Showing posts with label Ambai. Show all posts
Showing posts with label Ambai. Show all posts

Wednesday, July 22, 2015

48 hours With Jeyamohan

Rabbi Ben Akiva told his favorite disciple Simeon Ben Yochai "Son, more than the calf wishes to suck does the cow wish to suckle". Those words were written by my father, as a sort of dedication, when he gifted his young boys a book of questions and answers that he had bought in order to wean them away from the smutty Tamil weeklies and puerile Amar Chitra Katha comics. Those words kept flashing in my mind the 2 days that Jeyamohan spent with me in New Jersey. Jeyamohan is often mockingly, and sometimes lovingly too, referred to as ஆசான். He has fully earned that moniker.

A few days before he embarked on his visit to US Jeyamohan (or his webmaster) had re-published his review of T.J.S. George's biography of M.S. Subbulakshmi. When first published it stirred a hornet's nest with the usual wailing questions of "do we need to know her antecedents", "why should a biography wash dirty linen" etc. Of course Jemo had answered all of them with gusto. The re-publication invited a torrent of the same questions from the same usual suspects and Jemo answered them, again, unflaggingly. I told a friend, the man is indefatigable in his quest to educate the Tamil society that is still intellectually feeble.

Despite the fact that I had written so much against Jeyamohan in blogs and Facebook somehow my email id had landed in the list of recipients in an email chain discussing travel arrangements for him. Boston Bala was co-ordinating the North East portion of Jemo's travel. It was decided that Jemo would spend nearly 5 days in New Jersey. A good hearted host agreed to take Jemo and his wife Arunmozhi to New York City for 2 days. Question was what to do for the remaining days? A curious thought struck me. After all I've spent a lot of time reading, discussing, debating and disagreeing with Jeyamohan I felt I owed him something for all the intellectual fodder that he provided. I always love to share my adoration of my adopted motherland and I thought why not take Jemo to Philadelphia, the cradle of America's constitution and to Lancaster, to visit the Amish, a very curious set of people.

Meantime Bala tried to get New Jersey Tamil Sangam (NJTS) organize a meeting. An NJTS functionary, a self declared regular reader and friend of Jeyamohan, was irked that NJTS is being asked to host an event during weekday and that NJTS was not properly looped in on the arrangements. To be fair, he had a point. It was at this juncture I decided to write to Jeyamohan directly offering my hospitality and home. I wrote to him that I'd like to host him and that he'd be treated very honorably, our disagreements notwithstanding. Jemo responded warmly that he holds me in regard and that our disagreements, while they may continue, are not personal in nature and that he'd be happy to stay with me.

One of the pleasant surprises of Jemo's trip to US this year was readers getting to see a doting and romantic man who luxuriates in the love of his adoring wife Arunmozhi. The photos that he published showed an intimate couple having the time of their life. Remo had written that Arunmozhi too loves to visit museums and historic places. I had come to know of a very unique exhibition in NYC organized by author William Dalrymple about Delhi Sultans. I immediately informed Jemo's host and he, with great effort, worked it into their schedule.

Meantime as it always happens with our wonderful Tamil brethren and even more wonderful Tamil Sangams a whole set of shenanigans unfolded. When I saw the happy couple picture of Jemo I so wished that the couple just have a fun time enjoying this country that I love dearly and not get dragged into the usual dog and pony show that usually happens around such visitors. However, I also decided that just because he is staying with me that I should in no way be an obstacle for what he may choose to do or who he wants to meet with. He gets to choose, not me.

Jeyamohan has written incessantly over the decades and especially over the past 5 years he has written copiously on the web about any number of topics. In fact one has to wonder if there is anything he has not written about. I wished we could spend some time in and around Philadelphia soaking in the American experience. Anyway I decided to be a spectator to the unfolding spectacle.

Our wonderful people have no respect for a person's time or privacy. Jeyamohan had announced nearly a month ahead about his travel and now at the very last minute a person hounded, literally hounded me, to get a time slot with him for an interview. This despite the fact the person had read, literally, nothing by Jeyamohan. Though a friend I found the request to be very unseemly. Anyway I just conveyed the request to Jeyamohan who politely turned it down. He was in US to show his wife around. He turned down another request too.

Finding a suitable venue for an evening meeting was a challenge. Pazhani Jothi, another devoted reader, found a venue and booked it with post-haste. Now that somebody else had taken the pains to arrange the venue NJTS happily stepped in to take credit and take over the meeting. தமிழர்கள் அல்லவா.  One of my persistent criticisms of Jeyamohan is that he steps into areas that are not his forte (right now P.A. Krishnan has a thread going on in Facebook about Jemo's remarks on Raja Ravi Verma). A few days before Jemo's NJ arrival I had sparred with two others about Gandhi's place in history. I thought it'd be a good idea to suggest a topic to Jemo that he could do justice to. I suggested, in the email chain, that he speak on Gandhi. Unbeknownst to me now NJTS and some other fringe organizations had taken control of the meeting. By the way I had also suggested that I could introduce both Jemo and the topic thus giving the evening a structure that it then seemed to lack. An NJTS functionary bristled at the suggestion and in an impolitic email he brushed it all aside. I just chuckled and put my faith in Jemo's ability to deliver despite the innate abilities that the Tamil Sangams have to screw up. And, trust me, my faith was prophetic.

"Welcome to the city of Ayn Rand". With those words I welcomed Jemo on a breezy and warm summer evening in NYC. We were near the NYSE building. Thus began a very pleasant 48 hours.

Jeyamohan did share some tit-bits concerning movies that he was working and the movie industry in general over the 2 days. To be fair to him never once did he say, regarding anything, 'this is off the record'. However I'd much rather leave the particulars aside, except where absolutely necessary, because it'd be fodder for gossip and unnecessary controversy.

We hit it off straight away by talking about Gandhi and Nehru. When we visited the 9/11 memorial I told him how the names were arranged in a unique manner, not alphabetically, but clustering names of colleagues and friends who died together that day thus giving a sense of the life the victims lived.

Pazhani had very kindly consented to drive us around for the next two days in his very spacious mini-van. Jemo and I occupied the second row and chatted away to glory thanks to Pazhani.

Jemo narrated how he maintains his self-worth, intellectually and economically, in the movie industry. Details aside, suffice it to say, the man knows his worth and even more important he knows how protect his 'brand value'. I told him that he has an Ayn Rand in him. விதி சமைப்பவரல்லவா. Intellectuals in an attempt to establish their uniqueness often decry and deny those that they resemble most. Incidentally Ayn Rand too enjoyed being in the movie industry.

The discussion turned towards education and how pathetic Indian education is. I then narrated about why the supremacy and uniqueness of American Universities is a much less spoken of dominance compared to the dominance of US in finance and military strength. I was quoting from Jonathan Cole's 'The Great American University' and Fareed Zakaria's recent column on the importance of liberal arts in education. As I was speaking I could see that he started staring out of the window. Maybe he was bored. Maybe he thought I was didactic. I guess it takes one to recognize another. Over the 2 days I figured out one thing he's on this trip entirely to show his wife around. Jeyamohan's curiosity about what he saw was cursory and passing. The stress of writing Venmurasu totally occupied his mind. And then there were the weighing concerns of how the new movie was being received, his deliverable to other directors etc. Don't get me wrong, he was an animated conversationalist most of the time, just not too much in a listening mode.

I think he mentioned something about his visit to Paris and then topics shifted to western art versus Indian conception of art. He quoted extensively from A.K. Ramanujan to establish that Indian art must be appreciated within its own paradigms and not through Western prism. Modern ideas on diversity and political correctness completely resonate with his views that each culture and civilization must be studied on its own plane for appreciation and one cannot be held as superior or inferior to another in comparison. However, I could not help remembering Allan Bloom's book 'Closing of the American mind' wherein Bloom had argued that one should not indiscriminately accept all as equals.

As we neared the Constitution Center in Philadelphia I went into the framing of the constitution, the Bill of Rights, the Ratification, the Federalist Papers, the anti-federalists etc. At the Constitution Center it was a glorious July 2nd and in view of July 4th there was no visitors fee. The whole place swarmed with hundreds of school children who had come to learn how this great nation was formed. I was telling Jeyamohan that this is what we miss in India. Even today there are not many good books written about Indian constitution. We had lunch at Farmicia, off Market Street. Delicious food. Jemo wanted to know if after 250+ years are there any current problems that can be traced to the US constitution and if there is any part of the constitution that is still hotly debated. I readily cited the hot debate that rages over the 2nd Amendment (the right to bear arms). Then I cited few key Supreme Court decisions starting with Marbury v Madison.  When we later toured the center I pointed out the exhibits that illustrated all that I had just listed. The short presentation on US constitution, from what I inferred from his body language, did not impress him much. He, however, noted how the presentation, made by an African-American, did not flinch in discussing the less than glorious chapters of US history like slavery, Vietnam, segregation etc. Of course I emphasized that school children watch this less than idolatrous version of the country's history.

While we were in Philadelphia an anxious NJTS functionary kept nagging Pazhani about our whereabouts. Apparently he was worried that given how he stymied me from introducing Jemo in the meeting that I might play spoilsport by somehow detaining Jemo on some trumped up excuse from attending the evening meeting. I told Pazhani that such things are beneath me and I'd respect Jemo's independence and his choice of speaking at any venue or meeting anybody. In this context Jemo recounted how his books were once published by a group in New Jersey. The publisher, run like a mom and pop operation, eventually folded and Jemo had to hunt for a publisher. Curiously the NJ based publishers that included an acquaintance of mine were not too happy and sought to influence Jemo's decision including advising him to choose an indie publisher though it may not be financially rewarding. I chuckled and told him that the person who advised him thus was a high priced independent consultant who would not sacrifice a dollar in his rates.

The issue of what Jemo was to speak on came up. The nagging NJTS representative too had been wanting to know the title so he could prepare his remarks. Fair enough, I'd do the same. Jemo said that while I asked him to speak on Gandhi the others wanted him to choose some topic that was literature oriented. I told him it's entirely his liberty to choose and that he can gladly discard my suggestion. Frankly I had no interest simply because there are no topics that I could think of that he had not written about or expounded in detail, including Gandhi. Actually I'd have preferred if we could've spent the evening going around the city of Brotherly Love and soaking in the experience instead of yet another evening of a speech followed by very predictable inane questions. Anyway it was his choice. We headed back to New Jersey with all of us dozing off and Pazhani being Parthasarathy.

Arunmozhi instructed Jemo to freshen up and wear a new shirt for the evening. It is fun to watch them interact. En-route to the venue Jemo recounted the  places Gandhi visited in Tamil Nadu, with dates, and how many of those places, now memorials, are in a dilapidated condition. Jemo was very warmly received by NJTS organizers and the function started without much ado and an excellent rendition of the song of benediction to Tamil by a very fine singer who looked fine too. Her name slips my memory. I heard from another friend that she's quiet the rebel.

Thankfully I did not get to speak at the function else the person who read out an interminably long essay, he thought he was speaking, would've been eclipsed and I hate nothing more than shining by contrast that too compared to one like that. I'd have preferred water boarding. I dozed off until Jeyamohan started speaking. Jeyamohan, as he himself  often says, is no flashy speaker. He lacks a stage presence, does not speak in a commanding tone and his speech itself does not have rhetorical flourishes. Put simply, he is not Jeyakanthan. What he lacks Jeyamohan more than compensates with insights and substance. A listener has to be patient and wait to be subsumed by the torrent of ideas. Speaking on the title இலக்கியத்தின் நாற்றங்கால் Jeyamohan composed his speech like a symphony put together by a composer with the pieces falling in one after another to culminate on a high note. The speech was easily a shining example of everything a fine speech should be. Jeyamohan was in a league of his own and did not merely shine by contrast.

Starting with Begali writer's of note like Bhibuthi Bhushan Bannerjee he went on to Kannada, Tamil, Malayalam, Telugu and Marathi listing highly acclaimed authors and select works that are critically acclaimed and have stood the test of time. He relished being the quintessential teacher. ஆசான். Rabboni. He listed India's writers from each state and in my mind I could picture the names as they dotted the Indian peninsula like a garland. And the connecting dot amongst all of them was Gandhi. At this moment of realization he appeared like a master composer who draws in the listener and then reveals in all sublimity the unifying theme of a symphony. When a topic and the speaker do each other proud the finest moment of a wonderfully delivered speech occurs. Jeyamohan artfully and succinctly illustrated how Gandhi and the Gandhian movement inspired a nascent renaissance of Indian literature. What impressed me most in the speech, apart from how he wove the tale, was how he picked out the authors and works and offered very sharp summaries of key works. It is a great loss to Tamil Nadu's academia that people like Jeyamohan, Nanjil Nadan, P.A. Krishnan and Ambai are not engaged to teach literature courses like how American universities used to engage William Faulkner and Saul Bellow. I later told Jemo that speaking on Gandhi brings out the best in him and that's why I had suggested that as topic. I am in no way taking any credit here. Jemo had not explicitly prepared anything and he probably took my suggestion and the desire of NJTS and struck an inspired compromise to deliver what even he himself considered a new outlook on Gandhi. That said I'd not think it was totally extemporaneous. As a one time avid practitioner of the art of extempore I could realize that in an inspirational moment the thoughts fell into a place in Jemo's mind where they were  previously a jumble of facts, often repeated in other contexts and in different articulations.

The Q&A session was predictably drab with very predictable questions that he had answered umpteen times in his blogs. "Why do you write Venmurasu", "why do you answer every reader's email" and few other very forgettable questions. Yesterday in an altercation on Facebook an NJTS functionary in a not too subtle jab at me had listed a few names as avid readers of Jemo (by implication I was not) and one of them asked a question which was nakedly provocative. "நீங்கள் காந்தி இலக்கியவாதிகளுக்கு ஒரு உந்துதலாக இருந்தார் என்று சொன்னதெல்லாம் சரி, அவர் ஏன் கேவலமானவர்களை தன் அரசியல் வாரிசுகளாக உருவாக்கினார்?". இதைக் கேட்டுவிட்டு ஒரு எக்காளமான எகத்தாள சிரிப்பினை சிரித்துவிட்டு (ஒரு ஆபாசமான சிரிப்பென்றே சொல்லலாம்) தன் பக்கத்திலிருந்தவர்களை நோக்கி இன்னும் எகத்தாளமானப் பார்வை ஒன்றை வீசிவிட்டு சந்தோஷமாக அமர்ந்தார் அந்த இந்துத்துவர். Jemo bristled at the implication of particularly Nehru he gave a stinging reply and concluded that such questions reflect a sick mind. I know the questioner by acquaintance and as we chanced to be together I told him "Pardon me but your tone was purely to irritate him and to put it bluntly you meant it in the vein of 'வக்காளி கேட்டேன் பாத்தியா'". he chuckled and persisted with "you know Nehru was a dictator". I replied "sorry I know there is no point in arguing with you so I'll desist".

Dinner was hosted at an NJTS functionary's residence. More q&a. Jemo was given a nice red color upholstered chair and like any Indian get-together the seating was gender segregated with men on one side and women on another side. More predictable questions. The questions from the women's section were embarrassingly pedestrian. I almost winced thinking "well no wonder Jemo thinks there are only 4 or 5 women in all of India to talk intellectually" (I disagree with that but the evening kind of proved him rather sadly). One lady even shocked by congratulating Arunmozhi for looking after the home and nourishing Jeyamohan thus giving Jemo to literature. Another lady wondered if Jemo watched TV with his kids. Luckily no one asked if Jemo knew how to change diapers. But to be fair to the ladies the men folk had their own variety of tiresome questions including some that were answered just a few minutes ago in the meeting. Jemo was patient with all questions and answered even the most trivial with all sincerity.

A brief moment of intellectual discussion was when Jemo spoke about Milan Kundera's 'Unbearable Lightness of Being' and 'பின் தொடரும் நிழலின் குரல்'.  His distrust of intellectual reasoning in his novel led to a discussion on his views on the role of inspiration in creativity. It was the only moment when I openly disagreed with him in the trip. When I decided to host him I decided not to dredge up every topic that I disagreed with him because I invited him only as an avid reader, however much I disagree with him, and to show him a good time in places that I love. I said I disagreed with his blog 'கம்பன் நிகழாத களம்' where he had opined that the poems of Kamban where Kamban's genius falters are those where Kamban, an instrument of an unnamed destiny (I am paraphrasing here), did not occur. I asked him "if a writer is nothing but an instrument of manifest destiny then why should we credit him or her? Sure, a writer reworks material from existing sources or is inspired by some idea but the 'act of creation' is entirely a volitional one and by making it look like it all 'just happened' we actually detract value from the creation". Jemo disagreed saying that he owes a debt to many predecessors for Venmurasu. I still don't buy the explanation but left it with the comment that as a person respecting guru  parampara this was his way of paying his respect to his predecessors.

On our way back Jemo circled to the topic of Nehru as dictator. He said, quoting an RSS member, "after Gandhi's murder there was an overwhelming hatred of RSS. It was the moment in all of RSS history when it was at its weakest. If Nehru had even executed all of RSS public opinion was on his side. RSS pleaded with him to let the law run its course and if proven innocent to be accepted. Nehru, a democrat, conceded and RSS still lives". The two days that he was with me Jemo kept returning to what a great leader Nehru was.

Given Jemo's interest in Gandhian life style I thought he might find it curious to see the Amish life in Lancaster PA. Lancaster is a good 2-3 hours drive from my home. Yet again Pazhani came to the rescue. This time his wife joined us too.

The chronology of discussions is a blurry now after a fortnight. Sometime in one of those long drives Arunmozhi raised the topic of intolerance amongst Tamil Pentecostal Christians and Christians in general. When we met in NYC I had recounted, over dinner, how my dad raised us in a very liberal outlook compared to many other Christian families including relatives. My brother is married to a Hindu in the  Hindu custom. The bride is the daughter of a person well known to Jeyamohan.

I replied to Arunmozhi that yes a culture of intolerance and a sense of siege mentality pervades Tamil Christians. Desirous of severing their Hindu heritage silly practices like frowning upon bindi, reading Mahabharata,even watching a Sivaji Ganesan starring movie about a Mahabharata character (Karnan), stepping foot in a temple etc are all commonly frowned upon by Christians. One of my relatives shocked and violated my sense of decency when she said Christians should no longer donate and support 'Udavum Karangal' Vidyagar, a Christian, because he is very Hindu friendly. Vidyagar provides yeoman service to orphan children and to say a Christian should not donate money is the most un-Christian act. Ever since Modi took up the yoga issue a message that went viral on a whatsapp group of Tamil Christians was about how evil yoga was and how its a pagan religion etc. I was appalled and disagreed with another relative on Facebook about that. My dad used to prescribe pranayama exercise to his patients who had breathing issues. While all that is deplorable one has to also see this intolerance contextually within how minority groups zealously try to protect their identity and even more zealously try to differentiate themselves from the majority. I told her that I equally know Christians who are liberal in outlook and then there are equally bigoted Hindutva proponents. We laughed about a famous group in California that is quite notorious on social media for their rabid Hindutva outlook. I know an Iyengar woman who would not eat at her daughter's home because she married, lo and behold, an Iyer boy. Intolerance is a disease that pervades Indian body politic cutting across religions.

Angered by the comments against yogas by Christians I decided to buy a book that was on my wish list for a while. Princeton University is publishing a series of books called "Lives of great religious books". I had reviewed "The Bhagwad Gita: A biography" by Richard Davis last year. Now I bought David Gordon White's acclaimed "The Yoga Sutra of Patanjali: A biography". Though I started reading it I felt like I should gift it to Jeyamohan. I asked him if he would be interested in reading it (not wanting to impose it on him and also mindful of the fact that many were gifting him books and he must be running out of space in his luggage). He said 'gladly, please sign and give'.

I almost forgot to mention how Jeyamohan is adept in mimicking accents and narrating hilariously comic incidents (many about the Church and clergy in Kerala) with panache. We had a rip roaring time enjoying those narrations.

We had booked a nice 3 hour Amish tour experience which took us to 3 Amish homes. As an Ayn Rand person the Amish life style and its inconsistencies, I'd even say hypocrisies, are contemptuous to me. What is the use of saying we will not use electricity but then we'll use propane gas to power equipments? The curious aspect of their life style aside it did not impress Jeyamohan either. He summed it up as "they are a religious group adhering  to a set of rules that's all". In Gandhi's negation of technology there's philosophy and a certain ideological edge unlike the Amish whose motivations are driven more by religion.

We went to 'Olive Garden' for dinner. Pazhani ran out and got some fruits for Jeyamohan who eats only fruits for dinner. Pazhani really pulled out all the stops in taking care of Jeyamohan and his wife. I am sure Jemo's stay with Pazhani's family must have been very enjoyable and something to remember. Dinner time chat turned to 'பின் தொடரும் நிழலின் குரல்'. I read that book, Koestler's 'Darkness at noon' (2nd reading) and Kundera's 'Unbearable Lightness of Being' all almost back to back. In addition I read 'Stalin' by Isaac Deutscher and 'The Red Tsar' by Simon Sebag Montefiore. Two days earlier I was telling Jemo how I wrote a blog on the incongruity of Trotsky writing in his diary that killing the Tsar's family was justified unmindful of the fact that at that very moment he was himself fleeing for his life from Stalin. Jemo's novel, which I read later, features the same wonderment about Trotsky.

Writer P.A. Krishnan's fondness for Stalin featured prominently in our discussion. Neither of us had any rational explanation for a very erudite person like P.A.K adoring a monster like Stalin. I cited how Kundera's Tomas writes an article decrying the intellectuals for pulling the wool over people's eyes by concealing the grotesque nature of Communism. Having warmed up to the topic I posed a couple of questions to Jemo on his novel. First, why did he consider that if the Soviet Revolution had been led by women it'd have seen less bloodshed ('புரட்சிப் பெண்களால் நடத்தப் பட்டிருந்தால் இவ்வளவு ரத்த வாடை வீசியிருக்காது').  He demurred that that's only a view point expressed by a character. If I remember correctly Jemo has used that phrase as his own opinion in some blogs of his thats why I posed the question to him. A fiction writer can easily dissociate himself from what a character says in the pretext that it is the character speaking. I shall write a detailed review of the novel as to why I still consider it his own view. Though he veered away from communist circles he still retains a fondness for Marxism which, like P.A.K's love of Stalin, is inexplicable to me. I did tell Jemo that his research on Stalin was spot on and how he was correct about communists actively trying to cover  up Marx's affair with Helen Demuth. Written in pre-wikipedia times that too sitting in India it was difficult to research that topic. One curious thing I observed is that he often cites Malayalam or Tamil translations of many western authors including Deutscher (I think). Probably he feels more comfortable reading them and probably they were more readily available too. I pointed out that his characterization of Bukharin's wife as innocent and naive was not however true in real life. I had always wanted to tell Jeyamohan that he handles portrayal of sex scenes better than Charu Nivedita. தமிழ் எழுத்தாளர்களில் சிறந்த செக்ஸ் எழுத்தாளரென்று ஜெயமோகனை தாராளமாக சொல்லலாம். When I had a private moment with him I did tell him that (had to be safe because a lady I had not seen before was there with us. I am not referring to Arunmozhi). Jemo smiled and said "don't spoil my name".



We briefly discussed his writing of Venmurasu. I am not sure how the topic cropped up. He has answered a hundred times as to 'why' he writes it. I did not want to insult him by asking again "why are you putting so much effort into it? how many are reading?' etc. Earlier while discussing about Derrida he said Nitya used to say "when approaching a writer like Derrida who has written copiously we now have the luxury of just going directly to a summary of his corpus, a 'readers edition', because the sum total of his efforts is to reach that pinnacle. Every book is an incremental effort in that direction". I cited how many multi-volume books have gone out of print. He quickly pointed out that the books I cited are non-fiction and that Venmurasu, a re-creation of an epic that is close to the Indian psyche, will not lose relevance or reader interest. He expressed the hope that many 'reader editions', smaller novellas, would come out of each volume. May his hope be rewarded.

In the course of that discussion Will Durant again came up as a topic. He had once written that Durant was a typical colonial outlook writer who looked down upon Eastern philosophy. I had then written to him that that was not at all true and to the contrary Durant highly respected Eastern philosophy. I quoted Durant himself and then pointed out how he wrote his first volume on "Story of Civilization' dedicated to India and China. Durant had visited India to gather material for that and even met Gandhi. Now Jeyamohan brought it up and said "No, Aravindan I was about to reply you back but I forgot. I collected evidence about a protest letter signed by several Indian authors scolding Durant for his omission of India in the first edition of Story of Civilization". I told him that that simply could not be true and that probably some mistake happened either in the local translations or local editions. Only later I remembered that Durant wrote another book called 'The case for India" arguing for India's independence.

Finally as the evening was drawing to a close I asked him one question that had been nagging me for a long time. How could he, a person who considers Nithya Chaitanya Yathi and Sundara Ramasamy as his mentors, consider Ilayaraja a mentor. I omitted mentioning prostrating at Raja's feet. Jemo did not flinch or demur but he gave a lengthy answer cheerfully. I'll omit the answer here for the same reason that I said I'd rather not divulge any of the cinema related discussions. Suffice it to say it was an interesting and at least a part convincing answer. I left it at that.

So what are my impressions in summary? This was just a friendly hosting for a person with whom I had corresponded and one who I read avidly. I saw a very warm and funny side of Jeyamohan. I hope he has pleasant memories too. Other than that neither expected any revision of opinions of the other. He had charmingly written "I'll be happy to accept your hospitality and you can continue disagreeing with my opinions". I was indeed surprised that he had not read Sinclair Lewis. One thing I've observed about those who write in Tamil is that while they are very well read in the fiction area, especially of the Russian and Latin-American writers, their exposure to American writers beyond Faulkner, Bellow and a few others is not that much. Possibly a paucity of translations could be a reason. Jeyamohan, thanks primarily to his tutelage under Nitya and Su.Ra, has quite a breadth in World history, philosophy, art, sociology and anthropology. However, many of the authors he cites are pretty long gone. Sure, many of the books though dated are still gems but newer scholarship in recent years has added to the knowledge. Also once he arrives at a conclusion based on some author I don't think he relishes revising his opinion. For instance his recent talk on Ravi Varma was based on his readings of A.K. Ramanujan.

Tagore's chief bone of contention with Gandhi was the latter's nationalism. Tagore feared that strident nationalism would breed a certain parochialism. That's why Tagore probably saw a more kindred spirit in the more cosmopolitan Nehru. Jeyamohan loves India and Indian heritage very, very deeply and it completely colors his worldview. Anything Western raises suspicion in his eyes.

Another observation is about his fascination about the movie industry. I do not share his enthusiasm about the movie industry much less the Tamil movie industry. That said I'll gladly concede that it is his personal prerogative how he earns his money. Even if he stops writing literature today he has a body of work that'll speak his name for several decades. I don't expect him to serve Tamil society by writing literature and living in penury. Thats a silly and feudalistic expectation that does not behoove an Ayn Rand reader. But I'll be fair in probably saying that Jeyamohan the Atlas has decided to shrug literature and move on to movie industry. Let me be careful in saying categorically that I'll not characterize that kind of a move as sell out or Faustian bargain. A life can be lived at many levels in many phases. If he chooses to become a movie industry person that should in no way affect how his other works are judged. However, I doubt if another விஷ்ணுபுரம் or பின் தொடரும் நிழலின் குரல் or கொற்றாவை would happen anytime soon. Venmurasu has been a lifelong preparation for him so he could write that along side writing dialogues for Shankar and Kamal Hassan. The intellectual climate that he inhabited while writing those novels is different from what he inhabits today.

I am sure Jeyamohan will continue stir the hornet's nest every now and then. Just a day or two after we parted he re-published his blog "Am I a Hindu". It was a lengthy reply to a reader on what it means to be a Hindu. As usual it contained shockers in it like there being no place for 'doubt' in Christianity and how Buddhism was a very peaceful religion that never conflicted violently with other religions but engaged only in civil and high minded philosophical debate. I need to write a lengthy rebuttal to all that.

The natural question that arises at this point is what do I see in him? Whether I agree or disagree with him I owe him a debt because without those provocative blogs I'd not have gone in search of some answers and gained better wisdom.  While I disagree entirely with his view of the Christianization of South Korea I need to concede that if he had not raised it as an issue I may never have gone in search of details about that and that would've deprived me of a certain knowledge. Oh I almost forgot that he jokingly ribbed me that my blogs rebutting him have become staple diet for those who oppose him tooth and nail. And he also needled me on my blog against Abhilash's uncouth attack on Ambai. I later wrote to him that I don't write blogs instigated by somebody or to appease somebody. My blogs are in English and as such have limited readership. While I am happy to note that I now do have some decent readership I still plough my lonely furrow according to the dictates of my conscience. My choice of topic remains only what interests me that day and if I think I've a valid perspective to add. When a lady at the NJTS dinner asked if I'd write about Jeyamohan's speech that evening, which I told her I had liked, Jemo laughingly added "well, since he named his blog contrarian he tries not to write anything that is not contrarian or is complimentary of anything". Actually no. I've indeed written many that are about what I liked.

When all is said and done here are what I think will be Jeyamohan's contributions to the Tamil society outside of his novels. First, he incessantly and persistently teaches how to be a discerning reader. In a society where establishing standards and measuring against them is almost non-existent he is doing this at great personal cost because he mires himself in endless controversies. Sure other writers before him have done the same but thanks to the internet today Jeyamohan probably reaches more readers than others did before him and thanks to social media every time he kicks up a controversy there is discussion around it. Even if the discussions are mostly lumpen in nature it is still an incremental advance for the society. Second, in a state where political culture had completely decimated any healthy appraisal of India's heritage and its founding fathers Jeyamohan is almost the only sane voice stridently arguing for them. Third, in a feudal society that still asks "do we need to know M.S. Subbulakshmi's antecedents" he has patiently explained, time and again, why we need to tell inconvenient truths. Fourth, and this is most important, even when I disagree and say he is wrong on some issue I owe him the debt for at least having started a discussion.

Jeyamohan and controversies are inseparable. Even him being awarded the Iyal award became fodder for controversy. I had an exchange regarding that on Facebook. I've reproduced the transcript at the end of this blog (pardon the Tamil grammar mistakes).

ஜெயமோகனும் இயல் விருதும்: (http://arunmozhivarman.com/2015/07/08/இயல்-விருது-விழா-2015/) . அந்தப் பதிவை மறுத்து நான் எழுதியக் குறிப்பு:

ஜெயமோகனை அதிகம் மறுத்து எழுதிய என்னால் சற்றும் ஏற்க முடியாதப் பதிவு இது. தனி மனித காழ்ப்பே இப்பதிவில் தெரிகிறது. இயல் விருது மட்டுமல்ல ஞானபீடத்திற்கு முற்றிலும் தகுதியானவர் ஜெயமோகன் என்றுக் கூறுவேன். அவருடைய சமீபத்திய 'நான் இந்துவா" என்றப் பதிவிற்கு நீண்டதொரு மறுப்பை எழுத உத்தேசித்துள்ளேன். அப்பதிவில் உள்ள என் பார்வையில் தவறான முடிவுகள் மற்றும் கருத்துகளை தக்கத் தரவுகளோடு எழுத உள்ளேன். ஆயினும் அவர் மீது மதிப்புண்டு. தமிழ் இலக்கியம் மற்றும் கருத்தியல் சூழளில் ஜெயமோகனுக்கென்று ஒரு பீடம் இருக்கிறது.

"ஜோர்ஜ்.எல் ஹார்ட்டும், லணமி ஹோம்ஸ்ரோமும் தமிழின் பெரும் பங்களிப்பாளர்களாக எப்படிப் படுகிறார்கள் இவ்விருதுக் குழுவின் கண்களுக்கு?" என்று அவர் கேட்டதில் என்ன தவறு? அப்படி இந்தப் பதிவர் அது தவறானக் கருத்தென்றால் அதைத் தரவுகளோடு மறுத்துவிட்டுப் போகட்டுமே. ஈழத்திலிருந்து காத்திரமான இலக்கியம் வரவில்லை என்று ஜெயமோகன் பதிவிட்டதாக ஞாபகம். நான் படித்த வரையில் வேறெவரும் ஈழ எழுத்தாளர்கள் என்று யாரையும் கொண்டாடிப் பார்த்ததில்லை. அப்படியிருக்க ஜெயமோகன் ஈழ எழுத்தாளரைக் குறிப்பிடவில்லையென்று அவரை மட்டும் குற்றம் சாட்டுவது சரியல்ல. நாஞ்சில் நாடனும், எஸ்.ராவும் இயல் விருதுப் பெற்றப் போது அதைப் பாரட்டி சரியானத் தேர்வு என்று கொண்டாடியதும் ஜெயமோகனே.

உலக இலக்கிய வரலாற்றில் இலக்கியவாதிகள் விருதுகள் பற்றி இகழ்ந்துரைப்பது, விமர்சிப்பது பின் அந்த விருதைப் பெறுவது என்பதெல்லாம் ஒரு விஷயமேயில்லை. சரி அவர் விமர்சனமெல்லாம் தவறு என்றே வைத்துக் கொண்டாலும் அந்த விருதுக்கு அவர் முற்றிலும் தகுதியானவரே என்பதில் யாரும் ஐயம் கொள்ள முடியாது.
ஈழப் போரட்டத்தை எதிர்த்தற்காக ஜெயகாந்தனின் ஞானபீடத்தைப் பிடுங்கிக் கொள்வதா அழகு? நாஜிக்களுக்குப் பிரசாரம் செய்தார் என்பதற்காக பி.ஜி.வோடவுஸ் நூல்களைக் குப்பைஎன்றா சொல்ல முடியும்? வாக்னர் யூத வெறுப்பாளன் என்பதற்காக அவன் இசையைப் புறந்தள்ள முடியுமா? மொஸார்த் ஒருப் பொறுக்கி என்பதற்காக அவன் மேதமையை மறூக்க முடியுமா? 

ஜெயகாந்தன் பெண் படைப்பாளிகளையும்,பெண்ணிய வாதத்தையும் தூக்கிப் பிடித்தவர்ல்லர் அதற்காக அவர் எழுதியது குப்பையா? இது என்ன பத்தாம் பசலித்தனம்? நாய்பாலும், பிலிப் ராத்தும் பெண் வெறுப்பாளர்களென்றே அறியப் பட்டவர்கள் அவர்களுக்கு கிடைக்காத பெயரும் புகழுமா?

கவனிக்கவும், நான் ஜெயமோகனை மறுத்து அந்தப் பெண் எழுத்தாளர்கள் விவகாரத்தில் மிகவும் காட்டமான பதிவுகளை எழுதியுள்ளேன். 

இது ஏதோ அவர் மேல் நான் கொண்ட திடீர் அன்போ, மதிப்போ அல்ல. அவரை, முன்பேக் கூறியதுப் போல் நான் இன்றும் விமர்சிப்பவனே, ஆனால் அவரின் மதிப்பை சாரமில்லாமல் காழ்ப்புணர்ச்சியோடு வசைப் பாடுவது ஏற்க முடியாதது மட்டுமல்ல அதை மறுப்பதும் ஒரு அறமே.

என்னைப் பலர் “அவரிடம் ரசிக்கவோ சிலாகிக்கவோ உணக்கு எதுவுமில்லையா” எனக் கேட்டிருக்கிறார்கள். “நான் ரசிக்கும் ஜெயமோகன்” என்றுக் கூட எழுத நினைத்தக் கட்டங்களுண்டு. அவர் நியூ ஜெர்சியில் ஆற்றிய உரையைப் போல் வேறு யார் பேசியிருக்க முடியும் என்று எனக்குத் தெரியவில்லை.

நான் அவரை ஆசான் என்று குறிப்பிட்டது இணைய வழமையைப் பின் பற்றி தான். I'd much rather use the English phrase 'public intellectual'. என்னுடைய வழக்கம் அவர் பெயரைக் குறிப்பிடுவதுதான். ஆசான் என்று நான் குறிப்பிடுவது பெரும்பாலும் ஒரு kidding (நக்கல் என்றோ கிண்டல் என்றோ அர்த்தம் கொள்ள வேண்டாம்) அவ்வளவே. எழுத்தாளர் மீது யார் வேண்டுமானாலும் காட்டம் கொள்ளலாம். அவர் மீது மிகக் காட்டமாக எழுதியவன் என்ற முறையில் அந்த சுதந்திரத்தை நான் எப்படி மற்றவருக்கு மறுக்க முடியும். ஆனால் காட்டமாக எழுதப் பட்டது என்பதை சுட்டிக் காட்டுவதையும் யாரும் செய்யலாம். பொது வாழ்க்கையில் இருக்கும் யாரும் ஒழுக்க சீலர்களாக இருக்க வேண்டும் என்று நான் எதிர்ப்பார்ப்பதில்லை. அவர்களின் தனி வாழ்க்கை மற்றும் முரன்களை மூடி மறைப்பதை நான் விரும்பாத போதிலும் அதைக் கொண்டே அவர்களை எடைப் போடுவதும் எனக்கு ஒப்புமையில்லை. Unless the personal failing has a direct correlation with what they do or affects the public I've no issues. Radhakrishnan and Tolstoy were womanizers. You probably know more examples. I was only disagreeing with the article in as much as it seemed to imply Jemo was undeserving of the prize due to extraneous factors. If the article had established that his literature was no good and THEREFORE he was ineligible for a literary prize then I'd agree with the premise.

Since the topic of how to judge artists and writers is an interesting one I shall add a few remarks here. I don't mean to flog the topic however. 

ஜெயமோகன் யூத படுகொலைகள் வரலாற்றுப் பூர்வமாக ஆராயப்படவில்லையென்று அதிர்ச்சித் தந்தவர் தான். 2009-இல் அமெர
ிக்கா வந்துவிட்டு அப்படி எழுதினார். வேதனையான வேடிக்கையென்னவெனில் அவருடைய 'பின் தொடரும் நிழலின் குரல்' நாவலில் யூதப் படுகொலைகளை வரலாற்றில் நிகழ்ந்துவிட்டத் துயர் மிகுந்த சம்பவம் என்று எழுதியிருப்பார். 2009-இல் நான் அவருக்கு யூதக் கொலைகள் ஒன்றும் செவி வழி செய்தி அல்ல மாறாக மிகக் கறாரான வரலாற்றாய்வுகளுக்குட்படுத்தப் பட்டதெனெ எழுதினேன். அவர் அதை ஏற்கவில்லை. 2012-இல் அந்தக் கொலைக் களன்களுக்கு நான் நேரில் சென்று வந்தப் பிறகு மிக விரிவான மறுப்புரையை எழுதினேன். அவர் ஏற்பார் என்ற நம்பிக்கையில் எழுதவில்லை. வாசகர்களுக்கு வரலாறு தெரிய வேண்டுமென்று எழுதினேன். வரலாற்றில் ஆழ்ந்து ஆய்வு செய்யப்பட்ட ஒரு துயரத்தையே மறுத்த அவர் அதிகம் ஆவணப்படுத்தப்படாத IPKF வண் புணர்வுகளை மறுத்தது ஆச்சர்யமல்ல. அது சரியுமல்ல. ஜெயமோகன் எனும் எழுத்தாளரைப் பற்றிக் குறிப்பெழுதினால் இந்தக் குற்றச்சாட்டுகள் கட்டாயம் இடம் பெற வேண்டும். அவருடைய 'அறம்' கதைகளைப் பற்றிய மதிப்பீட்டில் கூட 'அறம் எழுதியவரின் தனி மனித அறம் வழுவியது' என்ற அளவில் தான் எழுதலாம். ஆனால் அறம் கதைகளின் இலக்கிய மதிப்பீட்டில் அதற்கு இடமில்லை. 'அண்ண கரணினா'வை டால்ஸ்டாயின் தனி மனித வாழ்க்கையைக் கொண்டு மதிப்பிடக் கூடாது. 


யூத வரலாறும், யூதப் படு கொலைப் பற்றிய வரலாறும் எனக்கு ஆருயிரானவை. ஜெயமோகன் அப்படி எழுதியது என் ரத்தத்தைக் கொதிப்படைய வைத்தது என்றால் மிகையில்லை. நிற்க. இங்கே வேறொரு ஒப்புமையும் தேவை. 

பி.ஏ.கிருஷ்ணன் ஸ்டாலினின் படுகொலைகளை மறுக்க மாட்டார் ஆனால் அவை ஏகாத
ிபத்திய சக்திகளால் அத்தீதமாக பூதாகரமாக்கப் பட்டன என்றும் புகாரின் போன்றோரின் கொலைகள் அக்காலத்திய நியமங்கள் படி அப்படி ஒன்றும் அநியாயமானவையல்ல என வாதிடுவார். பெர்னார்ட் ஷா கூட ஸ்டாலினை ஆதரித்துள்ளார் ஆனால் அவர் காலக் கட்டத்தில் ஸ்டாலினின் கொடுங்கோல் ஆட்சிப் பற்றி அவ்வளவாக வெளியேத் தெரியவில்லை. இன்றோ ஆதாரங்கள் கொட்டிக் கிடக்கின்றன. அவ்வளவு ஏன் உங்கள் தந்தைக் கூட சமூகத்தை மாற்றி அமைக்க தனக்கு ஸ்டாலின் போல் அதிகாரம் கிடைத்தால் நன்று என்றுக் கூறியதாக ஜெயமோகன் எழுதியிருப்பார் (அது உண்மையா என எனக்குத் தெரியாது). மேற்கத்திய இலக்கியவாதிகள் பலரும் ஸ்டாலினை விதந்தோதி அவர் நிகழ்த்திய ரத்த வெறியாட்டத்தை நியாயப் படுத்தியோ மறுத்தோ எழுதியிருக்கின்றனர். 

ஜெயகாந்தனும், குஷ்வந்த் சிங்கும் இந்திராவின் அவசர நிலைப் பிரகடனத்தை ஆதரித்தனர். 

IPKF-இன் வண்புனர்வுகளுக்கு வானளாவ குதிப்பவர்கள் விடுதலைப் புலிகளின் மனித உரிமை மீறல்கள் பற்றிப் பேசத் தயாரா (உங்களைச் சொல்லவில்லை அந்தப் பதிவர் போன்றவர்களைக் கேட்கின்றேன்). பதின்ம வயது பெண்கள் மற்றும் பெண் குழந்தைகளை அமைதிப் படை சோதிக்கத் தயங்கும் என்றறிந்து அப்பெண்களை போராளிகளாகவும் ஆயுதம் கடத்துபவர்களாகவும் பயன்படுத்தியதை மறுக்க முடியுமா?

ஜெயகாந்தன் ஸமஸ்கிருதத்தை ஆதரித்து சொன்னக் கருத்துக்காக ஒரு சாரார் காறி உமிழ்ந்தது நாமறிந்ததே. அவரும் புலிகளின் பிரிவினைவாதத்தை நிராகரித்து அவர்களை பாஸிஸ்டுகள் என்று சாடியதற்காக எவ்வளவு நிந்தனை செய்யப்பட்டார் சமீபத்தில். ஆனால் அவைகளைக் கொண்டா நாம் அவர் இலக்கியப் பங்களிப்பினை அளப்பது?

தனி மனித சுதந்திரம் பற்றி மாய்ந்து மாய்ந்து எழுதிய ஜெயகாந்தன் அவசர நிலைப் பிரகடனத்தை ஆதரித்தது ஒரு சறுக்கலே. அதைக் கட்டாயம் நாம் பதிவு செய்ய வேண்டும். ஜெயகாந்தன் எனும் இலக்கியவாதிக்கு தான் ஞானபீடம் ஜெயகாந்தன் எனும் அரசியல் விமர்சகருக்கோ தனி மனிதனுக்கோ அல்ல. ஜெயமோகனுக்கோ ஜெயகாந்தனுக்கோ ஏதேனும் 'அமைதி விரும்பி' பரிசளித்தால் இந்த் முகாந்திரங்கள் கொண்டு அவர்கள் அப்பரிசுக்குத் தகுதியானவர்களில்லை எனக் கூறலாம். 

எந்த மானுட அழிவையும், அமைதிப் படைக் கொலைகளோ, புலிகளின் மீறல்களோ, ஸ்டாலினின் வெறியாட்டங்களோ, யூதப் படுகொலைகளோ எதுவாயினும் சித்தாந்தத்தின் பெயரிலோ வேறெதுப் பெயரிலோ அவற்றை மறுப்பதோ, குறைத்துப் பேசுவதோ அறமல்ல. இது அமெரிக்காவிற்கும், இஸ்ரேலுக்கும் கூடப் பொருந்தும். 

I'd heartily recommend Paul Johnson's "Intellectuals" to know how Marx, Tolstoy, Ibsen, Russell, Shelley, Rousseau were all practically scumbags. smile emoticon

Sunday, May 31, 2015

Abilash's hack job on Ambai: Is Feminist Criticism Invalid?

Abilash, in yet another of his flights of fancy, wrote a hack job on Ambai's feminism oriented criticism of Tamil fiction writing. Apparently Abilash thinks Ambai is some teenage wannabe critic. In his zeal to debunk Ambai's perspectives Abilash makes it appear that Ambai is somebody looking for a work of fiction to satisfy every special interest group with a surfeit of political correctness. This to a woman who has written stories with sexual overtones which even many male writers would shrink away from. Where Thi.Ja would demur from describing the organs Ambai would describe pubic hairs.

When I read 'அம்மா வந்தாள்' I almost puked at the part where Alangaram has sex with her cuckold of a husband. "அலங்காரம் எந்த அலங்காரமுமில்லாமல் குழந்தையாக கிடந்தாள்". ஏனய்யா சம்போகத்துக்காக தன்னை நிர்வானப்படுத்திக் கொண்ட ஒரு பெண்ணின் நிர்வானத்தை குழந்தையின் நிர்வாணத்தோடா ஒப்பிடுவது? Now, THAT is being politically correct. And Thi.Ja's daughter wrote with pride that her father never read pornography. Many who wax eloquent about Mogha Mul (மோக முள்) unfailingly mention how Thi.Ja was discreet about sex, keeps sexual attraction as an under current and the writing only glides over a sexual climax. A 'Lady Chatterley's lover' kind of overt sexuality, that too by a woman, would still offend many in sexually repressed Tamil audience. The point being, if it is valid to praise a work of art for how it handles a topic it is equally valid to contend that how characters are etched could detract from its artistic merit. If the portrayal of Yamuna, born to a concubine, is not a lusty nymphomaniac, is considered as the strength of that character why is it wrong to see it the other way? Why should the latter perspective be considered 'feminist'? Even if it is 'feminist' is that ipso-facto an invalid criticism?

Abilash 
In my perspective on Jeyakanthan I had underscored how Jeyakanthan's portrayal of women, his rebelliousness not withstanding, often are stereotypes. Abilash lectures Ambai, of all people, that she fails to understand that in a work of fiction it is the characters acting thus and not necessarily the author himself. Yes and no. A work of fiction is not completely divorced from who the writer is. When a certain characterization of a class of people, in this case women, is persistent across several works it is fair to ascribe it to the worldview of the author. Unfortunately Abilash in his urge to take up cudgels on behalf of his tribe is blinded with rage against the validity of such a criticism.

Bharati's characterization of all that is sublime and worthy of aspiring for as Aryan does reflect that he was a man of his times his rebelliousness not withstanding. And pointing that out is NOT indicative of a puerile mind seeking political correctness in a work of art. Writing of how a girl should conduct herself Bharati writes "நிமிர்ந்த நன்னடை, நேர் கொண்ட பார்வை". I guess what the Bard calls "wanton ambling nymph" would irk Bharati. Bharati portrays a man dreaming of an idyllic setting and ends on a note of yearning for the company of a 'chaste woman'. Bharati, it is fair to point out, as Ambai does, has no specification of chasteness for the man. Why is it parochial feminism to point out the obvious and ask a valid question?

The diatribe (http://thiruttusavi.blogspot.in/2015/05/blog-post_73.html) was occasioned by Ambai's retrospective on Sahitya Akademi awardee Nanjil Nadan's works for Padhaakai, an online Tamil magazine (http://padhaakai.com/2015/04/27/ambai-on-nanjil/). Ambai's panoramic retrospective of Nadan's fiction across the decades touched on his strengths and what she perceived as its shortcomings, including, unflattering portrayal of women, especially women in urban settings. Was the critique a tad too feminist centered? Sure it was. But is that reason enough to discredit it? Amongst the collection of articles that Padhaakai published in the Nanjil Nadan special issue, including a very extensive interview, none, barring Ambai's retrospective, even had a whiff of criticism. The issue was dripping with hagiography that bordered on slavish idolatry. Ambai's article had the structure of an academic research paper to it but for the passing reference to her personal acquaintance with Nadan.

Jeyamohan, who had opined that in the vast Indian sub-continent there are maybe 4 or 5 women who can conduct a discourse on intellectual plane, heaped praise, carefully, on other articles omitting any mention of Ambai. One of the article picked by him was by one Suresh Kannan. Kannan's article was a review of one of Nadan's book that was lavish in its praise, unreserved in its adulation and completely uncritical. S. Ramakrishnan, known for writing third rate screenplays and being a charlatan, clubbed Ambai's retrospective with A.Muthulingam's personal recollection. I guess he read only two paragraphs of Ambai's article. Now comes Abilash swinging like Don Quixote.

Abilash who never tires of pointing out that he has a PhD in English literature runs to Dostoevsky and Tolstoy to discredit Ambai's critique of Nadan. The thrust of Abilash's discrediting is that Ambai fails to distinguish a character from the writer, its creator. He cherry picks evidence to show how a character could be etched with no shade borrowed from the creator. Sure, yes. But is Tolstoy completely absent from his novels? Is Tolsoy's Christian beliefs irrelevant to discussing his novels? Is Tolstoy's moralizing a spark in a vacuum? But why bother with inconsistent evidence when the intention is to tarnish.

Interestingly Jeyamohan ran into trouble when he cited Manushyaputhiran's polio affliction as a relevant background in understanding some of his poetry. Abilash's own novel, awarded the Sahitya Akademi's Yuva Puraskar, centers around a polio afflicted woman and is based on his own experiences from polio affliction. If a man's personal philosophy, political leanings and physical afflictions can seep into a fiction then why would not a man's misogyny? And why would it be a feminist fetish to call out such a chauvinism in criticism?

The obsession that Tamil writers have for Dostoevsky, Tolstoy and Gabriel Garcia Marquez is astounding. If Tamil writers are compelled to speak without citing those three they would, I guess become tongue tied. The immense popularity of Dostoevsky and Tolstoy is in no small measure due to the Tamil translations of their novels by Soviet cultural organizations. More often than not many writers only cite Western writers of the 50s and 60s with a sprinkling of the more recent ones who, by virtue of their popularity, cannot be ignored. Interestingly I've never seen Tamil writers speak of Philip Roth, a perennial bride-in-waiting for the Nobel. No discussion of Roth is complete without speaking of whether he's a misogynist himself. Bernard Shaw's politics and misogyny is evident in his plays. Charges of racism and misogyny hung over Saul Bellow like a shadow. Of course ridiculing multiculturalism by asking "who is the Tolstoy of zulus?" only worsens it for Bellow. Rudyard Kipling could fairly be called a stooge of imperialism with an obvious poem titled 'White man's burden'. Can Sartre's novels be divorced from the persona that he was? Only a Ralph Ellison could write 'Invisible man'. Is Hemingway not seen in his novels? Could Koestler have written 'Darkness at noon' without experiencing the Communist party?

Ambai
When a persistent characterization can be seen across a body of work it is fair to ask or attribute it to the author's worldview. Nadan, as Ambai points out, is at home portraying the slum life of Mumbai but loses steam in an urban setting especially where it concerns women. Jeyamohan's 'Pin Thodarum Nizhalin Kural' is an instructive example in stereotyping. 'Pin Thodarum Nizhalin Kural' is an important work in debunking Stalinism in Tamil. Those who read only Tamil novels should read that book to have a glimpse of Stalinism. For those who are comfortable reading in English I'd recommend many others like 'Darkness at noon', 'Animal Farm', 'Captive mind','Unbearable Lightness of being' etc. Jeyamohan pervades and dominates 'Pin Thodarum Nizhalin Kural'. The author can be seen, without much effort, shifting like a chameleon as the voices of the antagonist and protagonist. Amidst such shape shifting what remains constant is the stereotyping of women and misogyny.

Blaming the blood lust of Russian revolution on the fact that all its leaders were men Jeyamohan, in the voice of his characters, opines that if revolutions had been led by women then such blood letting may not have happened. "புரட்சிப் பெண்களால் நடத்தப் பட்டிருந்தால் இவ்வளவு ரத்த வாடை வீசியிருக்காது". This too, is stereotyping, albeit a seemingly positive one. The American and Indian liberation movements, led by men, were free of the blood lust that characterized the French and Soviet revolutions. Ironically Charles Dickens's Madame Defarge is vengeful murderess in his 'Tale of two cities'. Women characters use sex to infantilize men in Jeyamohan's tale of communism. There is not a single woman character in that sprawling novel that shows woman as a person of intellect. Even Larina Bukharin, who in real life was an intelligent person and a survivor of Gulags, is portrayed as innocence personified. In fact the character of Bukharin, if I remember correctly, holds her innocence, not her intellect, as the hope for redemption.

Jeyamohan lacks the life experiences of someone like Koestler and Kundera and that is one of the big reasons for the short comings of his book in understanding the full nature of Stalinist totalitarianism and why Marxism spawned a Stalin. This is a problem for pretty much all Tamil writers. After reading Kundera's 'Unbearable lightness of being' it struck me that only Kundera, who lived through Soviet tyranny, could write that novel. Soviet tanks roamed the streets of Prague like cars. Koestler was almost executed during the Spanish Civil war. No Tamil writer can claim experiences like that of Hemingway who saw war up and close. Not many who are in awe of Tolstoy's prose realize that he was a war veteran having served in the Crimean war and did prodigious research, including talking to soldiers who had actually taken part in Napoleonic wars, to write 'War and Peace'. Tamil writers, on the contrary, live a very hum-drum life and write mostly of inter-personal relationships. It is therefore inevitable that women and sex play an important role in Tamil fiction writing. In that backdrop attitudes towards women become an important perspective to judge a work.

Jeyakanthan's much discussed 'Parisikku po' offers a telling example of how even a rebel and individualist could betray chauvinism. A man lectures his daughter-in-law that a married couple if they are truly in love with each other should have love enough to forgive even infidelities. After all what is love if it cannot forgive? The man has himself been forsaken by his wife because she had the misfortune of seeing him in bed with a danseuse. The daughter-in-law asks "is this applicable to the husband too when a wife falters". It is common knowledge that Jeyakanthan often speaks through his characters. Prefacing the question Jeyakanthan, kind of actually speaking directly, would say "with the characteristic narrow-mindedness of a woman she asked". (பெண்களுக்கே உரித்தான குறுகிய மனப்பான்மையோடு கேட்டாள்). Other than 'Oru Nadigai Naadagam Paarkiraal' Kalyani many of Jeyakanthan's women characters are feeble or wayward. He could not bring himself to create a strong woman character. Even in ''Oru Nadigai Naadagam Paarkiraal" the husband who runs away returns when his separated wife becomes paralytic and is confined to a wheel chair.

Thi.Ja's novels revolve around man-woman relationship and therefore Ambai is spot on in critiquing them from a feminist angle. When a writer makes gender relationship the backdrop of his work it is fair to critique the work asking how are women portrayed.

Nadan's story 'Mithavai' (மிதவை) is picked apart by Ambai for betraying prejudices. An educated young man leaves his village and goes to Mumbai in search of a job. Ambai contends that as he leaves the village the linguistic structure of the story shifts and falters.

The male character sees a barren Vaigai and compares it disgustingly to an aged, rather well used and aged, prostitute. Amber picks on it as a metaphor that has cultural and traditional roots. A bounteously flowing river signifies fertility and voluptuousness. A river, referred in the feminine, thus takes on an interchangeable characterization. Likewise a barren river or a barren woman are interchangeably used as metaphors for one and another. Nadan uses the analogy of a old and disgustingly shriveled prostitute in describing the effects of a famine in his Sahitya Akademi winning short story collection (உண்பேம் சிறுகதை). This is a pattern for Nadan and therefore it is game for being critiqued.

Ambai also picks on the male character wondering how would Marathi women, with their uniquely tied saree, urinate. Where Ambai sees an obsession with denigrating women I'd rather go to Nadan's anal fetish. Nadan's stories have frequent references to farting or anus. Philip Roth's male protagonist in 'Dying Animal' would have his girl friend menstruate in front of him. In another story another male character wonders if an Anglo-Indian woman who heads to the bathroom, as soon as she comes to office, does so to urinate.

Is it the fault of the reviewer that a writer has a pattern? When a pattern exists should not a reviewer point it out? Nadan's portrayal of women, as Ambai shows, has a pattern. The fault, Abilash, is not with the doctor but with the patient. Don't shoot the messenger. As much as it is idiotic to expect a writer to conform to straitjacketed formats so also it is idiotic to demand that a critic not see a work a certain way. Ambai is more than fair in underlining Nadan's strengths and picks on what she sees as shortcomings. Every time male authors yawn when a woman critic adopts a feminist angle they'd do well to ask themselves "if enough males voiced those perspectives maybe women critics would move on to other perspectives".

Abilash's vitriol laced scornful diatribe against Ambai only shows how intolerant people are towards criticism that nevertheless accompanies compliments and laudatory comments. This is classic Indian disease. Nanjil Nadan's 'Soodiya Poo Soodarka' (சூடிய பூ சூடற்க), for which he received the Sahitya Akademi award, is a very mediocre collection of stories. It is all bluster and rage signifying no intellectual reasoning. Nadan is a very simple person with a passionate love for Tamil literature but little beyond that. He has a narrative style that drips with sarcasm and is suffused with details aided by an observant eye but his lack of familiarity with history and philosophy cripples his stories from reaching a higher intellectual plane. Is it any wonder that he felt inspired to prostrate at Ilayaraja's feet and call him a Saraswati.

By the way Abilash's prize winning book 'Kaalgal' (கால்கள்) which is, according to the blurb in an interview published on his website, about a polio stricken woman has as cover photo the shapely healthy legs of a white woman and that too hinting oh so subtly at nudity. I guess sex, or even a hint of it, sells.


Monday, September 1, 2014

Jeyamohan and Women Writers - 2 : Sexist S.Ra, Jagir Raja's Jinnah, Shaji on music and Insulting Ambai

Jeyamohan gained widespread fame (or notoriety) when a Tamil weekly published excerpts of his parodies of MGR and Sivaji Ganesan, two revered actors of Tamil filmdom. I immensely enjoyed the parodies though I remain a fan of Sivaji Ganesan whom I consider an untutored genius. Thanks to his prestige Jeyamohan drummed up support from many authors, almost all incidentally male, to send a protest letter claiming that Vikatan, in the interest of free speech, should stop inciting violence against Jeyamohan. The protest letter, signed by all and sundry male high priests of literature with a fair share of unknowns, was facetious in claiming that the article incited violence. Yet, today, it is the same Jeyamohan who mocks the ill thought out protest letter by female authors.

Deriding, en masse, all Tamil women writers, as not having written anything of worth on par with him or any of the other male writers, Jeyamohan kicked off a furore. He showed less finesse than Larry Summers who, as President of Harvard university, wondered about the lack of women in science and mathematics fields. Summers, for not showing sensitivity and nuance in a blunt observation, lost his presidentship of Harvard. Stating facts is no big deal. Any kindergartner can do that. To situate facts in a wider context needs a finer mind and Jeyamohan showed absolute recklessness in his charge.


Not too long ago women from even educated upper class households remained not just uneducated but actively prohibited by a stern patriarchal society from any attempt to indulge in finer arts. In the oppressively feudal society that India was, even unto the middle of the last century, it was left to women of disrepute to sing and dance. Devaki Nilayamgode, born into a high caste Keralite family, recounts the stratification of society and deep running male chauvinism of the Namboodiri families in her memoir 'Antharjanam'. Nilayamgode had to depend on her brothers to smuggle books to read. 

The novel is itself a new form for Indian literature that made its advent, in a prevalent manner, only in the latter half of the recently ended last century. If one took the early attempts at writing a novel it would look puerile and less than juvenile. Those early writers were, unsurprisingly, male. It took decades for male writers to learn how to write a novel. Harriet Beecher Stowe famously started a war with her 'Uncle Tom's cabin' published in 1852. Margaret Mitchell took America by storm in 1936 with her 'Gone with the wind'. Tamil novel writing did not come of age until 1950s dominated, naturally, by men. How many a Nilayamgode, without brothers to smuggle books, would have died trying to become a Margaret Mitchell? 

Jeyamohan conducts a literary retreat every year for his readers. Women attendance is very sparse at best. The issue of accommodation apart, it is not easy for even motivated women readers to attend such a meeting. Jeyamohan, writing to P.A.Krishnan in an exchange of emails, said of his wife "she has written literary criticisms. Two articles appeared in Thinnai. She even wrote her impressions of a novel by Su.Ra. Now she is pressured with too much work at office. Coming home she has to take of cooking and other chores. Little time to read or write". The liberty with which men pursue their intellectual interests is not available to the Tamil women whether it is Jeyamohan's home or mine or anybody else's. Many readers concurred with Jeyamohan on his observation regarding women writing but little dialogue happened about how to encourage women or a nuanced discussion of why it is so. If England can establish a prize to encourage women writers I see no reason as to why Jeyamohan, with his considerable influence, not think of ways to change what he calls a lamentable mediocrity. 

Until the recent liberalization of Indian economy most parents goaded their children into becoming either doctors or engineers. If boys lacked a freedom in choosing their future girls had absolutely no choice. Economic differences, as always, accentuates the iniquities. While it is not uncommon to see girls of affluent families attend premium colleges in cities and graduating in literature studies, that too only in English, girls taking up Tamil literature, especially in smaller towns, do so as a last resort for lack of academic qualification to enter any better course. 

Shobha De wrote sheer pornography and yet she is feted as a socialite whereas Kutty Revathi writing an anthology of poems titled 'Breasts' invites scorn and ridicule including snide remarks about her physique. The difference was that Shobha De wrote in English and Revathy wrote in Tamil.

It is time to measure some of the male authors with the Jeyamohan standard.

The word charlatan was invented to describe the likes of S.Ramakrishnan. Addressing an exclusive audience of girls S.Ramakrishnan suggested that the first step to becoming a historian is as simple as standing in a kitchen and wondering about the many spices that abound in an Indian kitchen. Would S.Ra advise a male audience to step into a kitchen as the first step to becoming a historian? And that is exactly where the problem lies in India. In a country where Romila Thapar still lives girls are told that sitting and wondering about spices in a kitchen is the way to become a historian. A kitchen can only give questions but the answers lie outside the kitchen. But then expecting S.Ra to know that is foolhardiness.

S. Ramakrishnan made a fool of himself speaking about his impressions of America after a visit to US in 2012. Ramakrishnan's series on Indian history in a popular weekly smacked of jingoism and could not by any stretch called history writing. Once he had published a Tamil version of a Hans Christian Andersen. Impressed by the story I checked out the original. The Tamil version diverged from the original past the halfway mark. I wrote to S.Ra pointing out the difference and, with respect, asked how such an error creeped in. He replied that the fault lay in the translation. No big deal. But he not only did not publish a correction but later repeated the same mistaken translation at a function that was attended by Rajinikanth. These egotistic writers never like to correct themselves. I cannot remember the number of times S.Ra was held to the standards that Jeyamohan eagerly applies to women.

Since Jeyamohan often speaks of Jagir Raja out of curiosity I checked in on him. Jagir Raja, who reads very little or nothing in English, had blogged what he had learned of Jinnah from a Tamil book. The blog was plain nonsense. Raja waxed eloquent on the secular credentials of Jinnah without even once mentioning Direct Action day. He showed appalling ignorance of the complex personality of Jinnah. With that kind of an understanding Raja had written a fiction based on Jinnah.

A reader wrote to Nanjil Nadan asking about the portrayal of a Christian doctor as a religious bigot in a movie that he wrote the dialogues for. Nanjil reiterated that he was portraying historical truth. Ironically the doctor, in true history, was anything but a bigot. Daniel, the original doctor in history, was a humanist who toiled for the sake of the indentured laborers in tea estates. Tom Clancy had more fealty to realistic depiction than Nanjil ever had. In the west it is an abomination to recycle talking points, especially, in a speech delivered as recipient of an award. Nanjil's acceptance speech after receiving the Iyal award in Canada was basically a rehash of his favorite talking points. I am yet to see any Tamil writer capable of delivering a lecture that can match a Charles Eliot Norton lecture or the highly prestigious Jefferson lectures.

Most Tamil writers lack a coherent world view and an appalling ignorance of history or politics beyond the shores of India. Jeyakanthan who earned respect for his opposition to Dravidian style lumpen politics later meandered and offered silly ideas like making Priyanka Gandhi the head of Congress. Bent by age, poverty and pressed by the need to get a job for his son Jeyakanthan, to the shock and disgust of many, groveled before Karunanidhi, the man he had railed against for decades, for providing a golden era of governance. That, at a time when even DMK sympathizers had conceded that it was the most corrupt governance of all the times that Karunanidhi had governed. Jeyakanthan never understood or learned of the grotesqueness of the communist regimes which he continued to portray favorably in his novels, including one he wrote in the early 80s.

Jeyamohan pulls no punches when it comes to criticisms. It takes a certain gumption and stringent ideas of literary value to call Kalki a historian for children. He spares none, man or woman. One could easily call him an equal opportunity offender. However, he does have his biases and favorites. Jeyamohan, as critic, is not without a fair share of faults.

Most often my friends chide me for carping about Tamil writers. Invariably I am told "you should remember that unlike western authors these people have meager means and their books, even the best, sell at meager numbers compared to the west".  Tolstoy's research for writing 'War and Peace' is legendary. Gore Vidal's books can be considered history textbooks.Who in Tamil, male or female, can write a book that can be placed beside Marguerite Yourcenar's 'Hadrian'? Who in Tamil can even do a fraction of the prodigious research that Yourcenar did on Hadrian in the library at Yale university. And to my friends my answer is "Yourcenar was not rich to undertake such a research". It's not just Yourcenar even Tom Clancy and Ken Follett do research for their fictions at a level that almost no Tamil author can easily match. I almost forgot Hilary Mantel.

Ask any Tamil reader for a book with music as theme and he/she would parrot Janakiraman's 'Moga Mull'. Janakaraman's fiction is eons behind Thomas Mann's 'Faust'. Mann wrote the book after lot of discussions with musicologist and philosopher Theodor Adorno. Of course, in a country where there is no Adorno there can be no Mann either.

Tamil Nadu's Theodor Adorno is Shaji, another friend of Jeyamohan. Only in a state like Tamil Nadu can somebody like Shaji prance around as music critic. The same goes for Subbudu too. Shaji recently wrote a blog that claimed Michael Jackson is proof that music is not 'learned' but 'felt'. Jackson was patiently trained by his talented father, a fact that Shaji himself points out in his blog. Malcolm Gladwell had better understanding of Mozart's genius than Shaji understood Jackson's talent. The only time Jeyamohan would chide Shaji is when the latter runs down his new found guru Ilayaraja.

If one looks at non-fiction books the writers in Tamil cut a pathetic figure. Thomas Kuhn, Allan Bloom and Samuel Huntington took America by storm with their books on Science, Sociology and foreign policy. Today Thomas Piketty is sweeping across the publishing world like a Tsunami. Nobody can speak of distributive justice without mentioning John Rawls or Robert Nozick.Sujatha till he breathed his last could not write a single chapter on quantum physics with the clarity of John Gribbin.  If one has to understand the rise of Al Qaeda one has to read Lawrence Wright's 'Looming Tower'. A Tamil author who prances around as an authority on foreign policy freely excerpted the 9/11 commission report to write on 9/11. His other columns on foreign affairs, written amidst his work for inane and dumb TV serials, shows the aboriginal state of tamil writing, irrespective of gender, with regard to non-fiction. To be fair, Jeyamohan has always pointed out that Sujatha is no science fiction writer but one who uses the veneer of science to dress up pulp fiction detective stories. Tamil still does not have a credible science fiction writer let alone anyone that can stand up to Isaac Asimov or Ray Bradbury. With great curiosity I bought a collection of essays by Pudumai Pithan. The essays were, to put it charitably, pedestrian. Who will be Tamil's Francis Bacon or Jonathan Swift? Let's not go that far. Just check out Mario Vargas Llosa's collection of essays.

It is common to find western authors well informed on history and more importantly cultivate a vision of history. Nanjil, S.Ra, Jeyakanthan and many others have little or no idea of history let alone a sweeping vision of history. Jeyamohan, however flawed, to be fair, at least tries to have a vision. Sundara Ramasamy and P.A. Krishnan are stunning when it comes to their adulation of Stalin. Krishnan, a very erudite person, in an email exchange with Jeyamohan mentioning the latter's 'பின் தொடரும் நிழலின் குரல்', demurs that Stalin is unfairly called a monster. In his 'சுந்தர காண்டம்' Jeyakanthan has a character from Soviet Russia through whom he would pay encomiums to USSR such as that there are no orphans in USSR since the state takes care of them. Stalin created orphanages for the children, many were toddlers, of those parents who were condemned as families to either die or go to gulags. I doubt if Jeyakanthan had ever read anything of the vast anti-communist literature. I shall return to 'பின் தொடரும் நிழலின் குரல்' and the Stalin topic in a separate blog.

I've enjoyed many of Jeyamohan's blogs where he patiently deconstructs icons like Sujatha, EVR and others. He is a patient educator on the need to refrain from whitewashing truth to preserve a deified image of a persona. There are times when he steps out of his boundaries to write brilliant articles like the one he wrote on Abraham Pandithar's contribution to carnatic music or the history of literary squabbles in Tamil literature or on grammar Nazis and many others. In a state where the memory of Gandhi has been made to be a distasteful one it is Jeyamohan who has written some of the finest articles on Gandhi. And then there are other sides to Jeyamohan as critic and opinion maker.

Mark Van Doren's book on Shakespeare's poetry opens with the lines that Shakespeare was not a good poet. Bernard Shaw famously wrote a preface titled "better than Shakespeare?" for his play 'Antony and Cleopatra'. Asking if Bharathi was a great poet is not sacrilege. When Jeyamohan waxes eloquent on movie lyricist Kannadasan I wince. Though Jeyakanthan was friends with Kannadasan he refused to call the latter a poet saying that a movie lyricist is different from a poet. Awarding the 'Kannadasan prize' to Jeyamohan the organizers gleefully reprinted on the invitation his words that 'after Bharathi Kannadasan was a great poet'. To speak of Bharathi and Kannadasan in the same breath is puerile.

In another blog Jeyamohan cites Nataraja Guru as throwing out S.Radhakrishnan's 'Bhagavad Gita' simply because Radhakrishnan in his preface had stated that the Gita is a Hindu religious text. The umbrage was that he failed to call it a book of Indian philosophy. I wonder how come Kannadasan escapes justifiable castigation for the sexist and nonsensical drivel that
அர்த்தமுள்ள இந்து மதம்" was? Kannadasan's attempt at a long verse poem on Christ was a juvenile attempt by a movie lyricist trying to be a poet.

Bharathi re-invented a language, had dreams, dreams only a poetic soul could have, far beyond his time and age. To speak of a lyricist in relation to such a poet is a travesty. Incidentally, Jeyamohan's blogs on Indian philosophy, while being erudite by current Tamil writing standards, are not of the academic quality that Radhakrishnan showed in his magisterial two volume 'Indian Philosophy'. Unlike Will Durant, who could write dispassionately and even mockingly of the leading lights of western philosophy, Jeyamohan does not critique a philosophy. It is fair to ask who will be, again, irrespective of gender, Tamil's Karl Popper or Will Durant?

Nobody who had read Nehru's 'Discovery of India' or his many writings would doubt, even for a minute, how much he cherished India's hoary civilization and heritage. Yet, only Jeyamohan could dream of saying that a benami landholding zamindar like G.K. Moopanar is better than Nehru who spent 9 years of his life in British jail and spent every minute of his life trying to make India better for the poorest of the poor citizen.

The worst of Jeyamohan as critic is often reserved for western authors that he disagrees with. Will Durant and Richard Dawkins were labeled, maliciously, as racists. Celebrated Nigerian novelist Chimamanda Adichie was maligned as not even having Nigerian roots. Ayn Rand would be derogatorily referred to as 'run-away from USSR'. Chinua Achebe was insinuated as selling stereotypical Africa to the Western reader. To judge a writer is Jeyamohan's liberty but it is not his liberty to impute motives and worse still to misinform about a writer's heritage.

As many times as he does a signal service with his unsparing criticisms Jeyamohan equally despairs a reader when he steps into areas of which he knows little.

Whether it is holocaust or the history of Israel or allopathy or Kashmir Jeyamohan will gleefully step into the topic with little hesitation of his relative ignorance. When Tamil writers, not just Jeyamohan, step out of their comfort zone of Tamil literature more often than not they make a spectacle of themselves. Once when I derided Jeyamohan's attempt to explain Indian heritage and nationalism he wrote to me that he delivered that speech well aware of his limitations on political science as a discipline. It may be true. Unfortunately his readers do not share his ideas on his limitations. Many readers waxed enthusiastically that he was Socrates reborn.

As an individual Jeyamohan is perfectly free to hold opinions on any topic he wishes and he is well within his rights to even share it with friends over a cup of tea. When he ascends a stage and seeks to address an audience with the aura of an intellectual and an opinion maker I wish he held himself to higher standards. Recently at MCC he meandered on role of literature in a society and gave an address that makes even a moderately informed reader wince at the brazenness of not having checked out facts or for parading contentious theories with little basis in facts. And, thats not the first time. Sadly, it may not be the last either.

The perils of feeling obliged to post at least a couple of blogs everyday all through the year is that contradictions abound easily. For someone who made a big deal of a list I was amused to find an old blog of Jeyamohan where he patiently tells a reader, who had asked if in a listing of great writers Jeyakanthan would figure and weren't La.Sa.Ra, Sura and Asokamithran better, "don't look at literature list a competitive sport". He adds that 'literature is a discourse where many voices echo on a vast plain'.

Having ridiculed Ayn Rand's idea of 'destiny makers' Jeyamohan then spent many blogs arguing exactly that. With his heart brimming with paternal pride he recently wrote that his teenage daughter brushed aside Maxim Gorky's 'Mother' as 'simplistic story telling'. Such 'arrogance' (தெனாவெட்டு), he said, is the hallmark of an intellectual. Its easy to imagine his indignation if an unknown reader had said the same. He would've easily waxed eloquent about how Gorky midwifed a revolution. He'd have sternly lectured on placing a literature in the social milieu against which it should be judged and more such external parameters. Above all he'd have chided the arrogance. Echoing his guru Nitya Jeyamohan too scolds the commoner "go till your fields, go write a software code that is all you are capable of. Leave remaking the world to intellectuals". What was left unsaid was "intellectuals like us". This is the same Jeyamohan who is surprised that his mentor Sundara Ramasamy fantasized being a Stalin in order to reshape society. Expressing surprise at how Ayn Rand's 'Fountainhead' is studied by technocrats in their college days Jeyamohan was aghast that the graduates had no respect for the common Indian farmer who, in Jeyamohan's opinion, was a repository of a long intellectual tradition and possibly knew more about the soil by experience unlike the textbook graduates. Incidentally I don't see any reason why writing a piece of computer code is any less than writing poetry. Maxwell's equations are no less artistic than Beethoven's 9th symphony or Picasso's painting. I'd urge Jeyamohan to read nobel laureate S.Chandrasekhar's 'Truth and Beauty'.

I'd still say that Jeyamohan is not a quintessential sexist or chauvinist. He is, as we say in America, an equal opportunity offender. He chides all and sundry presenting himself as a stern voice of reason who is dispassionate in criticism. There are many times he does just justice to that and many other times when he falls far short of it.

Whether in doing a Freudian analysis of Kamala Das's erotica or even in carping about the quality of writing by women or being peeved that women writers get a pass for quality for merely being women Jeyamohan is well within his rights. The joint protest letter by women writers was childishly written. Ambai had, in the mean time, written an oped in Tamil edition of The Hindu about instances of chauvinism and sheer sexism by male Tamil writers. The newspaper in its eagerness to stir the hornet's nest had published Jeyamohan's photograph though Ambai had not written anything of him at all. Let me reiterate here that in my Facebook postings until this had been supportive of Jeyamohan's liberty and in fact even disagreeing with the protest letter and the imputation of incidents to him thanks to an ill placed photo.

The breaking point for me was when he published a letter that alleged women writers get published by trading 'favors' and that Ambai, a much respected writer, writes and speaks horribly. The innuendo was plain. The letter (could not find it now) alleged that women writers traded sexual favors. In his reply Jeyamohan ignored that part and eagerly agreed that Ambai had never spoken coherently whenever he had the chance to hear her. This was in direct contradiction to his own blog a few days back extolling Ambai's contributions to Tamil writing. I had the pleasure of listening to a talk by Ambai and can say that whatever one might think of her fiction she is no fool. In an unseemly gesture Jeyamohan published several letters that supported him, almost all were by males. Once he even gave a link to another blog only because the blogger uncharitably trashed Ambai.

Ambai
Whether it is Shaji alleging on Facebook that women get published because publishers, most of whom are male, condescend out of their natural kindness towards women or that reader alleging 'favors' it is unsurprising that nobody asks how male authors get published. Recently a guy published a book based entirely out of his Facebook posts that were mere toilet humor kind. Grape vine had it that he was actually self-publishing. Another guy liberally rips an anti-communist book and presents it as his research without due disclaimers. By the way, why is it that no woman writer is asked to write screen play or dialogues for movies? I am sure it needs no genius to churn out dialogues like S.Ramakrishnan did for the Rajini starrer 'Baba'. In a few decades I can state with certainty that the dialogues of Vadivelu, written by comedy track writers, will be more quoted and used in public discourse than the forgettable lines cranked out by Sahitya Akademi winners. A recent blog of Jeyamohan had made it appear that what is oft repeated in public discourse by having seeped into public consciousness is literature.

Manushyaputhiran had recently ridiculed Salma being invited abroad for film festivals since Salma is not a professional film maker. Of course the implication was that she got those opportunities owing to her gender. Tamil writer Ka.Na.Su, who, as Jeyamohan points out in a blog, never watches movies, was on the jury for National awards when the controversial movie 'அக்ரஹாரத்தில் கழுதை' was awarded a prize. Jeyamohan alleges that Ka.Na.Su probably never watched the movie but not only voted for it he made another juror vote for it based only on reading the screenplay. It is probably true. The point though is that Salma's gender becomes a question but Ka.Na.Su's gender is no issue. 

Shaji's allegation is patently sexist especially in the light of the shenanigans by established authors themselves to get their books published. Inviting cine stars is now de-rigeur for book releases. Fawning over director Gowtham Menon Charu once referred to one of Gowtham Menon's movie as a good one. That movie was blatantly ripped off from 'Derailed'. Of all such functions the most frown worthy was Jeyamohan's own function on behalf of his Vishnupuram foundation to award poet Devadevan with Vishnupuram award. In the pretext of seeking greater attention to Devadevan film musician Ilayaraja was invited to confer the award. Needless to say that the function became about Ilayaraja to the extent that Jeyamohan himself wrote that Devadevan, amused by the spectacle, was wondering if the function was for somebody else.

Amidst all that hullabaloo Nanjil Nadan, while welcoming Ilayaraja, prostrated in at Raja's feet hailing him as goddess Saraswathi. Jeyamohan records with pride that Raja embraced Nanjil, after Nanjil had gotten up, saying "you too are one". As Mark Antony says in Shakespeare's Julius Caesar 'and then you and I fell my dear countrymen'. Recently Jeyamohan followed suit and prostrated at Raja's feet seeking the his blessing for the upcoming publication of his first book in a long planned series on Mahabharatha. All of this is cringeworthy. My skin crawls with disgust. Raja, a talented musician no doubt, has earned his place in the pantheon of Tamil film musicians but nothing beyond. This is a man whose only talent is to churn out commercial music and to put his foot in the mouth whenever he goes on stage. Whenever Jeyamohan writes of Nitya Chaitanya Yathi as his guru I can understand and respect that. When the same Jeyamohan calls Raja his new found guru I puke. Now, Charu with some indignation asked how come no film maker or film technician ever fall at the feet of any writer. The only Tamil writer who went to movies and did not get sullied remains Jeyakanthan.

A feminist reading of Jeyakanthan's much lauded 'சில நேரங்களில் சில மனிதர்கள்' will be disappointing in that the protagonist has it as her raison-de-etre in life to search for the lout who had sexually abused her and establish a relationship with him since, as her uncle often reminds her, she can 'only be a concubine, never a wife'. On the other hand the freedom loving protagonist in 'ஒரு நடிகை நாடகம் பார்க்கிறாள்' is no intellectual or does not even know that she loves liberty outside of a narcissistic mode that is blatantly simpleton like. Jeyamohan's  much discussed '.பின் தொடரும் நிழலின் குரல்' also falls into the category of what Sudhir Kakar aptly described as the Indian way of looking at women, the mother-whore dichotomy. A woman, Manu states, should be a prostitute in bed (sayanesu vesya). Of course thats after being a mother all day long. Two prominent women characters in that novel exhibit the mother-whore dichotomy. Jeyamohan either sanitizes and idolizes woman by placing her on a pedestal or presents her like a wanton wench. In either of the states the woman is devoid of independent intellectual achievements or intellectual abilities. Is it any wonder that women writers tend to focus on women's issues and women as protagonists since the men seem to do only a half assed job of portraying women. Only women writers could create a Scarlet O'hara or a Dagny Taggart.

A disappointing side to this mess was that no male writer stepped up to condemn the shrill rhetoric and blatant insult dished out to a much respected woman writer. Nanjl Nadan, who's list was the agent provocateur, published a scathing rebuttal written, not by him but by another person, on his blog site. The whole episode was illustrative of how sexism is alive and kicking in Tamil Nadu. My earlier blog had pointed out how the West is assiduously trying to stem centuries old sexism in literature. The question is will Tamil Nadu learn?

In conclusion I'd say that Jeyamohan could have been more charitable towards his women colleagues,  showed better understanding of historical processes in the evolution of literature, showed a nuance in voicing his criticism. The chorus of ridicule by male writers only showed what a feudal patriarchal society Tamil Nadu still is. It was disgusting to see one after another pile on the women writers with little regard to what their own fellow male writers were doing.

In case anyone thinks I'd stop reading Jeyamohan please be rest assured I'd read him everyday. As one who loves Israel I still listen to Wagner. As one who hated communism I never felt I need to shun Jeyakanthan.

References:

1. Jeyamohan on Nanjil Nadan's list http://www.jeyamohan.in/?p=56339
2. Jeyamohan's rebuttal to women writers's protest letter (with link to the protest letter) http://www.jeyamohan.in/?p=56732
3.Ambai's column in 'Tamil Hindu' about sexism by Tamil writers http://tamil.thehindu.com/general/literature/பெண்-வெறுப்பு-என்றொரு-நீண்ட-படலம்/article6136159.ece
4. Jeyamohan's rebuttal to Ambai http://www.jeyamohan.in/?p=56832
5. Jeyamohan's rebuttal to an article in Dinamalar on the controversy http://www.jeyamohan.in/?p=56554
6. Jeyamohan on women writers he admires http://www.jeyamohan.in/?p=56437
7. Jeyamohan's link to a blog ridiculing Ambai http://www.jeyamohan.in/?p=57503
8. Jeyamohan's blog listing his blogs on Kamala Das http://www.jeyamohan.in/?p=56739
9. Jeyamohan's rebuttal to Hindu http://www.jeyamohan.in/?p=56830
10. On Ambai's contribution http://www.jeyamohan.in/?p=56885
11. On Jeyakanthan and lists http://www.jeyamohan.in/?p=1404
12. On Nehru and Indian science http://www.jeyamohan.in/?p=19636 (சுதந்திரத்துக்குப்பின்னர் இந்தியமறுமலர்ச்சிக்கால மனநிலைகள் தேங்கின. ஐரோப்பிய வழிபாட்டாளரும், அடிப்படையில் இந்தியமரபுமேல் மதிப்பில்லாதவருமான நேருவின் யுகம் ஆரம்பமாகியது.....நேருமேல் எனக்கு எப்போதும் மதிப்பு உண்டு. ஆனாலும் அவரை நல்லெண்ணம் கொண்ட அசடர் என்றே என் மனம் மதிப்பிடுகிறது. சமகாலச் சிந்தனையோட்டங்களில் அடித்துச்செல்லப்படும் எளிமையான மனம் கொண்டவர் அவர்.).
13.On Nehru, Moopanar and Smriti Irani http://www.jeyamohan.in/?p=56606
14. Shaji's blog on Michael Jackson http://musicshaji.blogspot.in/2012/06/blog-post.html
15. Shaji's FB post dated June 21st on why male publishers publish women authors: https://www.facebook.com/shaji.tom.1/posts/773046236059954
16. Keeranur Jagir Raja on Jinnah http://jakirraja.blogspot.com/2013/03/blog-post_4896.html?m=0
17. Jeyamohan and P.A. Krishnan email exchange where Jeyamohan talks about his wife and Krishnan talks of Stalin http://www.jeyamohan.in/?p=19
18. Rebuttal to Jeyamohan published by Nanjil Nadan http://nanjilnadan.com/2014/07/15/எதையும்ஆராயாமல்/
19. Authors in support of Jeyamohan protesting to Vikatan, alleging incitement of violence, http://www.jeyamohan.in/?p=456
20. Vikatan's article on Jeyamohan's parody of Sivaji Ganesan and MGR (subscription only content) http://www.vikatan.com/new/article.php?module=magazine&aid=45595
21. Jeyamohan on Sujatha as science fiction writer http://www.jeyamohan.in/?p=7587
22. Devadevan Vishnupuram function http://www.jeyamohan.in/?p=33332
23. A reader's letter to Jeyamohan fawning over Raja and how he'd wail and prostrate at Raja's feet http://www.jeyamohan.in/?p=33409
24. Jeyamohan on his daughter's opinion of Maxim Gorky http://www.jeyamohan.in/?p=60888. "17 வயதான என் மகள் மக்ஸீம் கார்க்கியை இலகுவான எழுத்தாளர் என்று நிராகரிக்கிறாள். அந்த தெனாவெட்டுதான் அறிவுத்திறனின் இலக்கணம்.....‘போ போய் வயல் உழு. தறி ஓட்டு. கம்ப்யூட்டர் தட்டு. உனக்கு இது இல்லை. இதற்கானவர்கள் வேறு பலர் உள்ளனர். அவர்கள் இவ்வுலகை அமைப்பார்கள்’ என்பதுதான் பதில்".
25. Ka.Na.Su on film jury http://www.jeyamohan.in/?p=6456 "இதற்கு தேசியவிருது கிடைத்தது ஒரு வேடிக்கை. க.நா.சு அப்போது நடுவர் குழுவில் இருந்தார். அவர் சினிமாவே பார்ப்பதில்லை. மொத்தமே பத்து படம் பார்த்திருந்தால் ஆச்சரியம். இந்தப்படத்தையும் அவர் பார்க்கவில்லை. ஆனால் இதன் திரைக்கதையை அவர் வாசித்திருந்தார். அது அவருக்குப் பிடித்திருந்தது. ஆகவே அவர் படத்துக்கு வாக்களித்தார். இன்னொருவரையும் வாக்களிக்க வைத்தார்.".