by Pranab Bardhan
All of the articles in this series can be found here.
The Naxalite phase in Bengal was a short, tragic chapter in politics, but in Bengal’s cultural-emotional life its implications were deeper, and reflected in its literature (and films)—most poignantly yet forcefully captured by the writer Mahshweta Devi, one of Bengal’s most powerful political novelists. Again and again in the 20th century some of Bengali youth have been fascinated by the romanticism of revolutionary violence–as was the case in the early decades in the freedom struggle against the British (I have earlier mentioned about my maternal uncle caught in its vortex), then again in the 1940’s when the sharecroppers’ movement (called tebhaga) was soon followed by a period of communist insurgency in 1948-50, and then in the Naxalite movement of the late 60’s and early 70’s.
In the early literature Tagore often engaged with this theme (something already familiar in 19th-century Russian literary imagination). By temperament and political judgment he was opposed to revolutionary violence and the unthinking passions associated with it, and yet he had some soft corner for the young people involved. This theme is dominant, for example, in his novel Char Adhyay (‘Four Chapters’), and in its preface he writes about his once-close friend Brahmabandhab Upadhyay, who parting company with Tagore joined the revolutionary movement. In this preface Tagore recalls the brief touching moment one evening when he came back after some years as a disillusioned man to see Tagore. In much of the profuse literature generated by the Naxalite period, while the repressive state is in the background, there is a pining over the wastage of the lives of so many idealistic youths for a brave social-justice cause–a cause that was in my judgment an insufficiently thought-out one. Read more »