K.N. Pandita
About three dozen Sahitya Akademi awardees reportedly returned their awards. They did not say whether they returned the accompanying amount also.
Evidently, they had received award for contribution to India sahitya (literature) not politics. It was literature when they received award and it is politics when they return it. A question arises: Was it then their mock contribution. We do not comment on their literary acumen; we talk of their sincerity to the profession.
If they felt they had serious reasons to return the award, they could have given tongue to their inner feelings through literary channel, which faculty the nation acknowledged in them by giving them the award. Was it right and necessary to give big media hype to returning the award?
In 1954, the then Government of India incepted Sahitya Akademi with the intention of promoting and recognizing contribution of writers, poets, critics and intellectuals to the fund of India’s creative literature. Award meant honouring outstanding littérateurs. By returning the award, they have indirectly conveyed a message to the nation that they do not want or deserve to be honoured. What can the nation do about it?
Historically speaking, the Akademi began its inning with myopia of sorts. Under hegemonic idealism of those days, it could not resist trivializing its autonomous status; it was neither morally strong nor pragmatically visionary to wriggle out of official orientation.
In its domestic policy, the government at that time pandered to half-baked socialism, which it tried to induct into the rootless literati and the short -listed sections of intellectual community in the country. In its foreign policy, that government went with the Soviet syndicate. At the end of the day, the Indian State tiptoed into the coffee house of non-aligned movement only to make a full-fledged laughing stock of itself.
A number of channels worked for promoting pseudo-socialist thinking. Sahitya Akademi, like other sister organizations such as ICCHR, ICSSR etc. also volunteered to carry the cross. Functionaries at the helm of affairs at the Akademi liberally distributed favour (awards) among “progressive” writers and littérateurs, and consequently, succeeded in winning the favour of the government of the day. The writers felt happy in playing the game of musical chairs.
This atmosphere prevailed in the Akademi during the long rule of Congress party. With the onset of emergency, Congress lost its democratic temper. Sahitya Akademi, along with other sister-institutions, met with complete polarization. Anybody aspiring for Sahitya Akademi award had to become “progressive” without understanding what “progressive-ism” meant for 60 per cent illiterate and equal percentage of below poverty line people in this country.
Thus every Tom, Dick and Harry, able to mutter a few Marxian cliché, became a super class “progressive” intellectual, and aspirant-in-waiting for country’s prestigious literary award. This is how award distribution exercise of the Akademi became almost a mockery. Of cause, some of them were genuinely in the category of literary figures.
However, with Akademi’s circumspection eroding progressively, political upstarts, favour-seekers, sycophants, flatterers, pseudo-secularists and fake nationalists, flocked to become its beneficiaries. The Akademi echelons even made suo moto offers of award to please the icons. Sheikh Abdullah, the politician became an academic to receive Sahitya Akademi award for his biography Atesh-e-Chinar , which is a massive compendium of charge sheets against the Indian State. Sahitya Akademi went knee-deep into the morass of -isms, except, of course, pristine literary intellectualism. Regionalism, sub-regionalism, communalism, parochialism, favouritism et al were legitimized in very subtle manner. Politically oriented writers on the pay roll of agencies meandered their way to become the recipients of the largesse of Akademi.
This culture, also defined by the pseudo-leftists as “ideological entrenchment” did make deep dent into the Indian polity because it received fullest patronage of the government of the day. The Sahitya Akademi lost the memory of where its goalpost stood.
When the Soviet Union imploded in 1991, and the card of “progressive-ism” lost its credibility and intensive care unit, the Akademi lost no time in abandoning its old admirers and beneficiaries, and it went out to find new recruits that would run the show as the post-Soviet era regime dictated.
Post-Soviet era in our contemporary history is something like the flow of a rudderless ship. It massively bestirred the hitherto dormant communal propensity among vulnerable sections coupled with fundamentalist agenda of belief in the power of religious commune.
The undercurrent of the movement for partition of India began to find reverberations not in strict local setting but on geo-political plane. Egypt, one time mascot of the Non-Aligned Movement was the first to initiate Arab Spring in its real shape. Yugoslavia, after its break up and rebirth of the Balkan States relapsed into the ethno-religious cauldron of the days of Eastern Question. India, the ideologue of Non-Aligned Movement, saw a host of identities surfacing with astonishing rapidity and bidding for its pound of flesh. Sahitya Akademi, which until the middle of the 1960s pandered to “progressive” cacophony, now began drifting aimlessly to new ideological waves like Arab Spring or ethnic reality or civilizational revivalism etc. It was during this period that the value of the awards it munificently threw away declined to nadir. Most of the awardees who returned it are the product of the era under discussion, an era that lost is moorings with the demise of the erstwhile Soviet Union. They began feeling like the scattered and isolated beads of a broken necklace.
With the rise of new dispensation in New Delhi with far-reaching and deep- penetrating affect country-wide, this breed of awardees feels bereft of a support structure in the new emerging polity in next one decade or so. In this social and mental conundrum, they are unable to assuage their troubled and disturbed self-image. However, what one can say with fair amount of certainty is that their returning the award makes their self-image perilously more disturbed and uneasy. They have made “intolerance” as the common cause of their return of award. However, the question that will haunt their conscience for the rest of their lives is whether they have been tolerant with their self – image at all.
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