BROKEN IMAGES - GIRISH KARNAD

NOTES ON 'BROKEN IMAGES' - GIRISH KARNAD

EXPLANATION

BROKEN IMAGES has one set – a TV studio – but a multi-layered theme. It weaves in issues as far apart as the hegemony of English over Indian languages and the hollowness of a media which bestows greatness on a work that lay unnoticed in its original language but when translated into English becomes the toast of the global literary world.  It also deals with psychological repression of an inverted kind.  The central character Manjula, the now successful, Kannada-turned-English writer has a handicapped, wheelchair bound sister, Malini.  But it is the disabled Malini who turns out to be the really healthy and whole person.  It is Malini who not only wins the love of Manjula’s husband, Pramod, but is far more centered and happy than her caretaker sister, Manjula.Not just that.  After her death, it is Manjula whose loveless married life ends by Pramod walking out and moving to Los Angeles and the phenomenal success that she has wrested from Malini by stealing Malini’s unpublished MSS tasting like poison.  

The metaphor of Manjula aka Shabana talking about her heroic exploits with the book on a live television show ends with her finding that her image just does not leave the monitor. It is not her, of course.  It looks like her but it is Malini and the conflict between the self and the image,  between delusion and reality, between the outer mask and the inner truth that emerges in the tussle between the sisters and is the very stuff of the drama. 

Broken Images takes many a side swipe at all those writers in English who are constantly in the news, for fat advances from foreign publishers, for works that are many years away to seeing the light of day, for invitations to foreign colleges, lecture tours and autograph signing sprees. There are also the questions that stare in the face: are the Indian English  cut off from the "smell of the soil," have they sold out to a market-driven economy, have they struck a trade-off with their conscience by not writing in their native language, etc. etc. 

In appropriating the stolen novel, one in which her sister has caricatured her and made her out to be a pushy, conniving, duplicitous relative, a defiant Manjula shouts: "I wrote the novel in English because it burst out in English....What baffles me - actually, hurts me - is why our intellectuals can't grasp this simple fact." We see Manjula Nayak subjected to an interrogation that teases, taunts and finally strips the secrets from her soul.  The TV image reveals the sordid truth about Manjula's marriage, her far from easy relationship with her dead sister Malini and the mysterious circumstances in which the best-selling novel that was written by Malini (with the help of Pramod who, too, was always at home) and now published by Manjula, finds her conceits punctured and her deceptions gradually unravelled. 

Finally she is forced into anger or emotional collapse. The 55-minute play progresses towards a tight and stirring finish as Manjula seems to morph into Malini as "differences of ink and blood and language" are obliterated in a Babel of voices and a jumble of television images.  

Talking about the technical facet of the play, director Alyque said, "There are two Shabanas in the play, it is Shabana speaking to Shabana. With the aid of technology, there are two Shabanas on the stage at the same time!" Meanwhile, the equally excited Shabana says, "The minute I finished reading the script, I said I was on! The play is so dramatic and challenging. It is a technical nightmare; I have to react to my own televised image on the screen. The image is shot as a single one hour shot, so the timing is crucial, there is no room for mistake." 

It is in these climactic moments that Shabana Azmi proves her dramatic worth and for just a few seconds, like the computer image breaking into a million shards, she captures the trauma of the two sisters’ existence.  As for Padamsee’s direction, it is nothing to write home about. 

The Argumentative Indian - Amartya Sen

Notes on 'The Argumentative Indian' - Amartya Sen

EXPLANATION

The Argumentative Indian is a book written by Nobel Prize winning Indian economist Amartya Sen. It is a collection of essays that discuss India's history and identity, focusing on the traditions of public debate and intellectual pluralism. Martha Nussbaum says the book "demonstrates the importance of public debate in Indian traditions generally."

The Argumentative Indian has brought together a selection of writings from Sen that outline the need to understand contemporary India in the light of its long argumentative tradition. The understanding and use of this argumentative tradition are critically important, Sen argues, for the success of India's democracy, the defence of its secular politics, the removal of inequalities related to class, caste, gender and community, and the pursuit of sub-continental peace.

The book takes the form of four sections containing linked essays: "Voice and Heterodoxy", "Culture and Communication", "Politics and Protest", "Reason and Identity". The first section looks at the general culture of pluralistic debate within India, dating back to Buddha and kings such as Ashoka. The second section seeks to restore the reputation of Rabindranath Tagore as an intellectual polymath, combining spiritual and political ideas, and explores India's relationship to other cultures, including the West and China, especially the peaceful and intellectually rewarding cross-fertilising relationship between the two great Asian cultures. The third section looks at conflicts of class and criticises inequalities in Indian society and arguments that have been used to justify them. Finally, the book explores modern cultures of secularism and liberalism in an Indian context.

Amartya Sen's own political agenda is clear for all to see and is wholly admirable. Given the virtue of Sen's position, to which nearly all of us would subscribe, it is hard to have to say that "The Argumentative Indian" proves on close reading to be a flawed book. This is because Sen does not go beyond stating self-evident truths. Although nicely written, and with many points of interest, there is a thinness and superficiality about the whole that displeases. [...] My greatest disappointment with this book is that its use of history is as unscrupulous and trivialising as that of those Sen wishes to bring down. "The Argumentative Indian" is not sufficiently thoughtful and serves as a forceful reminder that history is constantly being used in a dangerously naive way.