war”, the suspicion of reformist parties and bourgeois democracy, the yearning for utopia, and the feeling that only root and branch overthrow of capitalism will deliver it. These are all positions that arose (in some reasonably sane sequence) from hardcore Marxist-Leninist parties and their revolutionary program (good or not is a separate issue), but that continue to rattle around unexamined in the heads of the Pankajists.

The Pankajists also find the “Hindu Right” and its fascist claptrap and its admiration of “strength” and machismo alarming, but Pankaj (for example) admires Jamaluddin Afghani and his fantasies of Muslim power and its conquering warriors so much, he promoted him as one of the great thinkers of Asia in his last book. This too is a recurring pattern. Strong men and their cults are awful and alarming, but also become heroic and admirable when an “anti-Western” gloss can be put on them, especially if they are not Hindus. i.e. For Hindus, the approved anti-Western heroes must not be Rightists, but this second requirement is dropped for other peoples.

They are proudly progressive, but they also cringe at the notion of “progress”. They are among the world’s biggest users of modern technology, but also among its most vocal (and scientifically clueless) critics. Picking up that the global environment is under threat (a very modern scientific notion if there ever was one), they have also added some ritualistic sound bites about modernity and its destruction of our beloved planet (with poor people as the heroes who are bravely standing up for the planet). All of this is partly true (everything they say is partly true, that is part of the problem) but as usual their condemnations are data free and falsification-proof. They are also incapable of suggesting any solution other than slogans and hot air.

Finally, Pankajists purportedly abhor generalization, stereotyping and demagoguery, but when it comes to people on the Right (and by their definition, anyone who tolerates capitalism or thinks it may work in any setting is “Right wing”) all these dislikes fly out of the window. They generalize, stereotype, distort and demonize with a vengeance.
You get the picture...there are emotionally satisfying and fashionable sound bites that sound like they are saying something profound, until you pay closer attention and most of the meaning seems to evaporate. 

My contention is that what remains after that evaporation is pretty much what any reasonable “bourgeois” reformist social democrat would say.

Pankaj and Roy add no value at all to that discourse. And they take away far too much with sloganeering, snide remarks, exaggeration and hot air.

5. This confused mish-mash is then read by “us people” as “analysis”. Instead of getting new insights into what is going on and what is to be done, we come out by the same door as in we went; we come out with our opinions seemingly validated by someone who uses a lot of big words and sprinkles his “analysis” with quotes from serious books. 
We then discuss this “analysis” with friends who also read Pankaj and Arundhati in their spare time. Everyone is happy, but I am going to make the not-so-bold claim that you would learn more by reading The Economist, and you would be harmed less by it. 

6. Pankajism as cocktail party chatter is not a big deal. After all, we have a human need to interact with other humans and talk about our world, and if this is the discourse of our subculture, so be it. But then the gobbledygook makes its way beyond those who only need it for idle entertainment. Real journalists, activists and political workers read it and it helps, in some small way, to further fog up the glasses of all of them. The parts that are useful are exactly the parts you could pick up from any of a number of well informed and less hysterical observers (if you don’t like theEconomist, try Mark Tully). What Pankajism adds is exactly what we do not need: lazy dismissal of serious solutions, analysis uncontaminated by any scientific and objective data, and snide dismissal of bourgeois politics.

7. If and when (and the “when” is rather frequent) reality A fails to correspond with theory A, Pankajists, like Marxists, also have to come up with newer and more complicated epicycles to save the appearances; and we then have to waste endless time learning the latest epicycles and arguing about them. 

All of this while people in India (and to a lesser and more imperfect extent, even in Pakistan) already have a reasonably good constitution and, incompetent and corrupt, but improvable institutions. There are large political parties that attract mass support and participation. There are academics and researchers, analysts and thinkers, creative artists and brilliant inventors, and yes, even sincere conservatives and well-meaning right-wingers. 

I think it may be possible to make things better, even if it is not possible to make them perfect. “People’s Revolution” (which did not turn out well in any country since it was valorized in 1917 as the way to cut the Gordian knot of society and transform night into day in one heroic bound) is not the only choice or even the most reasonable choice. 
Strengthening the imperfect middle is a procedure that is vastly superior to both Left and Right wing fantasies of utopian transformation. The system that exists is probably not irreparably broken and can still avoid falling into fascist dictatorship or complete anarchy, but my point is that even if they system is unfixable and South Asia is due for huge, violent revolution, these people are not the best guide to it.

Look, for example at the extremely long article produced by Pankaj on the Indian elections. This is the opening paragraph:

In A Suitable Boy, Vikram Seth writes with affection of a placid India's first general election in 1951, and the egalitarian spirit it momentarily bestowed on an electorate deeply riven by class and caste: "the great washed and unwashed public, sceptical and gullible", but all "endowed with universal adult suffrage.

Well, was that good? Or bad? Or neither? Were things better then, than they are now? There is also a hint that universal adult suffrage was a bit of a fraud even then. That seems to be the implication, but in typical Pankaj style, this is never really said outright (that may bring up uncomfortable questions of fact). I doubt if any two readers can come up with the same explanation of what he means; which is usually a good sign that nothing has been said.

There follows a description of why Modi and the RSS are such a threat to India. This is a topic on which many sensible things can be said and he says many of them, but even here (where he is on firmer ground, in that there are really disturbing questions to be asked and answered) the urge to go with propaganda and sound bites is very strong. And the secret of Modi’s success remains unclear. 

We learn that development has been a disaster, but that people seem to want more of it. If it has been so bad, why do they want more of it? Because they lack agency and are gullible fools led by the capitalist media? If people do not know what is good for them, and they have to be told the facts by a very small coterie of Western educated elite intellectuals, then what does this tell us about “the people”? And about Western education?

Supporters will say Pankaj has raised questions about Indian democracy and especially about Modi and the right-wing BJP that need to be asked. And indeed, he has. But here is my point: the good parts of his article are straightforward liberal democratic values. Mass murder and state-sponsored pogroms are wrong in the eyes of any mainstream liberal order. If an elected official connived in, or encouraged, mass murder, then this is wrong in the eyes of the law and in the context of routine bourgeois politics. That politics does provide mechanisms to counter such things, though the mechanisms do not always work (what does?). 

But these liberal democratic values are the very values Pankaj holds in not-so-secret contempt and undermines with every snide remark. It may well be that “a western ideal of liberal democracy and capitalism” Is not going to survive in India. But the problem is that Pankaj is not even sure he likes that ideal in the first place. In fact, he frequently writes as if he does not. But he is always sufficiently vague to maintain deniability. There is always an escape hatch. He never said it cannot work. But he never really said it can either... 

To say “I want a more people friendly democracy” is to say very little. What exactly is it that needs to change and how in order to fix this model? These are big questions. They are being argued over and fought out in debates all over the world. I am not belittling the questions or the very real debate about them. But I am saying that Pankajism has little or nothing to contribute to this debate. 

Read him critically and it soon becomes clear that he doesn’t even know the questions very well, much less the answers... But he always sounds like he is saying something deep. And by doing so, he and his ilk have beguiled an entire generation of elite Westernized Indians (and Pakistanis, and others) into undermining and undervaluing the very mechanisms that they actually need to fix and improve. It has been a great disservice.
By the way, the people of India have now disappointed Pankaj so much (because 31% of them voted for the BJP? Is that all it takes to destroy India?) that he went and dug up a quote from Ambedkar about the Indian people being “essentially undemocratic”. I can absolutely guarantee that if someone on the right were to say that Indians are essentially undemocratic, all hell would break loose in Mishraland.
See this paragraph: 

In many ways, Modi and his rabble – tycoons, neo-Hindu techies, and outright fanatics— are perfect mascots for the changes that have transformed India since the early 1990s: the liberalisation of the country's economy, and the destruction by Modi's compatriots of the 16th-century Babri mosque in Ayodhya. Long before the killings in Gujarat, Indian security forces enjoyed what amounted to a licence to kill, torture and rape in the border regions of Kashmir and the north-east; a similar infrastructure of repression was installed in central India after forest-dwelling tribal peoples revolted against the nexus of mining corporations and the state. The government's plan to spy on internet and phone connections makes the NSA's surveillance look highly responsible. Muslims have been imprisoned for years without trial on the flimsiest suspicion of "terrorism"; one of them, a Kashmiri, who had only circumstantial evidence against him, was rushed to the gallows last year, denied even the customary last meeting with his kin, in order to satisfy, as the supreme court put it, "the collective conscience of the people".

Many of these things have indeed happened (most of them NOT funded by corporations or conducted by the BJP incidentally) but their significance, their context and, most critically, the prognosis for India, are all subtly distorted. Mishra is not wrong, he is not even wrong. To try and take apart this paragraph would take up so much brainpower that it is much better not to read it in the first place. There are other writers (on the Left and on the Right) who are not just repeating fashionable sound bites. Read them and start an argument with them. Pankajism is not worth the time and effort. There is no there there…

PS: I admit that this article has been high on assertions and low on evidence. But I did read Pankaj Mishra’s last (bestselling) book and wrote a sort of rolling review while I was reading it. It is very long and very messy (I never edited it), but it will give you a bit of an idea of where I am coming from. You can check it out at this link: Pankaj Mishra’s tendentious little book

Arundhati Roy explains how corporations run India and why they want Narendra Modi as prime minister

by Charlie Smith on Mar 30, 2014 at 1:51 pm

Indian author Arundhati Roy wants the world to know that her country is under the control of its largest corporations.

"Wealth has been concentrated in fewer and fewer hands," Roy tells the Georgia Straight by phone from New York. "And these few corporations now run the country and, in some ways, run the political parties. They run the media."

The Delhi-based novelist and nonfiction writer argues that this is having devastating consequences for hundreds of millions of the poorest people in India, not to mention the middle class.

Roy spoke to the Straight in advance of a public lecture on Tuesday (April 1) at 8 p.m. at St. Andrew's–Wesley United Church at the corner of Burrard and Nelson streets. She says it will be her first visit to Vancouver.

In recent years, she has researched how the richest Indian corporations—such as Reliance, Tata, Essar, and Infosys—are employing similar tactics as those of the U.S.-based Rockefeller and Ford foundations. 

She points out that the Rockefeller and Ford foundations have worked closely in the past with the State Department and Central Intelligence Agency to further U.S. government and corporate objectives. 

Now, she maintains that Indian companies are distributing money through charitable foundations as a means of controlling the public agenda through what she calls "perception management".

This includes channelling funds to nongovernmental organizations, film and literary festivals, and universities.

She acknowledges that the Tata Group has been doing this for decades, but says that more recently, other large corporations have begun copying this approach.

Private money replaces public funding

According to her, the overall objective is to blunt criticism of neoliberal policies that promote inequality.

"Slowly, they decide the curriculum," Roy maintains. "They control the public imagination. As public money gets pulled out of health care and education and all of this, NGOs funded by these major financial corporations and other kinds of financial instruments move in, doing the work that missionaries used to do during colonialism—giving the impression of being charitable organizations, but actually preparing the world for the free markets of corporate capital."

She was awarded the Booker Prize in 1997 for The God of Small Things. Since then, she has gone on to become one of India's leading social critics, railing against mining and power projects that displace the poor.

She's also written about poverty-stricken villagers in the Naxalite movement who are taking up arms across several Indian states to defend their traditional way of life.

"I'm a great admirer of the wisdom and the courage that people in the resistance movement show," she says. "And they are where my own understanding comes from."

One of her greatest concerns is how foundation-funded NGOs "defuse people's movements and...vacuum political anger and send them down a blind alley".

"It's very important to keep the oppressed divided," she says. "That's the whole colonial game, and it's very easy in India because of the diversity."

Roy writes a book on capitalism

In 2010, there was an attempt to lay a charge of sedition against her after she suggested that Kashmir is not integral to India's existence. This northern state has been at the centre of a long-running territorial dispute between India and Pakistan.

"There's supposed to be some police inquiry, which hasn't really happened," Roy tells the Straight. "That's how it is in India. They...hope that the idea of it hanging over your head is going to work its magic, and you're going to be more cautious."

Clearly, it's had little effect in silencing her. In her upcoming new book Capitalism: A Ghost Story, Roy explores how the 100 richest people in India ended up controlling a quarter of the country's gross-domestic product.

The book is inspired by a lengthy 2012 article with the same title, which appeared in India's Outlook magazine.

In the essay, she wrote that the "ghosts" are the 250,000 debt-ridden farmers who've committed suicide, as well as "800 million who have been impoverished and dispossessed to make way for us". Many live on less than 40 Canadian cents per day.

"In India, the 300 million of us who belong to the post-IMF 'reforms' middle class—the market—live side by side with spirits of the nether world, the poltergeists of dead rivers, dry wells, bald mountains and denuded forests," Roy wrote.

The essay examined how foundations rein in Indian feminist organizations, nourish right-wing think tanks, and co-opt scholars from the community of Dalits, often referred to in the West as the "untouchables".

For example, she pointed out that the Reliance Group's Observer Research Foundation has a stated goal of achieving consensus in favour of economic reforms.

Roy noted that the ORF promotes "strategies to counter nuclear, biological and chemical threats". She also revealed that the ORF's partners include weapons makers Raytheon and Lockheed Martin.

Anna Hazare called a corporate mascot

In her interview with the Straight, Roy claims that the high-profile India Against Corruption campaign is another example of corporate meddling.

According to Roy, the movement's leader, Anna Hazare, serves as a front for international capital to gain greater access to India's resources by clearing away any local obstacles.

With his white cap and traditional white Indian attire, Hazare has received global acclaim by acting as a modern-day Mahatma Gandhi, but Roy characterizes both of them as "deeply disturbing". She also describes Hazare as a "sort of mascot" to his corporate backers.

In her view, "transparency" and "rule of law" are code words for allowing corporations to supplant "local crony capital". This can be accomplished by passing laws that advance corporate interests.

She says it's not surprising that the most influential Indian capitalists would want to shift public attention to political corruption just as average Indians were beginning to panic over the slowing Indian economy. In fact, Roy adds, this panic turned into rage as the middle class began to realize that "galloping economic growth has frozen".

"For the first time, the middle classes were looking at corporations and realizing that they were a source of incredible corruption, whereas earlier, there was this adoration of them," she says. "Just then, the India Against Corruption movement started. And the spotlight turned right back onto the favourite punching bag—the politicians—and the corporations and the corporate media and everyone else jumped onto this, and gave them 24-hour coverage."

Her essay in Outlook pointed out that Hazare's high-profile allies, Arvind Kerjiwal and Kiran Bedi, both operate NGOs funded by U.S. foundations.

"Unlike the Occupy Wall Street movement in the US, the Hazare movement did not breathe a word against privatisation, corporate power or economic 'reforms'," she wrote in Outlook.

Narendra Modi seen as right-wing saviour

Meanwhile, Roy tells the Straight that corporate India is backing Narendra Modi as the country's next prime minister because the ruling Congress party hasn't been sufficiently ruthless against the growing resistance movement.

"I think the coming elections are all about who is going to crank up the military assault on troublesome people," she predicts.

In several states, armed rebels have prevented massive mining and infrastructure projects that would have displaced massive numbers of people.

Many of these industrial developments were the subject of memoranda of understanding signed in 2004.

Modi, head of the Hindu nationalist BJP coalition, became infamous in 2002 when Muslims were massacred in the Indian state of Gujarat, where he was the chief minister. The official death tollexceeded 1,000, though some say the figures are higher.

Police reportedly stood by as Hindu mobs went on a killing spree. Many years later, a senior police officer alleged that Modi deliberately allowed the slaughter, though Modi has repeatedly denied this.

The atrocities were so appalling that the American government refused to grant Modi a visitor's visa to travel to the United States.

But now, he's a political darling to many in the Indian elite, according to Roy. A Wall Street Journal report recently noted that the United States is prepared to give Modi a visa if he becomes prime minister.

"The corporations are all backing Modi because they think that [Prime Minister] Manmohan [Singh] and the Congress government hasn't shown the nerve it requires to actually send in the army into places like Chhattisgarh and Orissa," she says.

She also labels Modi as a politician who's capable of "mutating", depending on the circumstances.

"From being this openly sort of communal hatred-spewing saccharine person, he then put on the suit of a corporate man, and, you know, is now trying to play the role of the statesmen, which he's not managing to do really," Roy says.

Roy sees parallels between Congress and BJP

India's national politics are dominated by two parties, the Congress and the BJP.

The Congress maintains a more secular stance and is often favoured by those who want more accommodation for minorities, be they Muslim, Sikh, or Christian. In American terms, the Congress is the equivalent of the Democratic Party.

The BJP is actually a coalition of right-wing parties and more forcefully advances the notion that India is a Hindu nation. It often calls for a harder line against Pakistan. In this regard, the BJP could be seen as the Republicans of India.

But just as left-wing U.S. critics such as Ralph Nader and Noam Chomsky see little difference between the Democrats and Republicans in office, Roy says there is not a great deal distinguishing the Congress from the BJP.

"I've said quite often, the Congress has done by night what the BJP does by day," she declares. "There isn't any real difference in their economic policy."

Whereas senior BJP leaders encouraged wholesale mob violence against Muslims in Gujarat, she notes that Congress leaders played a similar role in attacks on Sikhs in Delhi following the 1984 assassination of then–prime minister Indira Gandhi.

"It was genocidal violence and even today, nobody has been punished," Roy says.

As a result, each party can accuse the other of fomenting communal violence.

In the meantime, there are no serious efforts at reconciliation for the victims.

"The guilty should be punished," she adds. "Everyone knows who they are, but that will not happen. That is the thing about India. You may go to prison for assaulting a woman in a lift or killing one person, but if you are part of a massacre, then the chances of your not being punished are very high."

However, she acknowledges that there is "some difference" in the two major parties' stated idea of India.

The BJP, for example, is "quite open about its belief in the Hindu India...where everybody else lives as, you know, second-class citizens".

"Hindu is also a very big and baggy word," she says to clarify her remark. "We're really talking about an upper-caste Hindu nation. And the Congress states that it has a secular vision, but in the actual playing out of how democracy works, all of them are involved with creating vote banks, setting community against community. Obviously, the BJP is more vicious at that game."

Inequality linked to caste system

The Straight asks why internationally renowned authors such as Salman Rushdie and Vikram Seth or major Indian film stars like Shahrukh Khan or the Bachchan family don't speak forcefully against the level of inequality in India.

"Well, I think we're a country whose elite is capable of an immense amount of self-deception and an immense amount of self-regard," she replies.

Roy maintains that Hinduism's caste system has ingrained the Indian elite to accept the idea of inequality "as some kind of divinely sanctioned thing".

According to her, the rich believe "that people who are from the lower classes don't deserve what those from the upper classes deserve".

Her comments on corporate power echo some of the ideas of Canadian activist and author Naomi Klein.

"Of course, I know Naomi very well," Roy reveals. "I think she's such a fine thinker and of course, she's influenced me."

Roy also expresses admiration for the work of Indian journalist Palagummi Sainath, author of the 1992 classic Everybody Loves a Good Drought: Stories from India's Poorest Districts.

However, she suggests that the concentration of media ownership in India makes it very difficult for most reporters to reveal the extent of corporate control over society.

"In India, if you're a really good journalist, your life is in jeopardy because there is no place for you in a media that's structured like that," Roy says.

On occasions, mobs have shown up outside her home after she's made controversial 

statements in the media.

She says that in those instances, they seemed more interested in performing for the television cameras than in attacking her.

However, she emphasizes that other human-rights activists in India have had their offices trashed by demonstrators, and some have been beaten up or killed for speaking out against injustice.

Roy adds that thousands of political prisoners are locked up in Indian jails for sedition or for violating the Unlawful Activities Prevention Act.

This is one reason why she argues that it's a fallacy to believe that because India holds regular elections, it's a democratic country.

"There isn't a single institution anymore which an ordinary person can approach for justice: not the judiciary, not the local political representative," Roy maintains. "All the institutions have been hollowed out and just the shell has been put back. So democracy and these festivals of elections is when everyone can let off steam and feel that they have some say over their lives."

In the end, she says it's the corporations that fund major parties, which end up doing their bidding.

"We are really owned and run by a few corporations, who can shut India down when they want," Roy says.