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243 pages, Paperback
First published September 1, 2020
After twenty years of writing fiction and nonfiction that tracks the rise of Hindu nationalism, after years of reading about the rise and fall of European fascism, I have begun to wonder why fascism—although it is by no means the same everywhere—is so recognizable across histories and cultures. It’s not just the fascists that are recognizable—the strong man, the ideological army, the squalid dreams of Aryan superiority, the dehumanization and ghettoization of the “internal enemy,” the massive and utterly ruthless propaganda machine, the false-flag attacks and assassinations, the fawning businessmen and film stars, the attacks on universities, the fear of intellectuals, the specter of detention camps, and the hate-fueled zombie population that chants the Eastern equivalent of “Heil! Heil! Heil!” It’s also the rest of us—the exhausted, quarreling opposition, the vain, nit-picking Left, the equivocating liberals who spent years building the road that has led to the situation we find ourselves in, and are now behaving like shocked, righteous rabbits who never imagined that rabbits were an important ingredient of the rabbit stew that was always on the menu. And, of course, the wolves who ignored the decent folks’ counsel of moderation and sloped off into the wilderness to howl unceasingly, futilely—and, if they were female, then “shrilly” and “hysterically”—at the terrifying, misshapen moon. All of us are recognizable.
Translation is daily life, it is street activity, and it’s increasingly a necessary part of ordinary folk’s survival kit. And so, in this novel of many languages, it is not only the author but also the characters themselves who swim around in an ocean of exquisite imperfection, who constantly translate for and to each other, who constantly speak across languages, and who constantly realize that people who speak the same language are not necessarily the ones who understand each other best.--Now, bringing fiction-writing skills to nonfiction is something I can instantly appreciate! (blessed to have read nonfiction writers with amazing writing skills: David Graeber, Yanis Varoufakis)
“The End of Imagination” was the first of what would turn out to be twenty years’ worth of nonfiction essays. They were years during which India was changing at lightning speed. For each essay, I searched for a form, for language, for structure and narrative. Could I write as compellingly about irrigation as I could about love and loss and childhood? About the salinization of soil? About drainage? Dams? Crops? About structural adjustment and privatization? About the per unit cost of electricity? About things that affect ordinary people’s lives? Not as reportage, but as a form of storytelling? Was it possible to turn these topics into literature? Literature for everybody—including for people who couldn’t read and write, but who had taught me how to think, and could be read to? [Emphasis added]--Roy’s take on “mother tongue” was interesting too, in considering why she writes in English, how Annihilation of Caste was written in English, etc. (compared to, say, Ngũgĩ wa Thiong'o).
Nothing could be worse than a return to normality. Historically, pandemics have forced humans to break with the past and imagine their world anew. This one is no different. It is a portal, a gateway between one world and the next.
We can choose to walk through it, dragging the carcasses of our prejudice and hatred, our avarice, our data banks and dead ideas, our dead rivers and smoky skies behind us. Or we can walk through lightly, with little luggage, ready to imagine another world. And ready to fight for it.