Picture via brambedkargatha.blogspot.in
This semester’s biggest achievement was discovering that Ambedkar loved the violin and learnt to play it a couple of years before his death. Also that he loved gardening and woke up early in the morning so he could water plants and spend time with them.
Only he could have known why learning a new skill or just doing something one loves to do is so important. Coming as he did from a world where people thrived on keeping him away – companionship with oneself wasn’t just natural but also a rebellion.
Ambedkar became someone outside of a portrait in the stories that I rummaged through. Reading Annihilation of Caste was a revelation. A lot of the things that I simply hadn’t noticed in school assumed ugly shapes. I understand now why friendships have never come to me easily and why they never will. And this realisation has also led me to believe that I’m completely at ease being by myself most of the time, barring the occasional loud moments of loneliness.
Last year I discovered Ambedkar through Siddalingaiah, and I saw in both their stories the image of my college- going father eating lunch alone. I don’t mean to present a picture of victimhood here because this is an image that I derive a lot of strength from.
This year, I was also prompted to ask myself why I haven’t seen or read the stories of my mother and my grandmother anywhere. But I can’t complain about not having read their stories because I haven’t made the effort to write them. It falls upon me to write their stories. I saw this after reading Sujatha Gidla’s Ants among Elephants. There is a powerful, unabashed confession she makes at the beginning of her book – about how important it was for her to learn her ancestors’ stories before they died.
This is a dizzying worry for me too – that if I don’t learn and write my ancestors’ stories – the history of an entire community would be lost – or worse – botched and rewritten in some dabba textbook.
From the other authors that I discovered through Ambedkar – Gogu Shyamala, Namdeo Dhasal, Mallika Amar Shaikh, and Vaidehi – I learnt to smell forgotten bits of my childhood which, as I have come to understand is easy to recollect but hard figuring out. Sometimes my childhood is watching Mr. India again and again and sometimes it is a gnawing desperation to run after some girls from school – to become friends with them.
In Living to Tell the Tale – everytime Marquez mentions nostalgia– it is used with the word ‘attack’. As in – ‘One evening, my mother suffered an attack of severe nostalgia’
Like a bad fever, nostalgia must then be endured and overcome. For the Dalit community today, I am wondering if nostalgia is an attack too. One that can only be endured and never overcome because their stories must never be forgotten. They must be told and heard over and over again.
This semester was also a rude awakening to truths I’d have preferred not to have learnt. I see a pattern in both my teaching and my writing. It’s that the effort is all there but it is never complete. I leave arguments unfinished; I don’t complete a thought because it’s too much work. And this is making me very afraid.
Usually when I stumble across ugly truths about myself, I take refuge in students’ writing. Reading them always helps me in ways that reading published authors don’t. Students’ stories are sometimes told so simply and with so much energy that they puncture my powerlessness with language.
This is important because I still haven’t outgrown my ‘cheeks like Christmas mornings’ phase. This phase is what I began writing with – imitating English writers, and borrowing their metaphors. English handicaps writers like me because it isn’t the language I grew up with but it is the language I long to perfect and dream of conquering.
It’s clear though that I can never write in English the way so many others do because my relationship with it will always be fractured.
My stories and my parents’ stories and my grandparents’ stories all happened in Konkani and Kannada. It is strange to imagine them in English and stranger still to write them in English.
How to write then? It is very annoying to surrender writing to that kind of helplessness. A writer who rescued me from this fracture is Marquez. In his world, my powerlessness became less menacing. Stories are perhaps best told in the language that they happened in. And English needn’t be the monster I make it out to be. It can be the formless amoeba to my Konkani and Kannada. And when they all meet, formless becomes form.
I am cringing as I write this because as someone wise once suggested – it’s a sin to put Marquez and Magic realism so close to each other.
But maybe a community’s story needs the playfulness of Magic Realism to tell it. My Kottuncheri story found release because of this. Earlier this year, writing in Konkani opened many doors. Maybe it’s time to return to that project.