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    <title>Shunya's Notes</title>
    
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    <subtitle>"Out of the crooked timber of humanity, no straight thing was ever made."</subtitle>
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        <title>Revisiting the Idea of India — Part 2</title>
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        <published>2013-04-22T21:00:00-07:00</published>
        <updated>2013-05-01T19:46:08-07:00</updated>
        <summary>(Cross-posted on 3 Quarks Daily.) A two-part review of The Indian Ideology by Perry Anderson. Part 1 is here. The review appeared as "No Saints or Miracles" in the Himal Southasian print quarterly 'Are we sure about India?' (January 2013), and is reproduced with permission [this version is slightly modified]. Perhaps no single event has had a greater impact on the politics of modern South Asia than Partition, which created the nation-states of India and Pakistan, and later Bangladesh. The genocide it triggered forced the migration of 12-18 million people, the largest in world history, a million deaths, and a...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
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        <category scheme="http://www.sixapart.com/ns/types#category" term="History" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Politics" />
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<div xmlns="http://www.w3.org/1999/xhtml"><p><em>(Cross-posted on <a href="http://www.3quarksdaily.com/3quarksdaily/2013/04/revisiting-the-idea-of-india-part-2.html" target="_self">3 Quarks Daily</a>.)</em></p>
<p><em>A two-part review of <a href="http://www.threeessays.com/titles.php?id=54" target="_self">The Indian Ideology</a></em><em> by Perry Anderson. Part 1 is <a href="http://blog.shunya.net/shunyas_blog/2012/12/revisiting-the-idea-of-india-part-1.html" target="_self">here</a>. The review appeared as </em>"No Saints or Miracles"<em> in the <a href="http://www.himalmag.com" target="_self">Himal Southasian</a>
 print quarterly 'Are we sure about India?' (January 2013), and is 
reproduced with permission [this version is slightly modified].</em></p>
<p>
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017c346be6c9970b-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="Partition1" class="asset  asset-image at-xid-6a00d8341dd33453ef017c346be6c9970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c346be6c9970b-350wi" style="width: 325px; margin: 0px 0px 5px 5px;" title="Partition1" /></a>Perhaps no single event has had a greater impact on the politics of modern South Asia than Partition, which created the nation-states of India and Pakistan, and later Bangladesh. The genocide it triggered forced the migration of 12-18 million people, the largest in world history, a million deaths, and a poisoned well of politics in the region. What were its causes? Which key players deserve more blame than others? Could it have been averted? Not only do perceptions differ sharply but most Partition narratives are steeped in nationalist posturing, demonization, and layers of taboo. </p>
<p>Last year, for instance, Jaswant <a href="http://en.wikipedia.org/wiki/Jaswant_Singh" target="_self">Singh</a>, a leader of the Indian right-wing party BJP and former defense and foreign minister of India, caused a storm with his biography of Jinnah. In it Singh assigned greater blame for Partition to Nehru and even praised Jinnah for his sundry qualities. No BJP official attended the book launch, after which Singh was summarily expelled from the BJP and his book banned in Gujarat. So while emotions still run high on the topic, it’s also true that at least among <a href="http://www.anusha.com/ayesha.htm" target="_self">scholars</a> today, Singh’s <a href="http://www.flonnet.com/fl2725/stories/20101217272507500.htm" target="_self">interpretation</a> has <a href="http://en.wikipedia.org/wiki/Hormasji_Maneckji_Seervai" target="_self">gained</a> ground. Yet few historians have offered a sharper account of it than Perry Anderson, who
humanises many icons of Indian nationalism, restoring to them their rightful
share of human follies.</p>
<p>One such icon is Nehru, a disciple of Gandhi with a crippling psychological dependence on him, but whose ‘intellectual development [was] not arrested by intense religious belief’. Nehru, a Brahmin, was born into a higher social class than Gandhi, a Bania. Nehru was not religious, had extramarital affairs, and ‘had acquired notions of independence and socialism Gandhi did not share’. That said, Nehru’s ‘advantages yielded less than might be thought’ and he ‘seems to have learned very little at Cambridge’, becoming ‘a competent orator’ but never acquiring ‘a modicum of literary taste.’ <em>The Discovery of India</em>, ‘a steam bath of <em>Schwärmerei</em>’ with a ‘Barbara Cartland streak’, reveals ‘not just Nehru’s lack of formal scholarship and addiction to romantic myth, but something deeper ... a capacity for self-deception with far-reaching political consequences.’ He combined qualities like ‘hard work, ambition, charm, some ruthlessness’ with ‘others that were developmentally ambiguous: petulance, violent outbursts of temper, vanity.’
</p>

<p>Unwilling to challenge Gandhi’s ideas or his tactics in Congress, even Nehru reflexively associated Hinduism with the nation. Anderson cites historian Judith Brown’s view of him as ‘an "utterly reliable" prop of the old guard within the party’. Many a times, writes Anderson, Nehru presented the caste system in ‘a roseate light’: a division of labor with advantages, not a division of laborers in a discriminatory hierarchy. ‘Untouchability, as Ambedkar would note bitterly, Nehru never so much as mentioned.’ Not only did he stay mum when Gandhi blackmailed Ambedkar on the issue of separate electorates, he would later, with a coldness unbecoming a <em>chacha,</em> also oppose reservations on the grounds that they would ‘[lead] to inefficiency and second-rate standards’. A poor judge of character, he surrounded himself as Prime Minister with ‘a court of sycophants’, and launched the dynasty with the elevation of his daughter — devoid of any obvious qualifications for the role — to Congress presidency. He was nevertheless a liberal democrat by conviction, writes Anderson,</p>
<p style="padding-left: 30px;">‘As
 prime minister, he took his duties in the Lok Sabha with a 
conscientious punctilio that put many Western rulers to shame, regularly
 speaking and debating in the chamber, and never resorted to rigging 
national elections or suppressing a wide range of opinion. So much is 
incontestable. But liberalism is a metal that rarely comes unalloyed. 
Nehru was first and foremost an Indian nationalist, and where the 
popular will failed to coincide with the nation as he imagined it, he 
suppressed it without remorse. There, the instruments of government were
 not ballots but, as he himself blurted, bayonets.’</p>
<p>Anderson’s portrait of Nehru has omissions, but backed by telling examples from Nehru’s writings, speeches, and actions, it provides a much-needed counterpoint to the paroxysms of adoration more common among liberal Indian historians. </p>
<p style="text-align: center;">§</p>
<p>
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017d3e9ad87a970c-pi" style="float: left;"><img alt="Partition2" class="asset  asset-image at-xid-6a00d8341dd33453ef017d3e9ad87a970c" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017d3e9ad87a970c-300wi" style="width: 300px; margin: 0px 5px 5px 0px;" title="Partition2" /></a>What key events led to Partition, and
what was Nehru’s role in them? In 1909, the Minto-Morley Reforms introduced limited self-rule in British India based on a franchise of two percent of the population (comprising ‘aristocratic elements in society and the moderate men’, stated the legislation). Those
reforms also introduced separate electorates for Hindus and Muslims. This, on one hand, was a progressive safeguard to a minority community in a first-past-the-post voting system. On the other hand, it enthroned religion as the defining element of political identity — a trend that would later take on a life of its own. Anderson recounts how the secular-minded Jinnah, ‘a member of Congress long before Gandhi’ as well as a member of the Muslim League — and hailed by Gokhale as an ambassador of Hindu-Muslim unity — left Congress in 1920 in ‘dismay at the radicalisation of its tactics and disgust at the sacralisation of its appeals, once Gandhi took over.’ In 1927, Jinnah even ‘proposed a pact that would reserve Muslims one-third of the seats in a central legislature in exchange for a single rather than separate electorates.’ Nehru dithered, tried to negotiate down, until Congress scuttled the proposal. ‘A penultimate chance of unity between the two communities was cast to the winds,’ writes Anderson. </p>
<p>One might argue that from here on, the exigencies of competitive electoral politics would inevitably have led to Partition, but many more real opportunities to avert it arose and were lost — a story Anderson tells very well. The Muslim League, despite being a national party, had its primary base in the United
Provinces. For decades it competed unfavorably with other Muslim parties in Punjab and 
Bengal, which made it easier for Congress to regard the Muslim League with hubris. Meanwhile,
Anderson writes, Congress was ‘monolithically Hindu’ in the 1930s, ‘commanded the loyalty of an overwhelming majority of the Hindu electorate, but had minimal Muslim support’. Given the demographics, free elections would grant it absolute control of any future central legislature. Drunk on its position of strength, Congress blew every chance to make concessions ‘to ensure that the quarter of the population 
that was Muslim would not feel itself a permanently impotent — and 
potentially vulnerable — minority.’</p>
<p>By the late 1930s, the League had increased its following among Muslims and the England-educated Jinnah had become the sole spokesperson of Muslim parties at round 
table conferences. Even then he ‘probably aimed at a confederation rather than 
complete separation’. In 1940, he did voice the two-nation theory in Lahore, demanding ‘autonomy and sovereignty’ to Muslim 
majority areas but he spoke even then ‘of constituent "states" in 
the plural and did not mention the word "Pakistan" — which Jinnah 
subsequently complained was being pinned on him by Congress.’ As late as 1943, Anderson holds, Jinnah was opposed to the creation of Pakistan. Down to the end, writes Anderson,</p>
<p style="padding-left: 30px;">‘[Jinnah] seems to have calculated that the British, confronted with the incompatibility of the aims of League and Congress, would ... impose a confederation ... on the two parties, in which the Muslim-majority zones of the subcontinent would be self-governing, with a central authority weak enough not to impinge on them, but strong enough to protect Muslim minorities in self-governing Hindu-majority zones. In the event, the cabinet mission produced a plan close enough to this vision. But for Nehru, such a scheme was worse than partition, since it would deprive his party of the powerful centralised state to which it had always aspired, and he believed essential to preserve Indian unity. Congress had insisted on its monopoly of national legitimacy from the start. That claim could no longer be sustained. But if the worst came to the worst, it was better to enjoy an unimpeded monopoly of power in the larger part of India than to be shackled by having to share it in an undivided one. So while the League talked of partition, Jinnah contemplated confederation; and while Congress spoke of union, Nehru prepared for scission. The cabinet mission plan was duly scuppered.’</p>
<p><a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee62a39e6970d-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="Nehru_MB_Jinnah2" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee62a39e6970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee62a39e6970d-350wi" style="width: 325px; margin: 0px 0px 5px 5px;" title="Nehru_MB_Jinnah2" /></a>Similar accounts have been offered by Pakistani historian Ayesha <a href="http://www.anusha.com/ayesha.htm" target="_self">Jalal</a> and Indian Jurists HM <a href="http://en.wikipedia.org/wiki/Hormasji_Maneckji_Seervai" target="_self">Seervai</a> and AG <a href="http://www.flonnet.com/fl2725/stories/20101217272507500.htm" target="_self">Noorani</a>. Jinnah was apparently nothing like the glowering scoundrel that bore his name in Attenborough’s <em>Gandhi</em>. </p>
<p>If Nehru comes off smelly in Anderson’s account, so does Mountbatten. ‘British imperialism did not favour partition’ in South Asia, writes Anderson; Mountbatten, that ‘mendacious, intellectually limited hustler’, gave in when no deal could be reached. For partition to have a chance of being fair and peaceful, ‘at least a year — the year London had originally set as the term of the Raj — of orderly administration and preparation was needed. Its conveyance within six weeks was a sentence of death and devastation to millions.’ Mountbatten, having lit the fuse, ‘handed over the buildings to their new owners hours before they blew up, in what has a good claim to be the most contemptible single act in the annals of the empire.’ When the smoke cleared, a genocide had taken place, a ‘moth-eaten’ Pakistan had come into being on little more than a religious identity, and the major goal of building political safeguards for Muslims in Hindu-majority regions — Jinnah’s core constituency — had not been realized. </p>
<p>If Congress leaders were largely responsible for Partition, is Anderson too soft on British imperialism? He posits that during the initial phase of imperial rule, the British applied divide-and-rule to ‘more favourably fragmented political, ethnic and linguistic units’ than religion. Only when modern nationalism made Hinduism a source of political identity, ‘the British accommodated the initial Muslim reaction to it with alacrity, granting separate electorates. But after that, no viceroy stoked religious tensions deliberately.’ Is this true? It could be; after all, no viceroy wanted a law-and-order problem on his hands. However, was it not in the British interest to at least keep the two communities divided and competing with each other for the master’s attention? Was there no element of imperial venality in the decision to create separate electorates — which arguably sowed the seeds for Partition before Gandhi even joined Congress? Nor does Anderson go back far enough to consider the role the British idea of religion unwittingly played in shaping the emergent Hindu identity, especially the muscular Hinduism imagined on monotheistic lines. He does however consider a more provocative (mischievous?) imponderable — that even without Congress, political awakening may have, sooner of later, made bloody conflict between the two religious communities inevitable. He adds, </p>
<p style="padding-left: 30px;">‘Such a conclusion, however, is not more palatable to polite opinion in India than the alternative. Confronted with the outcome of the struggle for independence, Indian intellectuals find themselves in an impasse. If partition could have been avoided, the party that led the national movement to such a disastrous upshot stands condemned. If partition was inevitable, the culture whose dynamics made confessional conflict politically insuperable becomes a <em>damnosa hereditas</em>, occasion for collective shame. The party still rules, and the state continues to call itself secular. It is no surprise the question it poses should be so widely repressed in India.’</p>
<p style="text-align: center;">§</p>
<p>
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017c346c17d9970b-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="IndiaDemocracy" class="asset  asset-image at-xid-6a00d8341dd33453ef017c346c17d9970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c346c17d9970b-350wi" style="width: 325px; margin: 0px 0px 5px 5px;" title="IndiaDemocracy" /></a>Why did <a href="http://www.3quarksdaily.com/3quarksdaily/2010/05/the-dance-of-indian-democracy.html" target="_self">democracy</a> survive in India? India
famously had none of the conditions thought to be necessary for the flourishing
of democracy, such as an egalitarian social order and an ethos of individualism. Elite brown men of Congress followed the white men, inheriting the colonial ‘machinery of administration and coercion’. They made little ‘effort to meet even 
quite modest requirements of social equality or justice.’ Instead, writes Anderson,</p>
<p style="padding-left: 30px;">‘Nehru’s regime, whose priorities were industrial development and 
military spending, was barren of any such impulse. No land reform worthy
 of mention was attempted ... Primary education was grossly neglected.’ </p>
<p>The masses voted but didn’t organize for collective action due to the deep 
social stratification of caste, along which lines they would later be mobilized in politics. The caste system, concludes Anderson, combined with a polity that preferred otherworldly explanations for their earthly misery ‘is what preserved Hindu democracy
 from disintegration’. There is
truth in this <a href="http://www.3quarksdaily.com/3quarksdaily/2010/05/the-dance-of-indian-democracy.html" target="_self">observation</a>, if also
a serving of <a href="http://web.gc.cuny.edu/dept/rbins/conferences/RBFpdf/Jaffrelot_IndiaPakistan.pdf" target="_self">reductionism</a> and cultural determinism. Did no other contingent
factors play a role, such as the taste for representative self-rule that an
elite class of Indians had acquired in the closing decades of the Raj? Is it not possible that India’s
massive ethnic diversity made democracy particularly suitable as a means of
resolving conflict among <a href="http://www.nytimes.com/2012/12/20/world/asia/20iht-letter20.html?_r=1&amp;" target="_self">communities</a> with competing claims and ways of
life?</p>
<p>Anderson examines in some detail the Indian idea of secularism in which the 
state is not presumed separate but is an impartial patron to all religions, at least 
in theory. In reality, the fortunes of Muslims, which he 
quantifies, have worsened sharply, even in state institutions. Even the ‘Indian armed forces are a Hindu preserve, garnished with Sikhs’ — only one percent of them are Muslim, practically none in the secret
services. Despite 
official secularism, the state rests, ‘sociologically speaking, on Hindu
 caste society’, writes Anderson. ‘The continued <a href="http://www.3quarksdaily.com/3quarksdaily/2010/08/on-caste-privilege.html" target="_self">
dominance</a> of upper castes in public institutions — administration, 
police, courts, universities, media — belongs to the same matrix.’ He contextualizes the rise of BJP and sees
it more as an inflamed 
tumescence on a body of Hinduized secularism, which, he correctly notes, exists ‘by default, not prescription’. In other words, the gap between the ideal and the reality of <a href="http://hindu.com/thehindu/2001/09/03/stories/05032523.htm" target="_self">secularism</a> is large. Many even hold that ‘India is secular because it is Hindu’. Pride in such feeble secularism, 
Anderson quotes an Indian critic, is self-congratulation that ‘overlooks or 
rationalises the sectarian religious outlook pervading large areas of 
contemporary social and political practice.’</p>
<p>Anderson points out that India’s preservation of its territorial unity, often spoken of as a miraculous feat, is far from unique; hardly any post-colonial states have broken up. This unity, often held to be a sacred value in India, is also a dubious thing since massive coercive force has gone into preserving it, whose cost the Indian intelligentsia self-censors. Anderson’s account of Nehru’s wily seizure and mishandling of Kashmir is morally astute; even in Indian academia today, any talk of self-determination is ‘garlic to the vampire’ and risks repression by the state. The bureaucracy that rules Kashmir ‘under military command contains scarcely a Muslim, and jobs in it can be openly advertised for Hindus only.’ No less astute is his account of the insurgencies in the Northeast, large parts of which have long been under brutal military repression. He recounts how Nehru’s vanity and delusions led to the disastrous war with China. His regime also ‘made it a crime to question the territorial integrity of India’ and enacted the Armed Forces Special Powers Act (AFSPA) — one of a ‘barrage of liberticide laws in India’, and a ‘licence to murder ... [by which] Indian troops and paramilitaries were guaranteed impunity for atrocities’. Indeed,
as Anderson writes, the Indian government has since made ample use of the AFSPA against its own
citizens in ways that make the British massacre at Jallianwala Bagh look like a
mere trifle.</p>
<p style="padding-left: 30px;">‘For what is perfectly obvious, but never seen or spoken, is that the hand of AFSPA has fallen where the reach of Hinduism stops. The three great insurgencies against the Indian state have come in Kashmir, Nagaland-Mizoram and Punjab — regions respectively Muslim, Christian and Sikh. There it met popular feeling with tank and truncheon, pogrom and death squad. Today, the same configuration threatens to be repeated [with] pre-Aryan tribal populations with their own forest cults ...’</p>
<p>
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee64dd6b3970d-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: left;"><img alt="Anderson" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee64dd6b3970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee64dd6b3970d-350wi" style="width: 325px; margin: 0px 5px 5px 0px;" title="Anderson" /></a>Anderson also discusses the Indian Constitution, caste politics, public corruption, activism of the Supreme Court, social welfare schemes, and more. Perhaps his most damning critique is of the lack of intellectual dissent as it relates to the idea of India. He approvingly cites from the work of some Indian scholars, but a clear subtext of <em>The Indian Ideology</em> is that the leading historians and public intellectuals in India — and also the media — are not critical enough, present too sanguine a view of India, and are unable or unwilling to make obvious sociological connections. In ‘patriotic reveries’ they ‘fall over themselves in tributes to their native land’. He cites telling examples from Ramachandra <a href="http://www.lrb.co.uk/v34/n17/letters#letter1" target="_self">Guha</a>, Amartya Sen, Sunil Khilnani, Pratap Bhanu Mehta, and others. Driven perhaps by the slights of colonial scholarship, they have created
new half-truths, silences, and evasions in accord with the idea of India — ‘a
late mutant of Indian nationalism’ — and are failing in their duty to adequately represent the Third Estate. </p>
<p>One might ask if public intellectuals in other nations are more responsible, but can an answer here dent the validity of Anderson’s claim about these individuals? He acknowledges the work of many dissenting, self-critical Indians, but insisted in a recent <a href="http://www.outlookindia.com/article.aspx?282832" target="_self">interview</a> that ‘as an overarching set of tropes about India, the ideology remains in place, and I believe hasn’t yet been the object of a systematic critique. The hope of the book would be to set the ball rolling for less general piety about them.’ </p>
<p>Such accusations, and the hauteur and irreverence Anderson delivers them with, are bound to cause pain and provoke angry, defensive reactions. Detractors will claim to find in this work the ghosts of the Raj and Orientalism, or the rant of a Hindu-hating Marxist. Others will latch on to a
particular argument or fact in the book and erect a straw man in an attempt to demolish the whole. Limiting oneself to such responses would be a grave mistake. The task of the intellectual historian is not to give pleasure or to get every answer right; it is to help clear some cobwebs of the mind, challenge orthodoxies, and stimulate <a href="http://twocircles.net/2009nov16/indian_historians_are_absolutely_dishonest_or_simply_opportunistic_ag_noorani.html" target="_self">debate</a>. All national histories peddle fictions and lies — some more damaging than others — and so does India’s. Trying now to get to a better future behooves us to better understand our past. Anderson’s ‘dance of destruction’ has also opened up new avenues of self-knowledge in the Subcontinent. We would do well to engage with it calmly and honestly.</p>
<p style="text-align: left;">________________________________</p>
<p style="text-align: left;">This is the second part of a two-part review. <a href="http://blog.shunya.net/shunyas_blog/2012/12/revisiting-the-idea-of-india-part-1.html" target="_self">Part 1</a> focuses on early Indian nationalism and how it was shaped by Gandhi. The essays in <em style="text-align: left;">The Indian Ideology</em> are also online (<a href="http://www.lrb.co.uk/v34/n13/perry-anderson/gandhi-centre-stage" target="_self">one</a>, <a href="http://www.lrb.co.uk/v34/n14/perry-anderson/why-partition" target="_self">two</a>, <a href="http://www.lrb.co.uk/v34/n15/perry-anderson/after-nehru" target="_self">three</a>). </p>
<p style="text-align: left;">This piece appeared in the <a href="http://www.himalmag.com" target="_self">Himal Southasian</a> print quarterly 'Are we sure about India?' (January 2013), and is reproduced with permission [and includes minor modifications]. </p>
<p style="text-align: left;"> <a href="http://www.shunya.net/Text/publications.html" target="_self">More writing by Namit Arora?</a></p>
<p>________________________________</p></div>
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    </entry>
    <entry>
        <title>Monbiot on Carbon Omissions</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/04/monbiot-on-carbon-omissions.html" />
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        <published>2013-04-17T21:39:47-07:00</published>
        <updated>2013-04-18T08:17:02-07:00</updated>
        <summary>In 2006, China surpassed the U.S. to become the leading producer of green house emissions. But a big reason for its higher emissions is that China has become the industrial heartland of the world. Developed countries that claim to have reduced carbon emissions have, in effect, shifted their factories and pollution to China (this is one outsourcing no politician in the U.S. complains about). As consumers, all of us are now a party to China's green house emissions. Each time we buy a plastic toy, a blender, or an iPhone, we inject a blast of CO2 over China. In a...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Economics" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Environment" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Video" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>In 2006, China surpassed the U.S. to become the leading producer of green house emissions. But a big reason for its higher emissions is that China has become the industrial heartland of the world. Developed countries that claim to have reduced carbon emissions have, in effect, shifted their factories and pollution to China (this is one outsourcing no politician in the U.S. complains about). As consumers, all of us are now a party to China's green house emissions. Each time we buy a plastic toy, a blender, or an iPhone, we inject a blast of CO2 over China.</p>
<p>In <strong><a href="http://www.monbiot.com/2013/04/12/the-great-unmentionable/" target="_self">a new article</a></strong> and the <strong><a href="http://carbonomissions.org.uk" target="_self">animation</a></strong> below, George Monbiot describes the bogus accounting that's <em>de rigueur</em> in measuring carbon emissions. It only accounts for territorial emissions, not outsourced emissions. With proper accounting that's linked to consumption, the U.S. is still way ahead of China in its contribution to climate change. The difference is even starker if we consider emissions per capita. </p>
<p style="padding-left: 30px;"><span style="color: #00007f;">When nations negotiate global cuts in greenhouse gas emissions, they are held responsible only for the gases produced within their own borders. Partly as a result of this convention, these tend to be the only ones that countries count. When these “territorial emissions” fall, they congratulate themselves on reducing their carbon footprints. But as markets of all kinds have been globalised, and as manufacturing migrates from rich nations to poorer ones, territorial accounting bears ever less relationship to our real impacts.</span></p>
<iframe frameborder="0" height="315" src="http://www.youtube.com/embed/E2QkkgNDV3Y" width="560" /></div>
</content>



    </entry>
    <entry>
        <title>To Save Everything, Click Here</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/04/to-save-everything-click-here.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/04/to-save-everything-click-here.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017c38758a8a970b</id>
        <published>2013-04-08T20:38:30-07:00</published>
        <updated>2013-04-09T08:41:32-07:00</updated>
        <summary>The innovations of the last two decades, led by the Internet and mobile devices, have fundamentally altered the way so many of us live, work, and play. Is modern technology a problem or a solution—and why? How is the disruptive impact of the Internet shaping human societies and cultures, our values, ideas of Self, and relationships? What trends should worry us the most, and who should we hold responsible for them? The viewpoints here are perhaps as numerous as people themselves, even as we cluster them in categories like evangelists, pioneers, enthusiasts, skeptics, laggards, technophobes, curmudgeons, and so on. Evgeny...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Books &amp; Authors" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Culture" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Economics" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Science" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>
<a class="asset-img-link" href="http://www.amazon.com/Save-Everything-Click-Here-Technological/dp/1610391381" style="float: right;" target="_self"><img alt="Morozov" class="asset  asset-image at-xid-6a00d8341dd33453ef017d42a48ed8970c" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017d42a48ed8970c-200wi" style="width: 180px; margin: 0px 0px 5px 5px;" title="Morozov" /></a>The innovations of the last two decades, led by the Internet and mobile devices, have fundamentally altered the way so many of us live, work, and play. Is modern technology a problem or a solution—and why? How is the disruptive <a href="http://www.theatlantic.com/magazine/archive/2008/07/is-google-making-us-stupid/306868/" target="_self">impact</a> of the Internet <a href="http://blog.shunya.net/shunyas_blog/2011/09/go.html" target="_self">shaping</a> human societies and cultures, our values, ideas of Self, and relationships? What trends should <a href="http://blog.shunya.net/shunyas_blog/2012/07/is-the-web-driving-us-mad.html" target="_self">worry</a> us the most, and who should we hold responsible for them? The viewpoints here are perhaps as numerous as people 
themselves, even as we cluster them in categories like evangelists, 
pioneers, enthusiasts, skeptics, laggards, technophobes, curmudgeons, 
and so on.</p>
<p>Evgeny <a href="http://en.wikipedia.org/wiki/Evgeny_Morozov" target="_self">Morozov</a>, an analyst of technological trends, has a new book, <em><a href="http://www.amazon.com/Save-Everything-Click-Here-Technological/dp/1610391381" target="_self">To Save Everything, Click Here</a>: The Folly of Technological Solutionism</em>. In it, he attempts a critique of a culture that worships technology as the great hope and savior of humanity. I just read an interesting exchange between Morozov and Farhad <a href="http://en.wikipedia.org/wiki/Farhad_Manjoo" target="_self">Manjoo</a>, technology columnist for Slate. I might read the book though my impression from this exchange is that while attempts like Morozov's are badly needed and he does raise many good questions, in the end young Morozov seems to me simply out of his depth for the ambitious task he has taken on. Here are links to the exchange: </p>
<p style="padding-left: 30px;"><strong><a href="http://www.slate.com/articles/technology/technology/features/2013/to_save_everything_click_here/to_save_everything_click_here_farhad_manjoo_and_evgeny_morozov_debate_morozov.html" target="_self">Entry 1</a></strong>: Manjoo's opening salvo against Morozov</p>
<p style="padding-left: 30px;"><strong><a href="http://www.slate.com/articles/technology/technology/features/2013/to_save_everything_click_here/to_save_everything_click_here_what_farhad_manjoo_gets_wrong_about_my_book.html" target="_self">Entry 2</a></strong>: Morozov on what Manjoo gets wrong about his book</p>
<p style="padding-left: 30px;"><strong><a href="http://www.slate.com/articles/technology/technology/features/2013/to_save_everything_click_here/to_save_everything_click_here_how_your_generalizations_about_silicon_valley.html" target="_self">Entry 3</a></strong>: Manjoo on why Morozov has Silicon Valley absolutely wrong</p>
<p style="padding-left: 30px;"><strong><a href="http://www.slate.com/articles/technology/technology/features/2013/to_save_everything_click_here/morozov_tech_journalism_must_be_more_than_gadget_reviews.html" target="_self">Entry 4</a></strong>: Morozov on why and how technology journalism needs to evolve</p></div>
</content>



    </entry>
    <entry>
        <title>The Art of the Gonds</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/the-art-of-the-gonds.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/the-art-of-the-gonds.html" thr:count="1" thr:updated="2013-03-29T17:13:07-07:00" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017ee9d67652970d</id>
        <published>2013-03-29T13:57:04-07:00</published>
        <updated>2013-03-29T22:01:28-07:00</updated>
        <summary>I had a pleasant exchange recently with Dr. Michael Yorke, British anthropologist, filmmaker, and Senior Tutor of Ethnographic Film, University College London. In the course of a discussion that began with my Kumbh Mela film, Michael pointed me to the Adivasi Arts Trust, "an organisation that promotes awareness of Indian tribal culture, and works with the tribes involving them in digital media projects to make their arts more widely accessible." AAT works with some of the nearly 400 Adivasi communities that survive in various parts of India. Googling then led me to Michael's short film on the art of the...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Anthropology &amp; Archaeology" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Art &amp; Cinema" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Culture" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="History" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017c38336475970b-pi" style="float: left;"><img alt="Gond-paintings1" class="asset  asset-image at-xid-6a00d8341dd33453ef017c38336475970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c38336475970b-250wi" style="width: 240px; margin: 0px 5px 5px 0px;" title="Gond-paintings1" /></a>I had a pleasant exchange recently with Dr. Michael <a href="http://www.ucl.ac.uk/anthropology/other-courses/film_courses/tutors" target="_self">Yorke</a>, British anthropologist, filmmaker, and Senior Tutor of Ethnographic Film, University College London. In the course of a discussion that began with my Kumbh Mela <a href="https://www.youtube.com/watch?v=cQNoimABjMQ" target="_self">film</a>, Michael pointed me to the <a href="http://www.talleststory.com/adivasiartstrust/" target="_self">Adivasi Arts Trust</a>, "an organisation that promotes awareness of Indian tribal culture, and 
works with the tribes involving them in digital media projects to make 
their arts more widely accessible." AAT works with some of the nearly 400 <a href="http://en.wikipedia.org/wiki/Adivasi" target="_self">Adivasi</a> communities that survive in various parts of India.</p>
<p>Googling then led me to Michael's short film on <a href="http://www.lotusmasks.com/category/gond-tribal-paintings.html" target="_self">the art</a> of the Gond people of Central India and a workshop in Bhopal where "a group of Pardhan <a href="https://www.google.com/#hl=en&amp;output=search&amp;sclient=psy-ab&amp;q=art+of+the+gonds&amp;oq=art+of+the+gonds&amp;gs_l=hp.3..0i22i30.2040.4231.0.4351.16.14.0.2.2.1.210.1615.6j6j2.14.0...0.0...1c.1.7.psy-ab.4xM5haZws3I&amp;pbx=1&amp;bav=on.2,or.r_cp.r_qf.&amp;bvm=bv.44442042,d.cGE&amp;fp=46acdcc7630d3320&amp;biw=1295&amp;bih=702" target="_self">Gond</a> artists worked with Leslie MacKenzie and Tara Douglas to create an animated cartoon of their own folkstory" (parts <a href="http://www.youtube.com/watch?v=KXFqaqHJ8Xk" target="_self">one</a>, <a href="http://www.youtube.com/watch?v=7AK0Lp51j0c" target="_self">two</a>). Read <a href="http://in.blouinartinfo.com/news/story/823260/gond-artists-to-collaborate-with-nid-students-to-create-an-animated-short-film" target="_self">more</a> about the remarkable Gond Animation <a href="http://gondanimationworkshop.blogspot.com/p/gond-artists.html" target="_self">Workshop</a>, participating Gond <a href="http://gondanimationworkshop.blogspot.com/p/gond-artists.html" target="_self">artists</a>, some Gond <a href="http://gondanimationworkshop.blogspot.com/p/gond-folktales.html" target="_self">folktales</a>, and <a href="http://gondanimationworkshop.blogspot.com/p/gond-music.html" target="_self">samples</a> of their music and dance. Other <a href="http://www.talleststory.com/adivasiartstrust/TribalStoriespage.html" target="_self">folk stories</a> covered include those of the indigenous people of Nagaland and neighboring <a href="http://www.talleststory.com/adivasiartstrust/mediapage.html" target="_self">states</a>.</p>
<iframe frameborder="0" height="315" src="http://www.youtube.com/embed/KXFqaqHJ8Xk" width="420" /></div>
</content>



    </entry>
    <entry>
        <title>We're Moving to India!</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/were-moving-to-india.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/were-moving-to-india.html" thr:count="11" thr:updated="2013-04-16T14:36:55-07:00" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017d42550010970c</id>
        <published>2013-03-27T11:11:42-07:00</published>
        <updated>2013-03-29T00:09:43-07:00</updated>
        <summary>Friends, we're excited to announce a big change coming in our lives: a month from today, we'll leave the United States to live in India for an indefinitely long time. Both of us (Usha and Namit) have resigned from our Silicon Valley jobs, which, while spiritually and intellectually dreary, were at least lucrative, and for this we feel very lucky indeed. This is a move that we've long considered and planned, so we can stop working for wages and take on new adventures in life. What will we do in India? We'll do more of the things that we've long...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Travel" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p><a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee9c545c9970d-pi" style="float: right;"><img alt="GurgaonWeb" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee9c545c9970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee9c545c9970d-350wi" style="width: 350px; margin: 0px 0px 5px 5px;" title="GurgaonWeb" /></a>Friends, we're excited to announce a big change coming in our lives: a month from today, we'll leave the United States to live in India for an indefinitely long time. Both of us (Usha and Namit) have resigned from our Silicon Valley jobs, which, while spiritually and intellectually dreary, were at least lucrative, and for this we feel very lucky indeed. This is a move that we've long considered and planned, so we can stop working for wages and take on new adventures in life. </p>
<p>What will we do in India? We'll do more of the things that we've long enjoyed doing, like reading and writing. We'll also backpack in India and in other parts of Asia, Africa, and the Pacific. We'll try some new projects too, such as making documentary films and finding new ways to make ourselves useful to others. We share many hopes and aspirations for this move, but for Namit this will also be the fruition of a desire and responsibility he has long felt to be close to his parents in their later years. </p>
<p>We can't know just how all of this will unfold, since the change is huge and the uncertainties many. But we are keen to move into a new chapter of our lives and grow from our discoveries. India is a phenomenally interesting place to both of us. Namit grew up there, and we both visit often and lived there for <a href="http://www.shunya.net/Pictures/India.htm" target="_self">two years</a> from 2004-06, so we know the challenges we'll face — power and water shortages, bad driving, pollution, corruption, and more — but we also expect the compensating factors to be <a href="http://blog.shunya.net/shunyas_blog/2006/10/reporting_from_.html" target="_self">numerous</a> enough. We'll be busy the next few weeks with packing and farewells. And by early May, we should be settling into a rental apartment in <a href="http://www.shunya.net/Pictures/NorthIndia/Gurgaon/Gurgaon.htm" target="_self">Gurgaon</a>, a few miles southwest of Delhi.</p>
<p>—Usha &amp; Namit </p></div>
</content>



    </entry>
    <entry>
        <title>Butalia on Being Childless</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/butalia-on-being-childless.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/butalia-on-being-childless.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017c38256b75970b</id>
        <published>2013-03-26T23:30:00-07:00</published>
        <updated>2013-03-27T19:31:56-07:00</updated>
        <summary>In Childless, naturally, Urvashi Butalia (b. 1952) reflects on not being a mother, questioning many oppressive ideas of motherhood that run deep in India. Notably, Butalia says she didn't choose to be childless—at one point in her life she even pursued the possibility of adoption—but she concludes that being childless is not a bad place to be. Her vantage point may resonate with many mothers, probably more so than that of a woman who consciously chose not to be a mother and who might have experienced less brooding doubt about her childlessness. Butalia's essay is rare and interesting enough, especially...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Culture" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>In <a href="http://www.livemint.com/Leisure/jEGOb5320WMOVI1boGOfGN/Urvashi-Butalia--Childless-naturally.html" target="_self">Childless, naturally</a>, Urvashi <a href="http://en.wikipedia.org/wiki/Urvashi_Butalia" target="_self">Butalia</a> (b. 1952) reflects on not being a mother, questioning many oppressive ideas of motherhood that run deep in India. Notably, Butalia says she didn't choose to be childless—at one point in her life she even pursued the possibility of adoption—but she concludes that being childless is not a bad place to be. Her vantage point may resonate with many mothers, probably more so than that of a woman who consciously chose not to be a mother and who might have experienced less brooding doubt about her childlessness. Butalia's essay is rare and interesting enough, especially in India, but I'd really love to read a thoughtful piece of the latter kind too.</p>
<p style="padding-left: 30px;">
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017d425212c1970c-pi" style="float: right;"><img alt="Butalia" class="asset  asset-image at-xid-6a00d8341dd33453ef017d425212c1970c" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017d425212c1970c-350wi" style="width: 350px; margin: 0px 0px 5px 5px;" title="Butalia" /></a><span style="color: #00007f;">... Am I fooling myself when I say I feel no active desire to have children — am I saying this because, in truth, I want them, but I do not want to seem lacking in any way so I imagine I don’t? It’s difficult to say. I’m constantly suspicious of myself though and worry: am I really the contented person I think I am or am I just pretending? ...</span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">My mother and I are talking. I worry for you, she tells me, what will you do when you grow old? Everyone needs someone. If you don’t want to marry, why don’t you just adopt a child? But is that a good reason for adopting a child, I ask her, to have someone around when you grow old? And what’s the guarantee anyway? No, no, she quickly switches tack. That’s not why I think you should adopt. But just think what wonderful grandparents this potential child is missing out on! Good enough reason for adopting, don’t you think? I take her seriously. Perhaps she knows more than I do, I tell myself, and I start to search out adoption possibilities. For a while, I am quite excited by the change in my life that this promises, but in the end, I do not have the courage, or the motivation. I give up.... <br /></span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">For years I have identified myself as a single woman. It’s important to me this definition: singleness is, for me, a positive state, one that is not defined by a lack, by something missing, by a negative—as for example the word ‘unmarried’ is. But with this children business, we don’t even have the language to define a positive state. I mean, there is childlessness and there is childlessness. How often have we heard that a couple is childless, that a woman who cannot bear a child is defined as barren. Why should this be? I did not make a choice not to have children, but that’s how my life panned out. I don’t feel a sense of loss at this, my life has been fulfilling in so many other ways. Why should I have to define it in terms of a lack? Am I a barren woman? I can’t square this with what I know of myself.</span></p></div>
</content>



    </entry>
    <entry>
        <title>Of Bonobos and Men</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/of-bonobos-and-men.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/of-bonobos-and-men.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017d42133fe1970c</id>
        <published>2013-03-18T21:56:18-07:00</published>
        <updated>2013-03-21T13:39:15-07:00</updated>
        <summary>Primatologist Frans de Waal has a new book, The Bonobo and the Atheist. Below is an excerpt from an early review in the New Republic (click photo for the Amazon listing; the Publisher's Weekly blurb is here). Those familiar with de Waal’s previous books ... will recognize many of the same arguments resurfacing here, including the idea that human morality has biological origins. “Fairness and justice are … best looked at as ancient capacities. They derive from the need to preserve harmony in the face of resource competition.” De Waal uses the bonobo—a peaceful, sex-loving primate who may be as...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Animals" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Books &amp; Authors" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Philosophy" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Religion" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Science" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>Primatologist <a href="http://www.emory.edu/LIVING_LINKS/bonobo_atheist/author1.shtml" target="_self">Frans de Waal</a> has a new book, <a href="http://www.emory.edu/LIVING_LINKS/bonobo_atheist/" target="_self">The Bonobo and the Atheist</a>. Below is an excerpt from an early review in the New Republic (click photo for the Amazon listing; the Publisher's Weekly blurb is <a href="http://www.publishersweekly.com/978-0-393-07377-5" target="_self">here</a>). </p>
<p style="padding-left: 30px;"><span style="color: #00007f;">
<a class="asset-img-link" href="http://www.amazon.com/The-Bonobo-Atheist-Humanism-Primates/dp/0393073777" style="float: right;" target="_self"><img alt="Bonoboatheist" class="asset  asset-image at-xid-6a00d8341dd33453ef017c37e3de41970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c37e3de41970b-200wi" style="width: 197px; margin: 0px 0px 5px 5px;" title="Bonoboatheist" /></a>Those familiar with de Waal’s </span><a href="http://www.emory.edu/LIVING_LINKS/bonobo_atheist/science.shtml" target="_self"><span style="color: #00007f;">previous books</span></a><span style="color: #00007f;"> ... will recognize many of the same arguments resurfacing here, including the idea that human morality has biological origins. “Fairness and justice are … best looked at as ancient capacities. They derive from the need to preserve harmony in the face of resource competition.” De Waal uses the bonobo—a peaceful, sex-loving primate who may be as closely related to us, or more closely related, than the more Machiavellian chimpanzee—to attack the prevailing notion of human nature as selfish and violent, and that we are constantly battling to suppress our terrible “animal nature.” “Everything science has learned in the past few decades argues against this pessimistic view that morality is a thin veneer over a nasty human nature.” </span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">What’s new here is that de Waal wades directly into the atheism-versus-religion debate, which he claims is often mistakenly cast as a science-versus-religion debate. He argues that a biologically evolved “bottom-up” morality obviates the need for the “top-down” morality imposed by religion. And yet, he sees science (and himself) as aligned with secular humanism, which is not necessarily anti-religion. He would like to see the influence of religion fade, but acknowledges that a moral code is not all religion provides: “The question is not so much whether religion is true or false, but how it shapes our lives, and what might possibly take its place.”<br /></span></p>
<p>More <a href="http://www.emory.edu/LIVING_LINKS/bonobo_atheist/" target="_self">here</a>. Read more about the book and an excellent interview with de Waal <a href="http://www.emory.edu/LIVING_LINKS/bonobo_atheist/book.shtml" target="_self">here</a>. Also see a <a href="http://www.npr.org/blogs/13.7/2013/03/21/174830095/frans-de-waals-bottom-up-morality-were-not-good-because-of-god" target="_self">review</a> on NPR.</p></div>
</content>



    </entry>
    <entry>
        <title>The Letters of Auster and Coetzee</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/the-letters-of-auster-and-coetzee.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/the-letters-of-auster-and-coetzee.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017d41f511e2970c</id>
        <published>2013-03-16T12:10:32-07:00</published>
        <updated>2013-03-18T20:55:01-07:00</updated>
        <summary>Here is a review of Here and Now: Letters (2008-11), which gathers a correspondence between two friends: Paul Auster and JM Coetzee. For potential pen pals, these two famous writers might seem at first an unlikely pairing. Auster, the younger by seven years, is an enthusiast, or certainly I’ve always thought of him that way: his fascination with coincidences and odd circumstances; his bottomless bag of anecdotes; his championing of out-of-the-way books and films that always end up being very good. Meanwhile Coetzee, the Nobel Prize-winning South African, seems more of a skeptic, a fastidious thinker and uncompromising moralist, who...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Books &amp; Authors" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>Here is a review of <em><a href="http://www.amazon.com/Here-Now-20082011-Paul-Auster/dp/0670026662/" target="_self">Here and Now</a>: Letters (2008-11)</em>, which gathers a correspondence between two friends: Paul Auster and JM Coetzee. </p>
<p style="padding-left: 30px;">
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee9689665970d-pi" style="float: right;"><img alt="AusterCoetzee" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee9689665970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee9689665970d-300wi" style="width: 300px; margin: 0px 0px 5px 5px;" title="AusterCoetzee" /></a><span style="color: #00007f;">For potential pen pals, these two famous writers might seem at first an unlikely pairing. Auster, the younger by seven years, is an enthusiast, or certainly I’ve always thought of him that way: his fascination with coincidences and odd circumstances; his bottomless bag of anecdotes; his championing of out-of-the-way books and films that always end up being very good. Meanwhile Coetzee, the Nobel Prize-winning South African, seems more of a skeptic, a fastidious thinker and uncompromising moralist, who strips away social and political conventions in search of an ethics of essential experience. Yet whatever their differences, real or perceived, what quickly becomes clear in the pages of “Here and Now” is that they have far more in common than not.</span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">They both love sports, for example, and the fact that they don’t love precisely the same sports, or love them for precisely the same reasons, is largely why they have so much to say to each other about them. Discussing the nature of sports’ appeal, Auster proposes they are “a kind of performance art.” Coetzee responds that his interest in sports is “ethical rather than aesthetic,” having to do with “the need for heroes that sports satisfy.”</span>
</p>
<p>More <a href="http://www.nytimes.com/2013/03/17/books/review/here-and-now-by-paul-auster-and-j-m-coetzee.html?ref=books&amp;_r=2&amp;pagewanted=all&amp;" target="_self">here</a> (via <a href="http://www.3quarksdaily.com/3quarksdaily/2013/03/auster-and-coetzee-talk-sports.html" target="_self">3QD</a>). Also check out <a href="http://www.newyorker.com/online/blogs/books/2013/03/the-better-player-paul-auster-jm-coetzee-sports.html" target="_self">this very interesting excerpt</a> from their exchange on sports. Two more reviews <a href="http://www.thestar.com/entertainment/books/2013/03/15/here_and_now_letters_2008_2011_by_paul_auster_and_jm_coetzee_review.html" target="_self">here</a> and <a href="http://articles.washingtonpost.com/2013-03-06/entertainment/37496658_1_paul-auster-coetzee-dorothy-driver" target="_self">here</a>. </p></div>
</content>



    </entry>
    <entry>
        <title>'River of Faith' meets Amazon</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/river-of-faith-on-amazon.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/03/river-of-faith-on-amazon.html" thr:count="1" thr:updated="2013-03-16T01:19:18-07:00" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017ee92b842e970d</id>
        <published>2013-03-10T23:26:43-07:00</published>
        <updated>2013-04-02T03:30:49-07:00</updated>
        <summary>Folks, it turns out that River of Faith has done well, amassing 27K views on YouTube in its first 3 weeks [and 75K at the end of 6 weeks]. Which means it has even bested a whole lot of cat videos! Furthermore, I've been persuaded to offer it on Amazon.com for those who like DVDs, including institutions. Check out the DVD cover below (sans barcode and DVD logo). This should be up on Amazon in early April and ready to ship within days (I'll announce in a comment when it is). Also, for the first but hopefully not last time,...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Anthropology &amp; Archaeology" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Art &amp; Cinema" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Culture" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Environment" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="History" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Religion" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Travel" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Video" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>Folks, it turns out that <a href="http://www.youtube.com/watch?feature=player_embedded&amp;v=cQNoimABjMQ" target="_self">River of Faith</a> has done well, amassing 27K views on YouTube in its first 3 weeks [and 75K at the end of 6 weeks]. Which means it has even bested a whole lot of cat videos! Furthermore, I've been persuaded to offer it on Amazon.com for those who like DVDs, including institutions. Check out the DVD cover below (sans barcode and DVD logo). This should be up on Amazon in early April and ready to ship within days (I'll announce in a comment when it is). Also, for the first but hopefully not last time, <a href="http://thediplomat.com/sport-culture/2013/03/07/kumbh-mela-consuming-the-greatest-show-on-earth/" target="_self">a magazine</a> introduced me last week as "a documentary filmmaker". Watch out, you documentary filmmakers! :)</p>
<p>
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee968664b970d-pi" style="display: inline;"><img alt="River of Faith.001" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee968664b970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee968664b970d-850wi" style="width: 820px;" title="River of Faith.001" /></a></p></div>
</content>



    </entry>
    <entry>
        <title>River of Faith</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/02/river-of-faith.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/02/river-of-faith.html" thr:count="6" thr:updated="2013-03-15T08:45:05-07:00" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017c36ed3576970b</id>
        <published>2013-02-18T18:00:00-08:00</published>
        <updated>2013-03-11T22:32:24-07:00</updated>
        <summary>A new documentary film about the Kumbh Mela 2013, Prayag, Allahabad. 56 minutes. (Cross-posted on 3 Quarks Daily.) The Kumbh Mela is an ancient pilgrimage festival that happens once every three years, rotating across four locations in India. The largest of these riverside fairs happens every 12 years in Allahabad at the confluence of two rivers, Ganga and Yamuna. On its opening day in Jan 2013, I was among its estimated ten million visitors. During the 6-8 weeks it lasts, tens of millions come to bathe in these rivers — as a meritorious act to cleanse body and soul —...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p><em>A new documentary film about the Kumbh Mela 2013, Prayag, Allahabad. 56 minutes. (Cross-posted on <a href="http://www.3quarksdaily.com/3quarksdaily/2013/02/river-of-faith.html" target="_self">3 Quarks Daily</a>.)<br /></em></p>
<p>The <a href="http://en.wikipedia.org/wiki/Kumbh_Mela" target="_self">Kumbh Mela</a>
 is an ancient pilgrimage
festival that happens once every three years, rotating across four 
locations in India. The largest of these riverside fairs happens every 
12 years in Allahabad at the confluence of two rivers, Ganga and
Yamuna. On its opening day in Jan 2013, I was among its estimated ten million visitors. During the 6-8 weeks it lasts, tens of millions come to bathe 
in these rivers — as a meritorious act to cleanse body and soul —
 making it the largest gathering of humanity on the planet. On the festival's most 
auspicious day in 2013, an estimated thirty million <a href="http://en.wikipedia.org/wiki/Kumbh_Mela#2013" target="_self">pilgrims</a>
 came. The Kumbh Mela is also a meeting place for
ascetics, sadhus, sants, gurus, yogis, sannyasis, bairagis, virakts, 
fakes, misfits, and crooks of various sects of Hinduism, who camp out in
 tents on the riverbank, lecture and debate, smoke ganja and drink milky-syrupy chai, and
are visited by pilgrims seeking spiritual renewal. The sprawling floodplain resounds with devotional movie songs and bhajans, some strikingly melodious and 
familiar to me from childhood.</p>
<p>
<iframe frameborder="0" height="315" src="http://www.youtube.com/embed/cQNoimABjMQ" width="560" />
</p>
<p>The Mahabharata
mentions Prayag as a site of pilgrimage, but the first historical record occurs in the
account of seventh century CE Chinese traveler Xuanzang, who
wrote about Prayag and its ageless, month-long festival at the confluence
of two rivers. As the eleventh century traveler Al-Beruni <a href="http://books.google.com/books?id=FS-yrFmRibYC&amp;source=gbs_navlinks_s" target="_self">noted</a>, 
"pilgrimages are not obligatory to the Hindus but facultative and 
meritorious." Indeed the idea of pilgrimage is commonplace in human cultures. Rivers, 
lakes, streams, springs, wells and other bodies of water too have been revered around the world. The <a href="http://www.readbookonline.net/readOnLine/23259/" target="_self">writer</a>
 Hilaire Belloc saw pilgrimage as "a nobler kind of travel ... an 
expedition to some venerated place to which a vivid memory of sacred 
things experienced, or a long and wonderful history of human experience 
in divine matters, or a personal attraction affecting the soul impels 
one. ... a pilgrimage may be made to the tomb of Descartes, in Paris, or
 it may be a little walk uphill to a neighbouring and beloved grave, or a
 modern travel, even in luxury, on the impulse to see something that 
greatly calls one."</p>
<p>This documentary film looks at the Kumbh Mela from many angles, focusing on one of its key pillars: the militant-monastic orders called <em>akharas</em>, whose members, including the naked ash-smeared Naga ascetics, see themselves as part of an ancient lineage of defenders and propagators of Sanātana Dharma. There are seven major and many minor<em> akharas</em>, some over a thousand years old, predating Islam in South Asia. Highly political and hierarchical
organizations, the <em>akharas</em> compete for numbers and prestige, and have often in the past fought deadly battles with each other over matters of money and power — the <em>akharas</em> are hardly the happy family that their media-savvy spokesmen claim they are. Some are more liberal than others. Many <em>akharas</em>, I learned, choose their leaders through internal elections every third year at the Kumbh Mela, though I'm not sure when this custom began. Who are their members, how do they live, what do they believe? Such questions may have only partial answers but above all in this short documentary, I've tried to demystify the event, its history, and its participants.</p>

<p>_____________________________________
</p>
<p>
<a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="float: right;" target="_self"><img alt="KumbhMela051" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee892c224970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee892c224970d-200wi" style="width: 200px; margin: 0px 0px 5px 5px;" title="KumbhMela051" /></a>Click on the thumbnail to the right for <a href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" target="_self">pictures</a> from my visit in 2013. I also have a more moody, music-infused video (<a href="http://www.youtube.com/watch?v=ytRRzdJ13lM&amp;list=UU1Ns-oSVQpA6BgMfLBIIbFA&amp;index=11" target="_self">part1</a>, <a href="http://www.youtube.com/watch?v=0FQuxZDg1-Y&amp;list=UU1Ns-oSVQpA6BgMfLBIIbFA&amp;index=10" target="_self">part2</a>) and <a href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela/KumbhMela.htm" target="_self">pictures</a> from my 2001 visit to the Maha Kumbh Mela in Allahabad.</p>
<p><strong>References</strong> (in no particular order): </p>
<ol>
<li>
William R. Pinch, "<a href="http://www.amazon.com/Warrior-Ascetics-Empires-Cambridge-Studies/dp/0521851688" target="_self">Warrior Ascetics and Indian Empires</a>", Cambridge University Press, 2006.</li>
<li>Kama Maclean, "<a href="http://books.google.com/books?id=MALacgnsroMC&amp;source=gbs_navlinks_s" target="_self">Pilgrimage and Power</a>: The Kumbh Mela in Allahabad, 1765-1954", OUP, 2008. </li>
<li>Diana L. Eck, "<a href="http://www.amazon.com/India-Sacred-Geography-Diana-Eck/dp/0385531907/ref=sr_1_1?ie=UTF8&amp;qid=1360133451&amp;sr=8-1&amp;keywords=sacred+geography" target="_self">India: A Sacred Geography</a>", Harmony, 2012.</li>
<li>Joseph S. Alter, "<a href="http://publishing.cdlib.org/ucpressebooks/view?docId=ft6n39p104;brand=eschol" target="_self">The Wrestler’s Body</a>: Identity and Ideology in North India", UC California Press, 1992.</li>
<li>David E. Ludden, Editor, "<a href="http://books.google.com/books?id=jEUdPqYQjhoC&amp;source=gbs_navlinks_s" target="_self">Contesting the Nation</a>: Religion, Community, and the Politics of Democracy in India. Chapter titled "<a href="http://books.google.com/books?id=jEUdPqYQjhoC&amp;pg=PA140#v=onepage&amp;q&amp;f=false" target="_self">Soldier Monks and Militant Sadhus</a>" by William R. Pinch. University of Pennsylvania Press, 1996.</li>
<li>Mark Tully, "<a href="http://www.amazon.com/Full-Stops-India-Mark-Tully/dp/0140104801/ref=sr_1_1?ie=UTF8&amp;qid=1360989045&amp;sr=8-1&amp;keywords=no+full+stops+in+india" target="_self">No Full Stops in India</a>", Penguin, 1991. </li>
<li>Samuel Beal, Translator, 1906, "<a href="http://books.google.com/books/about/Si_Yu_Ki.html?id=UGH0Qmy_jH0C" target="_self">Si Yu Ki</a>: Buddhist Records of the Western World, by Hiuen Tsiang [Xuanzang] (629 CE)."</li>
<li>Editors of Hinduism Today, "What Is Hinduism?", Himalayan Academy Publications, 2007.</li>
<li>Dhirendra K Jha, "<a href="http://www.openthemagazine.com/article/art-culture/naga-sadhus-on-hire" target="_self">Naga Sadhus on Hire</a>", Open Magazine, 2 February 2013.</li>
<li>"Kumbh Mela." Encyclopædia Britannica. Ultimate Reference Suite.  Chicago: Encyclopædia Britannica, 2013.</li>
</ol>
<p>________________________________</p>
<p><a href="http://www.shunya.net/Text/publications.html" target="_self">More writing by Namit Arora?</a><br />________________________________</p>
<ul>
</ul>
<ol>
</ol></div>
</content>



    </entry>
    <entry>
        <title>The Kumbh Mela, 2013</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/01/the-maha-kumbh-mela-2013.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/01/the-maha-kumbh-mela-2013.html" thr:count="1" thr:updated="2013-03-14T04:54:42-07:00" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017d403b510e970c</id>
        <published>2013-01-20T03:29:47-08:00</published>
        <updated>2013-02-20T17:59:26-08:00</updated>
        <summary>NEW: River of Faith, a new documentary film about the Kumbh Mela 2013 by Namit Arora (56 minutes). Last week I attended the greatest of the Hindu pilgrimage festivals, the Kumbh Mela, a riverside religious fair that takes place at the confluence of the Ganga, the Yamuna, and the mythical Saraswati. Bathing in the river during the Kumbh Mela is considered a meritorious act, cleansing body and soul, and it attracts tens of millions over 6-8 weeks, making it the largest gathering of humans on the planet for a single event. A hundred million might attend the 2013 event that...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Culture" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Photography" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Religion" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Travel" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p><strong><span style="color: #ff0000;">NEW</span></strong>: <a href="http://blog.shunya.net/shunyas_blog/2013/02/river-of-faith.html" target="_self"><strong>River of Faith</strong></a>, <em>a new documentary film about the Kumbh Mela 2013 by Namit Arora (56 minutes).</em></p>
<p>Last week I attended the greatest of the Hindu pilgrimage festivals, the Kumbh Mela, a riverside religious fair that takes place at the confluence of the Ganga, the Yamuna, and the mythical Saraswati. Bathing in the river during the Kumbh Mela is considered a meritorious act, cleansing body and soul, and it attracts tens of millions over 6-8 weeks, making it the largest gathering of humans on the planet for a single event. A hundred million might attend the 2013 event that opened on Jan 14 with about ten million in attendance, including me and <a href="http://blog.shunya.net/shunyas_blog/about_usha_alexander.html" target="_self">Usha</a>. Click on any photo below to see <a href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" target="_self">a lot more of my photos</a> (with captions) from the Mela's opening days. Next month, I also intend to put out a travel essay and a video documentary on the Kumbh Mela, including many interesting interviews with naga sadhus.
</p>
<a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="display: inline;" target="_self"><img alt="KumbhMela051" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee7af61d2970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee7af61d2970d-700wi" style="width: 666px;" title="KumbhMela051" /></a>
<p><a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="display: inline;" target="_self"><img alt="KumbhMela041" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee7af62fb970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee7af62fb970d-200wi" style="width: 165px;" title="KumbhMela041" /></a> 
<a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="display: inline;" target="_self"><img alt="KumbhMela116" class="asset  asset-image at-xid-6a00d8341dd33453ef017c360c2736970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c360c2736970b-200wi" style="width: 165px;" title="KumbhMela116" /></a> 
<a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="display: inline;" target="_self"><img alt="KumbhMela101" class="asset  asset-image at-xid-6a00d8341dd33453ef017c360c28a7970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c360c28a7970b-200wi" style="width: 165px;" title="KumbhMela101" /></a> 
<a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="display: inline;" target="_self"><img alt="KumbhMela145" class="asset  asset-image at-xid-6a00d8341dd33453ef017d403b3b28970c" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017d403b3b28970c-200wi" style="width: 165px;" title="KumbhMela145" /></a></p>
<p><a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="display: inline;" target="_self" />
<a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="display: inline;" target="_self"><img alt="KumbhMela023" class="asset  asset-image at-xid-6a00d8341dd33453ef017d403b21d4970c" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017d403b21d4970c-200wi" style="width: 165px;" title="KumbhMela023" /></a> 
<a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="display: inline;" target="_self"><img alt="KumbhMela155" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee7af75a8970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee7af75a8970d-200wi" style="width: 165px;" title="KumbhMela155" /></a> <a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="display: inline;" target="_self"><img alt="KumbhMela089" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee7af7708970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee7af7708970d-200wi" style="width: 165px;" title="KumbhMela089" /></a> 
<a class="asset-img-link" href="http://www.shunya.net/Pictures/NorthIndia/KumbhMela2013/KumbhMela2013.htm" style="display: inline;" target="_self"><img alt="KumbhMela142" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee7af835f970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee7af835f970d-200wi" style="width: 165px;" title="KumbhMela142" /></a></p></div>
</content>



    </entry>
    <entry>
        <title>'Storytellers' by Mo Yan</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/01/storytellers-by-mo-yan.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/01/storytellers-by-mo-yan.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017ee725c79b970d</id>
        <published>2013-01-09T13:00:00-08:00</published>
        <updated>2013-01-09T21:20:35-08:00</updated>
        <summary>An endearing Nobel Lecture by Mo Yan, who won the Nobel Prize for Literature in 2012. Yan talks about his mother, his childhood, the town he spent his first 21 years in, the sources of his inspiration, his penchant for basing his characters on people around him, and more. I was born ugly. Villagers often laughed in my face, and school bullies sometimes beat me up because of it. I’d run home crying, where my mother would say, “You’re not ugly, Son. You’ve got a nose and two eyes, and there’s nothing wrong with your arms and legs, so how...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Books &amp; Authors" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Fiction &amp; Poetry" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>An endearing <a href="http://www.nobelprize.org/nobel_prizes/literature/laureates/2012/yan-lecture_en.html" target="_self">Nobel Lecture</a> by Mo Yan, who won the Nobel Prize for Literature in 2012. Yan talks about his mother, his childhood, the town he spent his first 21 years in, the sources of his inspiration, his penchant for basing his characters on people around him, and more. </p>
<p style="padding-left: 30px;"><span style="color: #00007f;">
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee725bcd9970d-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="Mo_yan" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee725bcd9970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee725bcd9970d-200wi" style="width: 200px; margin: 0px 0px 5px 5px;" title="Mo_yan" /></a>I was born ugly. Villagers often laughed in my face, and school bullies sometimes beat me up because of it. I’d run home crying, where my mother would say, “You’re not ugly, Son. You’ve got a nose and two eyes, and there’s nothing wrong with your arms and legs, so how could you be ugly? If you have a good heart and always do the right thing, what is considered ugly becomes beautiful.” Later on, when I moved to the city, there were educated people who laughed at me behind my back, some even to my face; but when I recalled what Mother had said, I just calmly offered my apologies.</span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">My illiterate mother held people who could read in high regard. We were so poor we often did not know where our next meal was coming from, yet she never denied my request to buy a book or something to write with. By nature hard working, she had no use for lazy children, yet I could skip my chores as long as I had my nose in a book.</span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">A storyteller once came to the marketplace, and I sneaked off to listen to him. She was unhappy with me for forgetting my chores. But that night, while she was stitching padded clothes for us under the weak light of a kerosene lamp, I couldn’t keep from retelling stories I’d heard that day. She listened impatiently at first, since in her eyes professional storytellers were smooth-talking men in a dubious profession. Nothing good ever came out of their mouths. But slowly she was dragged into my retold stories, and from that day on, she never gave me chores on market day, unspoken permission to go to the marketplace and listen to new stories. As repayment for Mother’s kindness and a way to demonstrate my memory, I’d retell the stories for her in vivid detail.</span></p>
<p><span style="color: #00007f;"><span style="color: #111111;">A controversy recently arose over Mo Yan's selection for the Prize, in which Salman Rushdie criticized Yan's political affiliations and was ably defended by Pankaj Mishra. See the entertaining public exchanges between these two <a href="http://www.salon.com/2012/12/07/rushdie_mo_yan_is_a_patsy_of_the_regime/" target="_self">one</a>, <a href="http://www.guardian.co.uk/books/2012/dec/13/mo-yan-salman-rushdie-censorship?intcmp=239" target="_self">two</a>, <a href="http://www.guardian.co.uk/books/2012/dec/17/salman-rushdie-mo-yan-pankaj-mishra?intcmp=239" target="_self">three</a>, and <a href="http://www.guardian.co.uk/books/2013/jan/04/salman-rushdie-pankaj-mishra-yan" target="_self">four</a>. </span> <br /></span></p></div>
</content>



    </entry>
    <entry>
        <title>Rowena on Indian Nationalism</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/01/rowena-on-indian-nationalism.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/01/rowena-on-indian-nationalism.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017ee707495c970d</id>
        <published>2013-01-07T00:32:36-08:00</published>
        <updated>2013-01-07T00:59:57-08:00</updated>
        <summary>For citizens of modern nations, there is no life outside nationalism. The only question is: what kind of nation and nationalism? In all nations, the dominant groups shape the idea of the nation to their advantage, an idea that is contested by other groups. Here is a piece of the latter lineage, The Protests in Delhi and the Nationalist Paradigm, by Jenny Rowena, a faculty member at Miranda House, Delhi. Food for thought. Most mainstream understanding of Indian nationalism think of it as a postcolonial phenomenon, where in a suppressed colony asserted itself against an oppressive empire. In spite of...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Culture" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="History" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Justice" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Politics" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>For citizens of modern nations, there is no life outside nationalism. The only question is: what kind of nation and nationalism? In all nations, the dominant groups shape the idea of the nation to their advantage, an idea that is contested by other groups. Here is a piece of the latter lineage, <a href="http://www.dalitweb.org/?p=1510" target="_self">The Protests in Delhi and the Nationalist Paradigm</a>, by Jenny Rowena, a faculty member at Miranda House, Delhi. Food for thought.</p>
<p style="padding-left: 30px;"><span style="color: #00007f;">
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee702745c970d-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="Jenny_rowena" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee702745c970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee702745c970d-250wi" style="width: 226px; margin: 0px 0px 5px 5px;" title="Jenny_rowena" /></a>Most mainstream understanding of Indian nationalism think of it as a postcolonial phenomenon, where in a suppressed colony asserted itself against an oppressive empire. In spite of this, they argue, nationalism was often accessible only to the upper castes. So it excluded the lower castes and minorities, who fell outside its ambit and thereby of Indian modernity itself.</span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">However, one sees a different way of thinking about nationalism in the writings and speeches of many dalit and bahujan leaders like Phule, Periyar and Ambedkar; later theorists like G Aloysius, Braj Ranjan Mani;and writers like K KKochu and J Raghu in Kerala. All of them seem to think of nationalism as a strategic organizing principle of the upper castes, which allowed them to successfully consolidate themselves against the onslaught of the anti-caste identities of various lower caste and dalit groups in India. With it, the brahminical upper castes, who had made use of colonialism to consolidate their cultural power, came forward to demand a transfer of power towards their own benefit.</span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">In other words, it was not that the brahminical class had better access to nationalism and modern categories, which resulted in the exclusion of all “others.” Instead the argument that can be built from the available pool of dalitbahujan thinking is this: the brahminical upper caste re-imagined themselves through national categories, put forward a nationalistic politics and countered the lower caste mobilizations that invoked particular caste categories and locations, with a more universal and all pervading nationalist identity. With this they took over the nation and its various dominant categories like secularism, merit, progress and modernity, and gained almost absolute control over its numerous institutions – from academics to administration to art and popular culture.</span></p></div>
</content>



    </entry>
    <entry>
        <title>Black Women, Rape, and Resistance</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/01/black-women-rape-and-resistance.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2013/01/black-women-rape-and-resistance.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017ee70098cd970d</id>
        <published>2013-01-06T04:00:00-08:00</published>
        <updated>2013-01-06T08:25:50-08:00</updated>
        <summary>In late 2011, Danielle L. McGuire published a book that revisits the history of a certain "rape culture" in the United States, At the Dark End of the Street: Black Women, Rape and Resistance—a New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power. The book recounts experiences of black women that have obvious parallels with the struggles of Dalit and Adivasi women in India today: "The author gives us the never-before-told history of how the civil rights movement began; how it was in part started in protest against the ritualistic rape of black...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Books &amp; Authors" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="History" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Justice" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Politics" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>In late 2011, Danielle L. McGuire published a book that revisits the history of a certain "rape culture" in the United States, <em><a href="http://atthedarkendofthestreet.com" target="_self">At the Dark End of the Street</a>: Black Women, Rape and Resistance—a New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power</em>. <a href="http://www.amazon.com/At-Dark-End-Street-Resistance/dp/0307389243" target="_self">The book</a> recounts experiences of black women that have obvious parallels with the <a href="http://www.dalitweb.org/?p=1269" target="_self">struggles</a> of Dalit and Adivasi women in India today: </p>
<p style="padding-left: 30px;">
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017d3f8c155b970c-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="Mcguire" class="asset  asset-image at-xid-6a00d8341dd33453ef017d3f8c155b970c" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017d3f8c155b970c-200wi" style="width: 200px; margin: 0px 0px 5px 5px;" title="Mcguire" /></a><span style="color: #00007f;">"The author gives us the never-before-told history of how the civil rights movement began; how it was in part started in protest against the ritualistic rape of black women by white men who used economic intimidation, sexual violence, and terror to derail the freedom movement; and how those forces persisted unpunished throughout the Jim Crow era when white men assaulted black women to enforce rules of racial and economic hierarchy. Black women’s protests against sexual assault and interracial rape fueled civil rights campaigns throughout the South that began during World War II and went through to the Black Power movement."</span></p>
<p>As this <a href="http://www.indyweek.com/indyweek/walking-in-black-womens-footsteps-two-important-new-histories-of-the-civil-rights-movement/Content?oid=1739410" target="_self">review</a> relates, "African-American women had been victimized for centuries by white sexual violence in the South, but fear of reprisal kept most crimes from being reported, let alone prosecuted." In her <a href="http://clcjbooks.rutgers.edu/books/dark_end_of_the_street.html" target="_self">review</a> of McGuire's book, Jennifer Jensen writes: </p>
<p style="padding-left: 30px;"><span style="color: #00007f;">McGuire argues that rapes of black women by white men were largely ignored by mainstream society due to an underlying racial and economic hierarchy. As a result, rape systematically subjugated the black race and also challenged black respectability. Black people—women especially—were under continuous public scrutiny. Consequently, when black women were raped, the unwarranted violent sex acts allowed society to blame the victim for the assault, which was attributed to deficiencies of their race. ... McGuire’s method contrasts media coverage against extant state or court documents. The result reveals how newspapers reported the rape cases, in what context the victim was portrayed, and any public outrage incited because of the inertia of law enforcement. The state and court documents illustrate the lack of legal recourse black communities had when women were raped and, more importantly, the legal barriers built into the system to subjugate black people through sexual racialization.</span></p>
<p>Read two more reviews of the book <a href="http://www.womenundersiegeproject.org/blog/entry/a-forgotten-battleground-womens-bodies-and-the-civil-rights-movement" target="_self">here</a> and <a href="http://thegrio.com/2010/10/15/still-no-justice-for-civil-rights-era-rape-victims/" target="_self">here</a>. The second of these two reviews mentions the story of Taylor, "one of 
many black women attacked by white men during an era in which sexual 
assault was used to informally enforce Jim Crow segregation." Decades 
later at age 90, in words that are nothing short of haunting, Taylor 
grapples with why she was gang-raped. “I was an honest person and living
 right,” Taylor said. “They shouldn’t have did that. I never give them 
no reason to do it.”</p></div>
</content>



    </entry>
    <entry>
        <title>Of Sacred and Paraded Bodies</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/of-sacred-and-paraded-bodies.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/of-sacred-and-paraded-bodies.html" thr:count="4" thr:updated="2013-01-01T22:56:28-08:00" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017c352bf810970b</id>
        <published>2012-12-31T08:00:00-08:00</published>
        <updated>2013-04-14T12:35:50-07:00</updated>
        <summary>On the recent Delhi gang-rape, here are two probing and insightful essays I've read. The first is by Madhuri Xalxo. An excerpt: I am a bit shaken by what outrages the mainstream media on rape. The incident is horrifying and yet so very familiar to us dalit, bahujan and adivasi women. In the same Delhi, hundreds of adivasi girls are taken as domestic slaves and get raped, and go missing. Why doesn't the mainstream media even consider that newsworthy? Why is there no uproar for the death penalty for these upper caste men from elite backgrounds raping us? Is it...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Culture" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Justice" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Politics" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>On the recent Delhi <a href="http://en.wikipedia.org/wiki/2012_Delhi_gang_rape_case" target="_self">gang-rape</a>, here are two probing and insightful essays I've read. <a href="http://roundtableindia.co.in/index.php?option=com_content&amp;view=article&amp;id=6120:delhi-protests-and-the-caste-hindu-paradigm-of-sacred-and-paraded-bodies&amp;catid=119:feature&amp;Itemid=132" target="_self">The first</a> is by Madhuri Xalxo. An excerpt:</p>
<p style="padding-left: 30px;">
<a class="asset-img-link" href="http://www.dalitweb.org/?p=1536" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;" target="_self"><img alt="Syama_5" class="asset  asset-image at-xid-6a00d8341dd33453ef017d3fa0b75e970c" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017d3fa0b75e970c-350wi" style="width: 350px; margin: 0px 0px 5px 5px;" title="Syama_5" /></a><span style="color: #00007f;">I am a bit shaken by what outrages the mainstream media on rape. The incident is horrifying and yet so very familiar to us dalit, bahujan and adivasi women. </span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">In the same Delhi, hundreds of adivasi girls are taken as domestic slaves and get raped, and go missing.  Why doesn't the mainstream media even consider that newsworthy?  Why is there no uproar for the death penalty for these upper caste men from elite backgrounds raping us? Is it because we are born to get justly raped by the others?</span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">The present protests and silences only endorse the caste hindu paradigm that the upper caste woman's body is sacred and its violation requires the highest retribution while the bodies of dalit, bahujan and adivasi women and women under military regimes such as Manipur and Kashmir are 'rape-worthy' and the men's sexual depravity on these women need no correctives.</span></p>
<p>The <a href="http://www.thehindu.com/opinion/op-ed/lets-ask-how-we-contribute-to-rape/article4235902.ece" target="_self">second essay</a> is by Urvashi Butalia<em />. An excerpt: </p>
<p style="padding-left: 30px;"><span style="color: #00007f;">Protest is important, it shakes the conscience of society, it brings people close to change, it makes them feel part of the change. And there is a good chance that the current wave of protests will lead to at least some results — perhaps even just fast track courts. But perspective is also important: we need to ask ourselves: if it had been the army in Manipur or Kashmir who had been the rapists, would we have protested in quite the same way? Very likely not, for there nationalism enters the picture. Remember Kunan Posphpora in the late nineties when the Rajasthan Rifles raped over 30 women? Even our liberal journalists found it difficult to credit that this could have happened, that the army could have been capable of this, and yet, the people of Kunan Poshpora know. Even today, women from this area find it difficult to marry — stigma has a long life. Would we have been as angry if the rape had taken place in a small town near Delhi and the victim had been Dalit? Remember Khairlanji? Why did that rape, of a mother and her daughter, gruesome, violent, heinous, and their subsequent murder not touch our consciences in quite the same way.</span></p>
<p style="color: #111111;"><span style="color: #00007f;"><span style="color: #111111;">Both excerpts raise the question </span></span>of<span style="color: #00007f;"><span style="color: #111111;"> selective media coverage and public outrage. One response might</span></span><span style="color: #00007f;"><span style="color: #111111;"> start by saying that all humans participate in overlapping moral communities, such as </span></span>whites, males, Brahmins, Americans, Muslims, heterosexuals, <span style="color: #00007f;"><span style="color: #111111;">urban professionals, </span></span>Arabs, <span style="color: #00007f;"><span style="color: #111111;">and so on. Membership rules and benefits vary but </span></span>those within our moral community evoke more of our empathy and are more real to us. (We also tend to identify with the pain of those "above us", who we envy and emulate.) <span style="color: #00007f;"><span style="color: #111111;">The recent <a href="http://en.wikipedia.org/wiki/Sandy_Hook_Elementary_School_shooting" target="_self">killing</a> of 20 children in Connecticut provoked massive outrage among folks who aren't much perturbed by American drones killing</span></span> <span style="color: #00007f;"><span style="color: #111111;">children in Pakistan. </span></span>Is there any doubt that <span style="color: #00007f;"><span style="color: #111111;">the intensity of the outrage owes much</span></span> <span style="color: #00007f;"><span style="color: #111111;">to the ability of every soccer mom and dad in America to relate to the tragedy? </span></span>Never mind the larger violence beyond their daily lives, to both human and non-human <a href="http://blog.shunya.net/shunyas_blog/2012/06/on-eating-animals.html" target="_self">animals</a>, that their privileges both require and blind them to (which may well be a wider human problem). </p>
<p style="color: #111111;"><span style="color: #00007f;"><span style="color: #111111;">The moral community of </span></span>urban upper-caste<span style="color: #00007f;"><span style="color: #111111;"> Indians (and, by extension, of the media institutions they control) is likewise circumscribed. It discounts the travails and the humanity of other Indians "beneath them". </span></span>Moral
 communities can of course expand and become more porous or inclusive — usually not without a fight — where greater moral consideration is accorded to outsiders, including even to animals.<span style="color: #00007f;"><span style="color: #111111;"> Affecting this change then, through various means (socialization, law enforcement, public debate, etc.), is the struggle ahead in India and elsewhere.</span> <br /></span></p></div>
</content>



    </entry>
    <entry>
        <title>State of the Species</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/state-of-the-species.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/state-of-the-species.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017d3f4a6a38970c</id>
        <published>2012-12-29T08:00:00-08:00</published>
        <updated>2012-12-30T08:44:40-08:00</updated>
        <summary>Charles C. Mann discusses how homo sapiens, from very humble beginnings devoid of language or symbol use, went from anatomically to behaviorally modern humans, becoming thereafter a highly successful species — so successful that it now risks wiping itself out, unless ... Homo sapiens emerged on the planet about 200,000 years ago, researchers believe. From the beginning, our species looked much as it does today. If some of those long-ago people walked by us on the street now, we would think they looked and acted somewhat oddly, but not that they weren’t people. But those anatomically modern humans were not,...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Anthropology &amp; Archaeology" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Environment" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Science" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>Charles C. <a href="http://en.wikipedia.org/wiki/Charles_C._Mann" target="_self">Mann</a> discusses how homo sapiens, from very humble beginnings devoid of language or symbol use, went from anatomically to behaviorally modern humans, becoming thereafter a highly successful species — so successful that it now risks wiping itself out, unless ...</p>
<p style="padding-left: 30px;"><span style="color: #00007f;">
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017c351b8c54970b-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="Bhimbetka07" class="asset  asset-image at-xid-6a00d8341dd33453ef017c351b8c54970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c351b8c54970b-320wi" style="width: 305px; margin: 0px 0px 5px 5px;" title="Bhimbetka07" /></a>Homo sapiens emerged on the planet about 200,000 years ago, researchers believe. From the beginning, our species looked much as it does today. If some of those long-ago people walked by us on the street now, we would think they looked and acted somewhat oddly, but not that they weren’t people. But those anatomically modern humans were not, as anthropologists say, behaviorally modern. Those first people had no language, no clothing, no art, no religion, nothing but the simplest, unspecialized tools. They were little more advanced, technologically speaking, than their predecessors—or, for that matter, modern chimpanzees. (The big exception was fire, but that was first controlled by Homo erectus, one of our ancestors, a million years ago or more.) Our species had so little capacity for innovation that archaeologists have found almost no evidence of cultural or social change during our first 100,000 years of existence. Equally important, for almost all that time these early humans were confined to a single, small area in the hot, dry savanna of East Africa (and possibly a second, still smaller area in southern Africa). </span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">But now jump forward 50,000 years. East Africa looks much the same. So do the humans in it—but suddenly they are drawing and carving images, weaving ropes and baskets, shaping and wielding specialized tools, burying the dead in formal ceremonies, and perhaps worshipping supernatural beings. They are wearing clothes—lice-filled clothes, to be sure, but clothes nonetheless. Momentously, they are using language. And they are dramatically increasing their range. Homo sapiens is exploding across the planet. </span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">What caused this remarkable change?</span></p>
<p>More <a href="http://www.orionmagazine.org/index.php/articles/article/7146/" target="_self">here</a>. </p></div>
</content>



    </entry>
    <entry>
        <title>Queues, Quacks, and Chaos</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/queues-quacks-and-chaos.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/queues-quacks-and-chaos.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017d3f4346ed970c</id>
        <published>2012-12-28T08:00:00-08:00</published>
        <updated>2012-12-28T08:00:00-08:00</updated>
        <summary>Over half of Indians do not have access to any professional healthcare. For those who fall ill, where else in the world is money, in particular, as well as place of residence, such decisive factors between living and dying? How much of this gap—in one estimate, the richest 20% outlive the poorest 20% by over 15 years—can be bridged by a functional public health system? And why isn’t this aspiring superpower building one? In India, questions like these are a dime a dozen. The following video provides a quick overview of the state of Indian healthcare.</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Economics" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Justice" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Video" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>Over half of Indians do not have access to any professional healthcare. For those who fall ill, where else in the world is money, in particular, as well as place of residence, such decisive factors between living and dying? How much of this gap—in one estimate, the richest 20% outlive the poorest 20% by over 15 years—can be bridged by a functional public health system? And why isn’t this aspiring superpower building one? In India, questions like these are a dime a dozen. The following video provides a quick overview of the state of Indian healthcare. </p>
<iframe frameborder="0" height="369" src="http://player.vimeo.com/video/38666075" width="500" />
<p><a href="http://vimeo.com/38666075" /></p></div>
</content>



    </entry>
    <entry>
        <title>David Harvey on Capitalism</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/david-harvey-on-capitalism.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/david-harvey-on-capitalism.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017c34e57102970b</id>
        <published>2012-12-22T11:09:29-08:00</published>
        <updated>2012-12-22T11:14:49-08:00</updated>
        <summary>David Harvey, social theorist, Marxian scholar, proponent of zero growth in advanced economies, and author of The Enigma of Capital, offers an uncommon perspective on how capitalism has worked out in recent decades, its many crises and modes of resolution. After stating that it is "easier to imagine the end of the world than it is to imagine the end of capitalism", he nevertheless looks at why it is so hard not only to imagine an alternative to capitalism, but even to the kind of capitalism we have today. At the very least, there is food for thought here.</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Economics" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Environment" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Justice" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Politics" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Video" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>David <a href="http://en.wikipedia.org/wiki/David_Harvey_(geographer)" target="_self">Harvey</a>, social theorist, <a href="http://davidharvey.org" target="_self">Marxian</a> scholar, proponent of <a href="http://blog.shunya.net/shunyas_blog/2012/10/capitalism-without-growth.html" target="_self">zero growth</a> in advanced economies, and author of <a href="http://www.amazon.com/Enigma-Capital-Crises-Capitalism/dp/0199836841" target="_self">The Enigma of Capital</a>, offers an uncommon <a href="http://www.youtube.com/watch?v=EYzKsiev43Q" target="_self">perspective</a> on how capitalism has worked out in recent decades, its many crises and modes of resolution. After stating that it is "easier to imagine the end of the world than it is to imagine the end of capitalism", he nevertheless looks at why it is so hard not only to imagine an alternative to capitalism, but even to the <em>kind of capitalism</em> we have today. At the very least, there is food for thought here. </p>
<iframe frameborder="0" height="315" src="http://www.youtube.com/embed/EYzKsiev43Q" width="420" /></div>
</content>



    </entry>
    <entry>
        <title>The Woes of a Drone Operator</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/the-woes-of-a-drone-operator.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/the-woes-of-a-drone-operator.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017d3ef73b40970c</id>
        <published>2012-12-20T00:00:00-08:00</published>
        <updated>2012-12-21T12:09:43-08:00</updated>
        <summary>A peek into the world of drone operators, including one who couldn't continue being one. A soldier sets out to graduate at the top of his class. He succeeds, and he becomes a drone pilot working with a special unit of the United States Air Force in New Mexico. He kills dozens of people. But then, one day, he realizes that he can't do it anymore. The container is filled with the humming of computers. It's the brain of a drone, known as a cockpit in Air Force parlance. But the pilots in the container aren't flying through the air....</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Economics" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Politics" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>A peek into the world of drone operators, including one who couldn't continue being one. </p>
<p style="padding-left: 30px;"><span style="color: #00007f;">
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017c34c4988b970b-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="DroneOperators" class="asset  asset-image at-xid-6a00d8341dd33453ef017c34c4988b970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c34c4988b970b-400wi" style="width: 375px; margin: 0px 0px 5px 5px;" title="DroneOperators" /></a><em>A soldier sets out to graduate at the top of his class. He succeeds, and he becomes a drone pilot working with a special unit of the United States Air Force in New Mexico. He kills dozens of people. But then, one day, he realizes that he can't do it anymore. </em></span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">The container is filled with the humming of computers. It's the brain of a drone, known as a cockpit in Air Force parlance. But the pilots in the container aren't flying through the air. They're just sitting at the controls.</span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">Bryant was one of them, and he remembers one incident very clearly when a Predator drone was circling in a figure-eight pattern in the sky above Afghanistan, more than 10,000 kilometers (6,250 miles) away. There was a flat-roofed house made of mud, with a shed used to hold goats in the crosshairs, as Bryant recalls. When he received the order to fire, he pressed a button with his left hand and marked the roof with a laser. The pilot sitting next to him pressed the trigger on a joystick, causing the drone to launch a Hellfire missile. There were 16 seconds left until impact ... Suddenly a child walked around the corner, he says.</span></p>
<p>More <strong><a href="http://www.spiegel.de/international/world/pain-continues-after-war-for-american-drone-pilot-a-872726.html" target="_self">here</a></strong>.  Nearly four years ago, I commented on a <a href="http://blog.shunya.net/shunyas_blog/2009/02/wired-for-war.html" target="_self">related post</a>
 that "this robotics led war has the potential for significantly 
altering the debate: the costs of war are dramatically different to one 
side (fewer dead soldiers and injured veterans, for instance), which 
will tend to lower political resistance to war. It can be mobilized 
stealthily and conducted below the media radar, so to speak. Also 
radically different will be the experience of war (fought by remote 
control from suburban offices), redefining things like heroism and 
courage in combat, or loss and suffering. Welcome to a brave new world 
for war".</p></div>
</content>



    </entry>
    <entry>
        <title>We Call This Progress</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/we-call-this-progress.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/we-call-this-progress.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017c34c2445a970b</id>
        <published>2012-12-19T00:00:00-08:00</published>
        <updated>2012-12-18T18:25:14-08:00</updated>
        <summary>Arundhati Roy on the recent arc of economic development in India. I think her voice is important for lending support to certain radical and moral ideas in public life, esp. since so few public intellectuals in India do so with any force or clarity. I say this even though I don't share her romantic disenchantment with modernity and globalization, at least not most of the time, and find some of her analysis too simplistic. I don’t know how far back in history to begin, so I’ll lay the milestone down in the recent past. I’ll start in the early 1990s,...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Economics" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Environment" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Justice" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Politics" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p><a href="http://www.guernicamag.com/features/we-call-this-progress/" target="_self">Arundhati Roy</a> on the recent arc of economic development in India. I think her voice is important for lending support to certain radical and moral ideas in public life, esp. since so few public intellectuals in India do so with any force or clarity. I say this even though I don't share her romantic disenchantment with modernity and globalization<em>,</em> at least not most of the time, and find some of her analysis too simplistic.</p>
<p style="padding-left: 30px;"><span style="color: #00007f;">
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017d3ee9ed45970c-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="Roy" class="asset  asset-image at-xid-6a00d8341dd33453ef017d3ee9ed45970c" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017d3ee9ed45970c-200wi" style="width: 200px; margin: 0px 0px 5px 5px;" title="Roy" /></a>I don’t know how far back in history to begin, so I’ll lay the milestone down in the recent past. I’ll start in the early 1990s, not long after capitalism won its war against Soviet Communism in the bleak mountains of Afghanistan. The Indian government, which was for many years one of the leaders of the nonaligned movement, suddenly became a completely aligned country and began to call itself the natural ally of the U.S. and Israel. It opened up its protected markets to global capital. Most people have been speaking about environmental battles, but in the real world it’s quite hard to separate environmental battles from everything else: the war on terror, for example; the depleted uranium; the missiles; the fact that it was the military-industrial complex that actually pulled the U.S. out of the Great Depression, and since then the economies of places like America, many countries in Europe, and certainly Israel, have had stakes in the manufacture of weapons. What good are weapons if they aren’t going to be used in wars? Weapons are absolutely essential; it’s not just for oil or natural resources, but for the military-industrial complex itself to keep going that we need weapons.</span></p></div>
</content>



    </entry>
    <entry>
        <title>Sex &amp; Style in Murakami's 1Q84, A Review — Part 2</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/sex-style-in-murakamis-1q84-a-review-part-2.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/sex-style-in-murakamis-1q84-a-review-part-2.html" thr:count="4" thr:updated="2012-12-21T13:01:47-08:00" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017ee655292e970d</id>
        <published>2012-12-17T00:01:00-08:00</published>
        <updated>2012-12-17T23:58:49-08:00</updated>
        <summary>By R Alexander This is part 2 of 2 of a review of Haruki Murakami's novel 1Q84. You can link to the first part here. Structurally, non-realist narratives are no different from more standard “realistic” fictions. They create a narrative tension, often involving some sort of conflict, and then they resolve that tension in some way. What I’m addressing here is narrative structure, and what I’ve posited sounds simplistic, I suppose. Even if a story is non-realistic (as in, say, magical realism, surrealist fiction, slip stream stories, science fiction or fantasy, fabulist pieces, and whatever else), there is some sort...</summary>
        <author>
            <name>R Alexander</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Books &amp; Authors" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Culture" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Fiction &amp; Poetry" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Philosophy" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p><strong><em>By <a href="http://blog.shunya.net/shunyas_blog/r-alexander.html" target="_self">R Alexander</a></em></strong></p>
<p>This is part 2 of 2 of a review of Haruki Murakami's novel 1Q84. You can link to the first part <a href="http://blog.shunya.net/shunyas_blog/2012/12/style-plot-in-murakamis-1q84-a-review-part-1.html">here</a>.</p>
<p>
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017c34b17cfb970b-pi" style="float: right;"><img alt="Tumblr_lxjr5ggoEB1qhnce6o1_500" class="asset  asset-image at-xid-6a00d8341dd33453ef017c34b17cfb970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c34b17cfb970b-320wi" style="margin: 0px 0px 5px 5px;" title="Tumblr_lxjr5ggoEB1qhnce6o1_500" /></a>Structurally, non-realist narratives are no different from more standard “realistic” fictions. They create a narrative tension, often involving some sort of conflict, and then they resolve that tension in some way. What I’m addressing here is narrative structure, and what I’ve posited sounds simplistic, I suppose. Even if a story is non-realistic (as in, say, magical realism, surrealist fiction, slip stream stories, science fiction or fantasy, fabulist pieces, and whatever else), there is some sort of hook or some way that the reader can relate to what’s going on, and there is narrative tension built on conflict. In addition to this, stories provide a sense of closure, at or near their end. Non-realist stories tend to play with the conventions of these two aspects of story and to make that play an explicit part of the narrative. Kafka, for instance, tells the story of a person who turns into a bug. That story takes as its starting place an event that is impossible and also horrific. We can become involved in this story though, not because we are interested in entomology, but because we recognize something human in the situation. Sympathetic readers of the story will recognize that it is about, among other things, alienation, about the creaturely nature of our nature, and about family. So the story involves us in a very straightforward way. And the story has a very straightforward sense of closure at the end. The story ends with Gregor Samsa’s death and with changes that occur among the family because of it.</p>
<p>	Writers of whatever stripe engage their readers in diverse ways. Gabriel Garcia Marquez' works, the sine qua non of "magic realism," plunge into family, history, and culture, into the relations of people among themselves and their struggle to achieve relationships or the way those familial, historical, and cultural relationships become entangled and complicated and fulfilled or frustrated. The dream-like fleetingness of Garcia Marquez’ style is itself part of what he is saying about the nature of those relationships. Likewise Salman Rushdie’s picaresque style enacts part of the argument he is making about the accidental sometimes indecent or inhumane shape human lives can be twisted into by historical and/or cultural forces. Samuel Beckett's pieces are musings on language, memory, and identity, and his works are like the mind at play. Borges is the master, invoking mirrors and libraries and labyrinths, and thereby taking up notions of perception, of quantum realities and the forking nature of time and causality, and of notions of historicity and knowledge. 
</p>

<p>	Similarly, sometimes these sorts of non-realist fictions tend to play with the conventions of closure. A non-exhaustive survey of how non-realist fictions end might include the following. There are the standard sorts of endings, as in Kafka’s Metamorphosis, as mentioned above. There are riddle stories, which end in either a solution or the explicit lack of a single Occam-like solution. There are stories that veer off into the weird, which feel acceptable and even satisfying. These tend to work better in short pieces, short stories or novellas. There are stories — and here Borges is again the master — that explore notions of alternity, forking paths, or absurdity itself, and these have a sort of resolution, the pondering of new concepts, new ways of looking at reality. These are only a few methods.</p>
<p>	Haruki Murakami's fiction is not overly concerned with closure, it would sometimes seem. His shorter pieces preserve a kind of possibility for closure, but the longer he makes a piece, the less a sense of closure seems possible. In 1Q84 in particular, coherency starts to sag, and this can feel frustrating. Or rather the feeling of endlessness or of the labyrinthine creeps in. Or perhaps labyrinthine gives a wrong sense. It’s more that Murakami’s indulges his inventiveness, and the weave of the story loosens and the narrative thread threatens to get lost.</p>
<p>	Murakami's language, his prose style, is interesting and perhaps revealing in this regard. The writing is simple. Some would accuse it of being simplistic and even repetitive. I see it, rather as being unobtrusive. There is a naïveté to it.</p>
<p>	As mentioned in part 1 of this review, Murakami is well known in Japan as Raymond Carver's translator. And two of Murakami's  favorite writers appears to be Anton Chekhov and F Scott Fitzgerald, and these writers must have rubbed off on him. The Carver influence is clear. The use of language is, itself, taken up explicitly, in the work. Not only does Murakami point to Chekhov but he is also clearly influenced by Kafka, whose mood of frustrated impulses or thwarted expectations touches his writing.</p>
<p>	This is, I think, a key passage in 1Q84.</p>
<p style="padding-left: 30px;">During his revision, Tengo had created most of the external features of an Air Chrysalis and added them to his descriptions, including the gracefully narrowed waist in the middle and the swelling, round, decorative protuberance at either end. These came entirely from Tengo’s mind. There had been no mention of them in Fuka-Eri’s original narrative. To Fuka-Eri, an Air Chrysalis was simply that — an Air Chrysalis, something midway between an object and a concept — and she seemed to feel little need to describe its appearance in words. Tengo had to invent all the details himself, and the Air Chrysalis that he was not seeing had these same details exactly:  the waist in the middle and the lovely protuberances at either end. [Chapter 24, p 1340.]</p>
<p>Here we see some of all of it:  the clear language, the sexual undertone, the way it builds to an off-kilter mood and sense of confusion. In Murakami the confusion or the blurring comes at the edges of meaning. Again the relationship of physicality to concept occurs in an exchange late in the book:</p>
<p style="padding-left: 30px;">The man shook his head. “What you saw was the outward manifestation of a concept, not an actual substance.”  [Chapter 14, p 1065.]</p>
<p>This is how the writing is, throughout. Murakami’s style tends towards the “realistic” in the sense that there are detailed descriptions of objects and actions, but there is often a sense that these descriptions of objects and actions are the “outward manifestation of a concept, not an actual substance.”  The plot, the happenings of the novel, reside somewhere between the real and the imaginary, somewhere between the important and the ephemeral, “something midway between an object and a concept.”  This is, in fact, the feeling of the whole novel. In a sense it’s unreal, rather than unrealistic, because there is, as I mentioned, a kind of hyperrealistic style in the attention Murakami pays to physical description.</p>
<p>	And yet there is a kind of tension within the plot itself, a tension between his realist prose style and the non-realist setting. Murakami gets considerable mileage out of the conceit of “Chekhov’s gun,” for instance, as mentioned in part 1 of this review. What I mean is that, though the characters are conscious of Chekhov's cause and effect dictum in fiction and are therefore able, they think, to not be bound by it, to circumvent it, he nonetheless finds that Chekhov's narrative dictum propels the action of the book and heightens the narrative tension. Expectation and fulfillment, tension and release, these are the pegs on which a plot must hang, and Murakami's challenge is to invoke them, to set up an expectation and then fulfill it, and yet to keep twisting the kaleidoscope ring.</p>
<p>	The plot of 1Q84 revolves much around sex or rather around sexual acts. Or rather sexual acts figure prominently in the plot and even move the plot along. But the sexuality of the novel is troubling. Promiscuity is a characteristic of one of the main characters. Aomame, one of the novel's two protagonists, engages in reckless but controlled behavior, picking up strangers in bars, which contrasts with the sexual crimes of the cult. One of Aomame’s friends, a police woman, dies because of her promiscuity. Rape is also a major plot element. Where, in The Wind-up Bird Chronicle, history and genocide hang behind the plot as major elements, here the backdrop is  sexuality, sex, and paedophilia.</p>
<p>	Sex has long been a recurring motif in Murakami’s fiction. His characters often represent a bimodal distribution, when it comes to their sex lives. His books often give us a sexually passive male protagonist who is confronted by or must deal with two contrasting female friends. One of these is a somewhat asexual or unavailable friend, someone the protagonist cares deeply about but who is for some reason sexually unavailable to him. She is often young or younger and/or traumatized in some way, often by a loss.  Often this character is someone else's girlfriend. The other character is more sexual, but is perhaps carefree and/or promiscuous or somehow not as deep a friend as the other female character, the less sexually available one.</p>
<p>	In 1Q84 Murakami does twist the kaleidoscopic ring just a bit with this set of characteristics but the basics remain the same. Aomame turns out to be Tengo's true love, but he hasn't seen her since the fifth grade. She is promiscuous and also, oddly, rigid in her sexual behavior, rigid, actually, in her promiscuity. Fuka-Eri is the younger character, the unavailable one; here she is a seventeen year old girl who is exceedingly sexually attractive but is also emotionally vacant. Tengo and Fuka-Eri become friends and allies but are not meant to be lovers, though they do have sex once in the book. Or rather they have "ambiguous congress."</p>
<p>	This scene, the sex scene between Tengo and Fuka-Eri, is paradoxically not convincing, and this inauthenticity is where the book shows its fundamental structural flaw. This sex scene is clumsy and unrealistic, unrealistic because of its odd emotional mood. The problem is not just the element of paedophilia here — she is seventeen and he is thirty — but also that it is just so awkwardly, embarrassingly done. It is a set piece and comes across as an indulgent sexual fantasy:  the nubile girl who somehow, magically gives herself to the unwilling or anyway circumspect (but attracted) older man.</p>
<p>	Murakami is not unaware of the paedophilic aspect of the coupling. Tengo articulates the inappropriateness even as the act is unfolding. “The very fact of our embracing each other in bed like this is far from appropriate, no matter how you look at it.”  But still the lawyerly emotional distance — “far from appropriate, no matter how you look at it” — is odd, especially for this narrator, so it’s as if Murakami places the set piece there, in spite of his own characters’ better judgments. It’s unreal even to them, outside the bounds of what may happen in a fiction like this.</p>
<p>	The book tries to mitigate the discomfort here by portraying Fuka-Eri’s sexual behavior as detached from her physicality, “disembodied” in the almost academically philosophical sense, corresponding in a sense to the way her breasts were described earlier. The novel describes Fuka-Eri as having a passive or “husked” way of being, as a complex result of having been a cult member. The book takes pains to mention that its not brain-washing and it’s not “PTSD.”  It’s something much more specific to the plot of the novel, having to do with her self having been split into symbolic halves.</p>
<p>	In any case, the entire plot revolves around acts of physical and sexual violence perpetrated against young women. Various versions of sexuality are enacted without comment throughout the story:  the promiscuous female protagonist, the female sidekick who ends up murdered because of her promiscuity, several female victims of domestic violence, the noble and celibate very masculine and ultimately murderous homosexual body-guard, the older married woman having an emotionally detached affair with a young single man, the cuckolded husband simmering in his rage years after his wife has left him, and several pre-pubescent hand-maidens who must sexually engage with the charismatic religious cult leader. The main characters are all involved in one or more of these sets of couplings, and Murakami deliberately places them in opposition for the sake of contrast, but he never emphasizes one over the other. The effect is that of a sort of non-hierarchical tableau or shifting triptych. The language used to describe the sexual aspects of the plot, it’s precise and matter-of-fact prose style, the “realism” or objectivity — all this creates a kind of  emotional vacancy that permeates not just the sex in the book but all aspects of the book. Murakami's challenge, the novelistic transaction, is to invent, to set up an expectation and then fulfill it, but he invents and inverts so nonchalantly that the set pieces don’t cohere in a way that the reader feels anything convincing, because the characters themselves fail to feel anything convincing. The plot tension fails to be clear and then fails to resolve, because the reader becomes as detached from the characters and events as the characters themselves do.</p>
<p>	I haven't read all of Murakami's fiction, but among the pieces I have read what I enjoyed most, besides his short stories, was The Wind-up Bird Chronicle. The Wind-up Bird Chronicle is a long book in which he manages his project more entertainingly. That book takes up a wide range of questions, from the individual's sense of purpose to a nation's responsibility and/or culpability in historical crimes against another nation and the relationship of the individual to this wider national identity. 1Q84 has been called Murakami's magnum opus, and it's clear that he's stretching himself in this piece. The book is capacious, and Murakami is  well-informed, displaying wide-ranging interests and tastes, much of it from Western culture. </p>
<p>	Murakami's books owe something to the noirish. The shadows of Dostoevsky and Raymond Chandler fall across the entire work as well. Magic Noir is a better term to describe his writing, perhaps, than Magic Realism. This, I think, is what Murakami is up to, and he achieves it more effectively in his shorter or mid-length pieces than his longer ones. </p></div>
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    </entry>
    <entry>
        <title>Curator of a Hollowed Conscience</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/curator-of-a-hollowed-conscience.html" />
        <link rel="replies" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/curator-of-a-hollowed-conscience.html" thr:count="2" thr:updated="2012-12-17T20:34:55-08:00" />
        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017c34909f95970b</id>
        <published>2012-12-13T00:00:00-08:00</published>
        <updated>2012-12-13T00:00:00-08:00</updated>
        <summary>Pakistani historian Ayesha Jalal on the great short story writer, Saadat Hasan Manto, whose birth centenary was celebrated this year. Saadat Hasan Manto ... once remarked that any attempt to fathom the murderous hatred that erupted with such devastating effect at the time of the British retreat from the subcontinent had to begin with an exploration of human nature itself. For the master of the Urdu short story this was not a value judgment. It was a statement of what he had come to believe after keen observation and extended introspection. Shaken by the repercussions of the decision to break...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Books &amp; Authors" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Fiction &amp; Poetry" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="History" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Politics" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Religion" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>Pakistani historian Ayesha Jalal on the great short story writer, Saadat Hasan Manto, whose birth centenary was celebrated this year.</p>
<p style="padding-left: 30px;"><span style="color: #00007f;">
<a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017d3ebf9ca8970c-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="Manto" class="asset  asset-image at-xid-6a00d8341dd33453ef017d3ebf9ca8970c" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017d3ebf9ca8970c-150wi" style="width: 150px; margin: 0px 0px 5px 5px;" title="Manto" /></a>Saadat Hasan Manto ... once remarked that any attempt to fathom the murderous hatred that erupted with such devastating effect at the time of the British retreat from the subcontinent had to begin with an exploration of human nature itself.</span></p>
<p style="padding-left: 30px;"><span style="color: #00007f;">For the master of the Urdu short story this was not a value judgment. It was a statement of what he had come to believe after keen observation and extended introspection. Shaken by the repercussions of the decision to break up the unity of the subcontinent, Manto wondered if people who only recently were friends, neighbours and compatriots had lost all sense of their humanity. He too was a human being, ‘the same human being who raped mankind, who indulged in killing' and had ‘all those weaknesses and qualities that other human beings have.' Yet human depravity, however pervasive and deplorable, could not kill all sense of humanity. With faith in that kind of humanity, Manto wrote riveting short stories about the human tragedy of 1947 that are internationally acknowledged for representing the plight of displaced and terrorised humanity with exemplary impartiality and empathy.</span></p>
<p>More <a href="http://www.thehindu.com/opinion/lead/article3405302.ece?homepage=true" target="_self">here</a>. </p></div>
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    </entry>
    <entry>
        <title>Style &amp; Plot in Murakami's 1Q84, A Review — Part 1</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/style-plot-in-murakamis-1q84-a-review-part-1.html" />
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        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017d3ea4d77e970c</id>
        <published>2012-12-10T00:01:00-08:00</published>
        <updated>2012-12-10T13:40:30-08:00</updated>
        <summary>By R Alexander Haruki Murakami writes short stories and big novels where weird things take on strange importance: a disappearing cat leads to a detective type adventure, ears are erotic, jazz and classical music beckons and have magically transformative properties, abandoned wells harbor mysteries. Metaphysics as meaning seems to loom over his work. With each book he writes and as the books get longer, greater and greater claims are made concerning their importance. His latest work, 1Q84, is being called his magnum opus, and a great work of world literature. The book is so long, in fact, that Random House...</summary>
        <author>
            <name>R Alexander</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Books &amp; Authors" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Culture" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Fiction &amp; Poetry" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Religion" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p><strong><em>By <a href="http://blog.shunya.net/shunyas_blog/r-alexander.html" target="_self">R Alexander</a></em></strong></p>
<p><a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee6196857970d-pi" style="float: right;"><img alt="159174883" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee6196857970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee6196857970d-500wi" style="margin: 0px 0px 5px 5px;" title="159174883" /></a>Haruki Murakami writes short stories and big novels where weird things take on strange importance:  a disappearing cat leads to a detective type adventure, ears are erotic, jazz and classical music beckons and have magically transformative properties, abandoned wells harbor mysteries. Metaphysics as meaning seems to loom over his work. With each book he writes and as the books get longer, greater and greater claims are made concerning their importance. His latest work, <a href="http://www.youtube.com/watch?v=ICjVqeKw10g"><em>1Q84</em></a>, is being called his magnum opus, and a great work of world literature. The book is so long, in fact, that <a href="http://www.randomhouse.com/features/murakami/site.php?id=">Random House</a> hired two translators, <a href="http://rijs.fas.harvard.edu/people/faculty/j_rubin.php">Jay Rubin</a> and <a href="http://eas.arizona.edu/people/gabriel.html">Philip Gabriel</a>, to work on it simultaneously so they could get it to press in a reasonable time. </p>
<p><em>1Q84</em> mainly concerns two people living in Tokyo in 1984 who, early in the novel, find themselves in a parallel or alternate universe. The novel’s title refers to one of the character's name for the alternate universe.  The “Q,” in <em>1Q84</em>, stands for "question,” and there is apparently a sonic play on “Q” and “9” in the original Japanese, similar, I suppose to the orthographic play on or resemblance between the figures for “q” and “9” in English. </p>
<p>Aside from this little play on “Q” and “9” in the title, however, Murakami’s prose style remains straightforwardly realistic. No GV Desani-style linguistic or cultural tom-foolery here. Murakami is well known for being the Japanese translator of Raymond Carver and F Scott Fitzgerald, and these influences, Carver’s in particular, are not hidden. In<em>1Q84,</em> Murakami does not depart from his characteristic style and themes. </p>
<p><em>1Q84</em>’s two protagonists are Tengo Kawana and Aomame. Tengo, a math teacher and would-be fiction writer, crosses paths with the assassin Aomame, during an investigation into a religious cult. The story’s action takes off when Tengo collaborates with a former cult member, a character called Fuka-Eri, in writing a novella that exposes the cult’s sexual rituals which involve paedophilia. The name of the novella is <em>Air Chrysalis</em>, and much of <em>1Q84</em> involves the collaborative writing of <em>Air Chrysalis</em> and the cult’s subsequent hunt for Tengo and Fuka-Eri and later also the hunt  for Aomame, who assassinates the cult leader and goes into hiding separately. But this hardly gives the real sense of the work. While the plot generally follows the outline of a straightforward thriller, Murakami’s baroque inventiveness twists the story into the bizarre. It is not simply that the book is set in a world that has two moons in the sky, where Japan has become a kind of police state, and where other “mirror universe” trappings appear, but there are the weird things that happen. The religious cult, for example, is based around a charismatic leader and his connection to “The Little People,” a troop of vaguely menacing Leprechaun-like entities who emerge, the first time we see them, from a dead dog’s mouth and who manipulate people and events. </p>

<p>Murakami’s work has been called “surrealist” as well of course as “Kafkaesque” — one of his books is entitled, after all, <em>Kafka on the Shore </em>— and has, naturally, been blessed with the once fashionable term “magic realism.”  The interesting thing, of course, is the way Murakami modulates between the realistic, Carver inflected, style and the non-realistic, Kafkaesque, mood and plot of the book. The standard Murakami descriptions of railway platforms, mountains, weather, cars, trains, hospitals, the way people look, and cooking — Murakami is a great one for describing the preparation and consumption of food — and other such “realistic” minutiae of every day life fill the book. Some of this writing manages the modulation brilliantly, as for example in the book’s inset story-within-a-story of the “Town of Cats,” a piece that appeared as a short story in the New Yorker. In general, however, the modulation between the realist and non-realist styles becomes problematic. The abundance of sex and violence in the novel, for instance, is described in such straightforward, even clinical, terms that it becomes oddly non-sensual, non-erotic, even vacuous. Here the novel’s hero, Tengo, describes his hand and then Fuka-Eri’s breasts. </p>
<p style="padding-left: 30px;"><em>This was the hand that Fuka-Eri had been holding. It still retained her touch. He thought about her chest, its beautiful curves. The shape was so perfect it had almost no sexual meaning. </em>[Chapter 16, p 492.]</p>
<p>In Tengo’s description, his hand and Fuka-Eri's breasts appear disembodied, and the authorial voice introduces the notion of the relationship of a physical object and an associated concept. This relationship or rather the lack of meaning in physical objects is a theme Murakami circles around throughout the book. </p>
<p>As thrillers go, this one takes the professorial route with divagations into all manner of references to Western culture. Janacek, <em>The Thomas Crown Affair</em>, and jazz music are all mentioned, for instance. Proust is commented on. Carl Jung gets an extended discussion. And Anton Chekhov’s writing becomes centrally important.</p>
<p>Chekhov is invoked in two separate contexts when the protagonists go into hiding. When Fuka-Eri, who has just escaped from the religious cult, shows up at Tengo’s apartment, she asks him to read her to sleep. He can’t find his copy of Orwell’s <em>1984</em> on his bookshelves, so instead he pulls down Chekhov’s non-fictional account of the harsh conditions on the penal colony of <em>Sakhalin Island. </em>After reading to Fuka-Eri, Tengo silently remarks on the book.</p>
<p style="padding-left: 30px;"><em>Mixed in with the dry records are some very impressive examples of observation of character and scenic description. Which is not to say there is anything wrong with the dry passages that relate only facts. Some of them are quite marvelous. </em>[p 603.]</p>
<p>One wonders, whether this reference is self-referential. Murakami is remarking on the beauty of realistic description, the attraction a writer and reader might have to this style. He is also remarking on how it can stand out, how it takes on it’s own status, though not by contributing meaning in the standard sense.</p>
<p>Reference to Chekhov appears again later. When the assassin Aomame is about to go into hiding, she seeks the assistance of her employer’s body-guard, Tamaru, a man accustomed to violence but scrupulous in his use of it. Tamaru it seems is an aficionado of Chekhov as well — and later, it turns out, also of Proust — and he cautions Aomame about accepting the gun she has requested for self protection. (It’s worth noting here that, though Aomame is an assassin, her modus operandi involves a kind of fatal acupuncture, if you will. She is unfamiliar with guns, because they are apparently carefully controlled in Japan, where even  the police normally go unarmed.)  Here, Tamaru invokes Chekhov’s famous dictum of the gun, his oft-quoted nostrum on story plotting.</p>
<p style="padding-left: 30px;"><em>According to Chekhov,” Tamaru said, rising from his chair, “once a gun appears in a story, it has to be fired.”</em></p>
<p style="padding-left: 30px;"><em>“Meaning what?”</em></p>
<p style="padding-left: 30px;"><em>Tamaru stood facing Aomame directly. He was only an inch or two taller than she was. “Meaning, don’t bring unnecessary props into a story. If a pistol appears, it has to be fired at some point. Chekhov liked to write stories that did away with all useless ornamentation.”</em></p>
<p style="padding-left: 30px;"><em>Aomame straightened the sleeves of her dress and slung her bag over her shoulder. “And that worries you — if a pistol comes on the scene, it’s sure to be fired at some point.”</em></p>
<p style="padding-left: 30px;"><em>“In Chekhov’s view, yes.”</em></p>
<p style="padding-left: 30px;"><em>“So you’re thinking you’d rather not hand me a pistol.”</em></p>
<p style="padding-left: 30px;"><em>“They’re dangerous. And illegal. And Chekhov is a writer you can trust.”</em></p>
<p style="padding-left: 30px;"><em>“But this is not a story. We’re talking about the real world.”</em></p>
<p style="padding-left: 30px;"><em>Tamaru narrowed his eyes and looked hard at Aomame. Then, slowly opening his mouth, he said, “Who knows?”</em></p>
<p>This is a brilliant piece of writing. The nature of reality — “we’re talking about the real world” — and its relationship to the non-realistic plot of the novel collide around Chekhov’s dictum. As it naturally turns out, as the plot approaches its climax, not only is Chekhov’s dictum repeated explicitly, it comes to haunt Aomame to the point that, later in the story, she ultimately feels compelled to fire this gun Tamaru has given her.</p>
<p>That Chekhov’s legacy is invoked in these separate but parallel scenes, scattered throughout the novel, shows where Murakami’s loyalty lies. Chekhov was also a physician and his style and his project were grounded in the real, the tangible, the empiric. Chekhov’s “impressive examples of observation of character and scenic description” are precisely the sorts of things Murakami does well, and he knows it.</p>
<p>Obviously, though, Murakami is consciously blending styles. “You don't think of life as being like a realistic novel, do you?" Borges is said to have once said. His argument and that of many non-realistic writers (magical realists, surrealists, slip stream writers, fabulists, and whatever else have you, etc) is that "naturalistic" or "realistic" fiction is as dependent on unrealistic circumstances as is non-realistic fiction. The happenings in the most realistic of novels often depend on such coincidences as people “accidentally” bumping into each other or letters going astray or catastrophic accidents and so on. Often realistic fiction depends on extraordinary events like inheritances or murders or political revolutions. For that matter, many of the most satisfying realistic fictions have remarkable transformations of character as a major turning point of their plots. And the examination and or fetishizing of purely constructed social relationships (marriages, family, religious hierarchy) or technologies or objects (manor houses, land, cars, guns) is apparent in realistic fiction as much as in non-realistic fiction and it’s alien philosophies and time travel machines. In non-realistic writing, these things are simply taken to the extreme, inverted, or colored in a way to either heighten or diminish their centrality and/or their weirdness. </p>
<p>Murakami’s novel makes self-conscious reference to not only its style — not only Chekhov but many other writers are invoked as well, including Proust, Dostoevsky, and Jung, as mentioned above — but with the writing process itself. Tengo and Fuka-Eri’s literary collaboration, the nature of that creative process, is explored at length in the early part of <em>1Q84</em>, the premise being that <em>Air Chrysalis</em> is naively written and must be re-written for publication. Tengo thinks of himself as as re-write man, his singular contribution is to improve Fuka-Eri’s style, though the way he puts it, the style is an afterthought, not something essential to the creative process. “I am merely a technician," says Tengo Kawana. This removes the issue of style from serious consideration. Or rather Tengo Kawana would have us believe this is so. Presumably the implied self-reference is ironic, and Murakami means to be up to something much more clever.</p>
<p> </p></div>
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    </entry>
    <entry>
        <title>Revisiting the Idea of India — Part 1</title>
        <link rel="alternate" type="text/html" href="http://blog.shunya.net/shunyas_blog/2012/12/revisiting-the-idea-of-india-part-1.html" />
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        <id>tag:typepad.com,2003:post-6a00d8341dd33453ef017d3e62c817970c</id>
        <published>2012-12-03T21:00:00-08:00</published>
        <updated>2013-05-01T19:45:23-07:00</updated>
        <summary>(Cross-posted on 3 Quarks Daily.) A two-part review of The Indian Ideology by Perry Anderson. Part 2 is here. The review appeared as "No Saints or Miracles" in the Himal Southasian print quarterly 'Are we sure about India?' (January 2013), and is reproduced with permission [this version is slightly modified]. ‘Nations without a past are contradictions in terms,’ wrote Marxist historian Eric Hobsbawm. Precursors to every modern nation are stories about its past and the present — stories full of invention, exclusion, and exaggeration — which help forge a ‘national consciousness’. Historians, wrote Hobsbawm, have ‘always been mixed up in...</summary>
        <author>
            <name>Namit Arora</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Biography" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Books &amp; Authors" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Culture" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="History" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Politics" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Religion" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://blog.shunya.net/shunyas_blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p style="text-align: left;"><em>(Cross-posted on <a href="http://www.3quarksdaily.com/3quarksdaily/2012/12/revisiting-the-idea-of-india-part-1.html" target="_self">3 Quarks Daily</a>.)</em><strong><br /></strong></p>
<p><em>A two-part review of <a href="http://www.threeessays.com/titles.php?id=54" target="_self">The Indian Ideology</a></em><em /><em> by Perry Anderson. Part 2 is <a href="http://blog.shunya.net/shunyas_blog/2013/04/revisiting-the-idea-of-india-part-2.html" target="_self">here</a>. </em><em>The review appeared as </em>"No Saints or Miracles"<em> in the <a href="http://www.himalmag.com" target="_self">Himal Southasian</a>
 print quarterly 'Are we sure about India?' (January 2013), and is 
reproduced with permission [this version is slightly modified].</em> </p>
<p><a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017c33f41dbf970b-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="Anderson" class="asset  asset-image at-xid-6a00d8341dd33453ef017c33f41dbf970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c33f41dbf970b-200wi" style="width: 200px; margin: 0px 0px 5px 5px;" title="Anderson" /></a>‘Nations without a past are contradictions in terms,’ wrote Marxist
historian Eric Hobsbawm. Precursors to every modern nation are stories about its past and the present — stories full of invention, exclusion, and exaggeration — which help forge a ‘national consciousness’. Historians, wrote Hobsbawm, have ‘always been mixed up in politics’ and are ‘an essential component of nationalism’. They participate in shaping a nation’s mythos and self-perception. In his vivid analogy, ‘Historians are to nationalism what poppy-growers in Pakistan are to heroin addicts: we supply the essential raw material for the market.’ The more nationalist a historian, he held, the weaker his bid to be taken seriously as a historian. </p>
<p>But not all historians are equally complicit. Some are deeply skeptical of the dominant national histories and claims of nationhood. ‘Getting its history wrong is part of being a nation,’ wrote the scholar Ernst Renan. The skeptical historian may see value in nationalism, but she always sees a pressing need to inspect and critique its claims, assumptions, omissions, myths, and heroes. Scrutiny may reveal that a ‘cherished tradition’ is neither cherished, nor a tradition; likewise for supposedly ancient origins and customs, traits and virtues, arts and culture, and other qualities of life and mind said to define the essence of a nation and its people. This
approach is especially common among Marxist historians (their analytical
orientation defines the genre, not their views on communism). The best of them know that
there is no ultimately objective history, but who yet seek to write history from
below and attempt to expose the actual conditions of social life, including the
divisions, conflicts and oppressions that plague any nation.</p>
<p>This, then, is the vantage point of Marxist historian Perry Anderson’s magnificent and lucid new work, <em>The Indian Ideology</em>. What does the title refer to? In his own words, it ‘is another way of 
describing what is more popularly known as "The Idea of India", which 
celebrates the democratic stability, multi-cultural unity, and impartial
 secularity of the Indian state as a national miracle.’ Anderson offers a critique of this idea. </p>
<p>Nationalism in India arose in the 19th century. A native elite, responding to British colonialism, began articulating a consciousness based on a new idea of India. Until then, despite civilizational continuities, the Subcontinent had no sense of itself as ‘India’, no national feeling based on a shared identity. Rival political units and ethnic groups abounded, divided by language, faith, caste, geography, history, and more. There was no historical awareness of the ancient empires of Mauryas or Guptas, or that the Buddha was Indian. This and much more of the Indian past would emerge via European scholarship, profoundly shaping ‘Hinduism’ and Hindu self-knowledge. Anderson surveys the rise of Indian nationalism and offers sharp vignettes of the minds and matters that drove Gandhi, Jinnah, Nehru, Bose, Ambedkar, Mountbatten and others. His analysis of the forces that led to Partition is astute and provocative. He assesses the performance of the independent nation-state and subjects Indian intellectuals to a withering critique for what he diagnoses as their comfort with ‘the Indian ideology’. Though not without shortcomings, Anderson has given us a masterwork of critical synthesis — trenchant, original, and bold — that should fuel discussion and debate for years ahead. <em> </em></p>

<p style="text-align: center;">§</p>
<p style="text-align: left;"><a class="asset-img-link" href="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee5b685f5970d-popup" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: right;"><img alt="Gandhi_1944" class="asset  asset-image at-xid-6a00d8341dd33453ef017ee5b685f5970d" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017ee5b685f5970d-250wi" style="width: 250px; margin: 0px 0px 5px 5px;" title="Gandhi_1944" /></a>A major site of early Indian nationalism was the
Indian National Congress, a political party that began with a group of secular-minded professionals — mostly children
of Macaulay’s English education system — hoping only for more representative colonial rule. Despite some success, it wasn’t until after Gandhi’s arrival from South Africa that Congress became a popular political force. What distinguished Gandhi from most leaders of nationalist movements, writes Anderson, were three political skills: </p>
<p style="text-align: left; padding-left: 30px;">‘He was a first-class organiser and fundraiser ... who rebuilt Congress from top to bottom ... [Secondly,] though temperamentally in many ways an autocrat, politically he did not care about power in itself, and was an excellent mediator between different figures and groups both within Congress and among its variegated social supports. Finally, though no great orator, he was an exceptionally quick and fluent communicator ... To these political gifts were added personal qualities of a ready warmth, impish wit and iron will. It is no surprise that so magnetic a force would attract such passionate admiration, at the time and since.’</p>
<p style="text-align: left;">However, Anderson writes, Gandhi’s success came at a huge cost, mostly due to his religiosity. To him ‘religion mattered more than politics’, more so
even than to Ayatollah Khomeini. Anderson presents a fresh portrait of Gandhi, including the peculiar grab-bag of Hindu beliefs, inflected with Christian ones, that he embraced. These would also inspire his odd ideas about sexuality and abstinence that have caused much head-scratching ever since. Would it were that his faith had played out only in the bedroom. Instead, it was part of a worldview that despised the social changes wrought by modernity — machines, railways, hospitals, and modern education — and defended all manner of atavisms. To ‘real intellectual exchange he was a stranger’ and ‘rarely disavowed directly anything significant he had once said or written’. Gandhi,
Anderson continues, had ‘limited knowledge of, or interest in, the outside world’, as evident in his extreme misreading of Hitler. Floods and earthquakes were punishments for human failings. Allergic to socialism, his political ideal was a nebulous <em>Ram Rajya</em>. </p>
<p style="text-align: left;">While Gandhi despised untouchability and even campaigned against it, he naively held that ‘the caste system is not based on inequality’, that discrimination could be removed by transforming minds while preserving castes, that the ‘hereditary principle is an eternal principle. To change it is to create disorder.’ Gandhi
believed that Hinduism had a built-in mechanism for social justice since misbehaving Brahmins would be demoted in the next life. Over time, faced by Ambedkar’s attacks, he would tone down his views. Anderson observes that Gandhi knew little about Islam and warned his son to never marry a Muslim for it was against dharma. He claimed to revere the cow, reflexively imagined India as a Hindu nation, and was really a ‘Hindu revivalist’. </p>
<p style="text-align: left;">The basic facts here are not new; what’s striking is Anderson’s choice 
of material and the narrative he weaves out of it. One tragic impact of 
Gandhi’s takeover of Congress, writes Anderson, was that he ‘injected a 
massive dose of religion — mythology, symbology, theology — into the 
national movement.’ Despite his sincere belief in the parity of all 
religions, Gandhi’s was inevitably a Hindu imaginarium. This increased the 
popular appeal of Congress to Hindus but also sowed the seeds of Muslim 
alienation in Congress, culminating eventually in Partition. Behind the 
rhetoric, only 3
percent of Congress members were Muslims in the 1930s, when a quarter of
 the
population was Muslim. Gandhi’s
beliefs inspired his ‘thoroughly regressive’ Khilafat campaign, opposed 
by secular-minded Muslims like Jinnah. </p>
<p style="text-align: left;">Gandhi’s Hindu sensibility also led him to sabotage the British agreement to a separate electorate for the Untouchables,
 championed by Ambedkar. The Untouchables’
leader, Anderson writes, was ‘intellectually head and shoulders above 
most of the Congress leaders’ and held that ‘No matter what the Hindus 
say, Hinduism is a menace to liberty, equality and fraternity’. Gandhi saw things differently. For him, tackling untouchability did not merit a fast
unto death, but blocking political approaches to empowering the Untouchables
did. After all, Anderson observes,
</p>
<p style="text-align: left; padding-left: 30px;">‘If Untouchables were to be treated as external to the Hindu community, it would be confirmation that caste was indeed, as its critics had always maintained, a vile system of discrimination ... and since Hinduism was founded on caste, it would stand condemned with caste. To reclaim the Untouchables for Hinduism was an ideological imperative for the reputation of the religion itself. But it was also politically vital, since if they were subtracted from the Hindu bloc in India, its predominance over the Muslim community would be weakened. There were ‘mathematical’ considerations to bear in mind, as Gandhi’s secretary delicately reported his leader’s thinking on the matter. Most menacing of all, Gandhi confided to a colleague, might not Untouchables, accorded separate identity, then gang up with ‘Muslim hooligans and kill caste Hindus’?’ </p>
<p style="text-align: left;">More contentiously, Anderson argues that ‘contrary to legend, [Gandhi’s]
 attitude to violence had always been — and would remain — contingent 
and ambivalent.’ Nor did he have much success with <em>Satyagraha,</em> or non-violent resistance, for ‘each time Gandhi had tried it, the British had seen it off.’ Anderson
claims that success in the nationalist struggle came not from the mass
mobilisation of <em>Satyagraha</em>, but from Gandhi’s rebuilding of Congress, its rise
as a popular political force, and the steady expansion of the electoral
machinery after 1909.</p>
<p style="text-align: left;">But even
if true, surely Gandhi’s <em>Satyagraha</em> amplified the success of the struggle by
raising mass consciousness. Moreover, wasn’t non-violence still 
preferable to violent resistance? Anderson seems unconvinced. He admires
 the secular-leftist leader Bose, his ‘fearless militancy and 
commanding intellectual gifts’, his commitment to inter-communal 
alliances, and criticizes Gandhi’s undemocratic 
eviction of him from Congress. In Anderson’s view, the violence that <em>Satyagraha</em> ‘spared the British was decanted among compatriots’, only to
show itself later in communalism and Partition. This argument might be more persuasive if it weren’t truly an imponderable. Anderson claims that Gandhi’s infusion of 
Congress with Hindu religiosity — of which <em>Satyagraha</em> was a part — ‘was the origin of the political process that would eventually lead to partition.’ But did
Gandhi’s compatriots see <em>Satyagraha</em> as a part of Hindu religiosity? We know that it was adopted and practiced to good effect by oppressed populations of many non-Hindu nations, and even by the Pashtun Muslim leader Khan Abdul Ghaffar <a href="http://en.wikipedia.org/wiki/Khan_Abdul_Ghaffar_Khan" target="_self">Khan</a>, aka the ‘Frontier Gandhi’. It is
plausible, however, that in much of India and especially in Congress,
Satyagraha, simply by its association with Gandhi, was seen as part of the Hindu
political matrix that was alienating and sometimes even threatening to
non-Hindus. But what if Gandhi had not transformed Congress in such a way?
Anderson writes, 
</p>
<p style="text-align: left; padding-left: 30px;">‘... the question remains whether even without him, the logic of mass organisation in populations as steeped in the supernatural as those of South Asia would not have transformed Congress into the Hindu party it became. For everywhere in the region, political awakening was intertwined with religious revival.’ </p>
<p style="text-align: left;">
<a class="asset-img-link" href="http://www.indoamerican-news.com/archives/11870" onclick="window.open( this.href, '_blank', 'width=640,height=480,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0' ); return false" style="float: left;" target="_self"><img alt="Gandhi-inside" class="asset  asset-image at-xid-6a00d8341dd33453ef017c34ce33ee970b" src="http://blog.shunya.net/.a/6a00d8341dd33453ef017c34ce33ee970b-250wi" style="width: 223px; margin: 0px 5px 5px 0px;" title="Gandhi-inside" /></a>What’s lacking in Anderson’s portrait of Gandhi? Sharp as it is, it 
leaves out many non-religious dimensions of his appeal. For instance, 
the cultural critic Vinay Lal has <a href="http://www.sscnet.ucla.edu/southasia/History/Gandhi/GandhLoveToHate.pdf" target="_self">pointed</a>
 out Gandhi’s ‘extraordinary ability to nurse the wounded, minister to 
the sick, nurture the young, and bring into the orbit of everyday life 
those, such as victims of leprosy, who had been shunned by society.’ Gandhi
also led by example, as when he cleaned a public latrine to assert the dignity
of labour. A rare and courageous honesty pervades his autobiography. 
Marxist historian Irfan Habib sees Gandhi as a social reformer and has <a href="http://www.pragoti.in/node/3119" target="_self">argued</a> that his worldview was less a defense of tradition than an ‘assertion of modem values in traditional garb’ — as with
the parity he accorded men and women — and that his was an ahistorical and
creative re-reading of Indian culture, evident in his original take on the <em>Bhagavad</em> <a href="http://www.3quarksdaily.com/3quarksdaily/2011/12/the-bhagavad-gita-revisited-part-1.html" target="_self"><em>Gita</em></a>.
 Gandhi was a deeply religious man yet he wrote that ‘Every true 
scripture only gains by criticism. After all we have no other guide but 
our reason to tell us what may be regarded as revealed and what may not 
be.’</p>
<p style="text-align: left;">Gandhi’s voluminous writings, and the open book that his life was, continue to both provoke and resist a definitive assessment. Nonetheless, Anderson’s bracing analysis of Gandhi’s impact on the nationalist struggle is a singular achievement. It strikes hard at hagiographies of the Father of the Nation and raises unsettling questions about the nation he helped shape (more on that in Part 2), which in turn shaped him and continues to define his legacy today.</p>
<p style="text-align: left;">________________________________</p>
<p style="text-align: left;"><a href="%20http://blog.shunya.net/shunyas_blog/2013/04/revisiting-the-idea-of-india-part-2.html" target="_self">Part 2</a> focuses on the causes of Partition, Nehru, the Indian nation-state, and some undersides of the Idea of India. The essays in <em style="text-align: left;">The Indian Ideology</em> are also online (<a href="http://www.lrb.co.uk/v34/n13/perry-anderson/gandhi-centre-stage" target="_self">one</a>, <a href="http://www.lrb.co.uk/v34/n14/perry-anderson/why-partition" target="_self">two</a>, <a href="http://www.lrb.co.uk/v34/n15/perry-anderson/after-nehru" target="_self">three</a>).</p>
<p><a href="http://www.shunya.net/Text/publications.html" target="_self">More writing by Namit Arora?</a><br />________________________________</p></div>
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