Mulk Raj Anand: A Tribute (1905-2004)
Article By
Suresh Kohli
He was,
indeed, first amongst equals. He started it all. This triumphant journey of the
Indian English novel into the western dawn. Working as a part-time proof-corrector in the Hogarth Press — while
studying Philosophy in London —
provided him an access to Virginia Woolf's drawing
room in Tavistock Square, and thus into the charmed Bloomsbury circle in the
late twenties of the last century. A taunt by Edward S West, about his writing
about an outcaste led him to Ireland (where he met W B Yeats, and poet a.e, (George Russel), and then to Gandhi ashram
back in India to rework the novel, Untouchable into
a simple narrative on the Mahatma's advise.
Its
eventual publication with a preface by E M Forster in 1936, after 19 publishers had turned it down, has since been
translated into 42 languages of the
world and earned the status of a Penguin Twentieth Century Classic. An honour
unmatched by another Indian till date. It was around this time, without in any
way being acquainted with one another, that two other Indians — amongst the
many more unknown one is reasonably certain —
were also vying for a place in the English writing sun—R K Narayan and Raja
Rao. Their first novels too came out shordy, though like Anand, Narayan too
found a publisher courtesy an English novelist, Graham Greene. And both Greene
and Forster did so for similar reasons. Though sitting in Paris, the third
angle of the famous triangle, Raja Rao needed no such patronage to find a
publisher for Kanthapura. These works by young Indians transported them into a
different world. And paved way for the success of
subsequent generations of the Indian English novelist. The eventual success of
Salman Rushdie and Arundhati Roy should not be
mistaken as the advent of the Empire writing back.
My
relationship with Mulk Raj Anand began on a sour note. One's opinion of him
wasn't much different from that of some other –academics,
critics, and fellow-writers — one would interact with in those heady days when writing for newspapers was fun. And the opinion
was, one realized subsequendy, and rather bitterly, based on a limited reading
of his work, and an over-exposure to an
overbearing man at literary and other meets. The private, recluse R K Narayan
had always been the first choice, and
perhaps will continue to be for a while longer, though unlike Mulk Raj Anand,
his oeuvre had been limited and critical response more positive and pronounced. The same, to a certain extent, applies to Raja Rao
whose output, in any case, has been
limited in comparison. The sour note was the fallout of a book review I did for
The Hindustan Times that led to a long, unsavory
controversy because the editor of Tales from Modern India
took exception to a question about the selection. And one of those who pounced
on the young reviewer without carefully applying himself to the point raised
had been Mulk Raj Anand, who nursed the grudge against the young reviewer till
years later. And despite having adopted
him as a favourite nephew.
Raja
Rao, whom the young reviewer had quoted in the said
review, continued to have a mild laughter during subsequent
meets. And the late Bhabani Bhattacharya sent letters of appre ciation from the distant USA for the bold, measured stand. But needless to say, the differences about critical responses, and
a reviewer's freedom to comment on a piece of writing — regardless of an author's standing — persisted till almost the end. He did feebly
raise the point when I met him in May this year in Khandala. This was in
response to a question about whether he had been continuing with his writing.
And he said a big No. Saying in the same breath: "Aren't you happy?"
This was, perhaps, because he always
insisted on my reviewing his novels, and I kept condemning
his verbosity. I wasn't happy. I was rather bitter and disappointed. I wanted
him to complete the promised confessional. I was
also unhappy because I had let him down earlier on another count as well. I had
neither applied myself to the task of compiling a
Mulk Raj Anand Reader (one hopes the Sahitya Akademi, having taken up the
ambitious task, redeems the promise by his next birthday) nor seriously started
work on his literary biography.
I agree with him and many others, now in retrospect, that having been very
close to him in the decade of the
nineties when I started shooting my ambitious documentar)' on him independent
of a sponsor (an idea he did not ap preciate to begin with as he did not want
me to invest my meagre savings), and
recording a lot of facts about his literary growth, encounters and adventures I was in an ideal position to work on the book. But I
was wrong like him. Thinking there will be time for it later. But time lost is never
regained. But as one got to know him
better, and re-read some of his works, the
initial skepticism turned into admiration. Three things struck. His honesty,
sincerity and humility. Anything he took on he jumped into it with total commitment. That's why he became a political activist, a social
crusader as the situations demanded.
Uncle Mulk was a 'truly the only' Indian renaissance man after Rabindranath
Tagore, a multifaceted achiever he held in great esteem, and, perhaps,
unconsciously tried to emulate. And achieved distinc tion in almost every
discipline he put his hands into.
That's
why he was the only one who was elected Fellow of all the three Akademies,
Sahitya, Lalit Kala, and Sangeet Natak. His cultural rediscovery of India and
Asia through the 136-volumes of Marg that he founded in 1948 and edited till
the early eighties is by itself an achievement that will immortalize him.
Without doubt. The fact that even his
detractors accepted this exceptional work speaks volumes about the man's
commitment. Beginning with Untouchable in
1935, Mulk Raj Anand published an other
two dozen novels and ten collections of short stories till his death (he died a lonely man in his estate, though interaction with
like-and-dislike minded people had been his lifeline) on the eve of his 99th
birthday on 28 September 2004 (not many
are aware that the novel, stemming out of a
personal childhood experience, had been originally conceived as a play). Someone will have to rise to the occasion, and resurrect the two
incomplete volumes of the promised seven
fictional autobiographical accounts. The story of
the naive poet Krishan Chander Azad that began with Seven Summers and runs like a river through Morning Face, Confessions of a hover,
The Bubble, Pilpili Saheb, Caliban and Gandhi, Little Plays of Mahatma Gandhi,
Nine Moods of Charata (these actually form
the fifth volume in the series of the con fessional
novel). He himself learnt the mudras
to comment on dance. He was himself an amateur painter.
Not only
his Two Leaves and a Bud was amongst the first Indian
English novels to be adapted for the Hindi screen, he himself made a touching
short multi-award-winner film out of his famous story The Lost Child. He was
amongst the founding-fathers of the Progressive Writers Movement, the manifesto
of which was co-authored by him in London) after the Second World War in which
he was himself a participant together with George Orwell, and others. He was
the lone Indian who managed a breakthrough into Virginia Woolf's coveted circle
of Bloomsbury writers because he happened to work
as a proof-reader in the Woolfs' Hogarth Press.
Many of these conversations with literary giants like T S Eliot, D H Lawrence,
Aldous Huxley, E M Forster, Bonamy Dobree, Virginia and Leonard Woolf, Edith
Sitwell, Herbert Read had been recorded in the 1980 publication, Conversations in Bloomsbury. He eventually had to
borrow my copy of the book, in which he made
corrections in his own handwriting, when Oxford University Press wanted to
reissue it some years ago.
While I
never got the promised copy of the new edition from OUP, the original is now a
proud possession. And had it, perhaps, not for the purposes of this tribute, I wouldn't have noticed these corrections. Mulk Raj Anand advocated freedom, and fought oppression of-any
kind: social, artistic or political. He was not only a witness to the turbulent
twentieth century, but a product, a participant in it as well. His novels speak
about human predicament. Despite his strong principled stands against oppression at heart he remained "a naive poet who refuses to
become sophisticated, to whom the
smiles and tears and laughter of children are as valid as the self-will of
Kant." Talking about his work, he once observed: "The substance of my
work is the whole of my varied experience, the theme of my work became the whole man and the whole gamut of human relationships, rather than only a single part of it." And
elsewhere: "The whole urge of my writing came from love of art as an
illuminating factor in human experience and of poetry as a medium through which
one can think humanly." He also
said that while a writer must try to become an instrument of social change, his
intent should be "not to write epics, but to live
them."
Therefore,
the range of realism in his fiction is unlimited, whether telling the story of
a coolie, or a prince, which makes Private Life of an
Indian Prince an important social document. Born on
12 December 1905 in Peshawar, Mulk Raj Anand graduated from Khalsa College,
Amritsar, and then sailed for England in S S Victoria, an Italian boat, with
letters of recommendations from Sir Mohammed Iqbal whose Israr-e-Khudi
('Secrets of the Self) was to be his window to the world. Going to England was
also, in a way, an escape from his father Lai Chand's tyranny the latter had
beat up his mother, Ishwar Kaur; for hiding the truth of his being jailed for
participation in an Amritsar bandh because he had fixed a job for Mulk in the
army through King's Commission. A Fellowship enabled him to research in
Philosophy under G Dawes Hicks. In London, Mulk fell in love fairly frequently,
and married theatre actress Kathleen Van Gelder. A daughter was born soon
after. Her infidelity disillusioned him, and on the rebound during a visit to
Bombay he fell in love with Anil de Silva who gave him the idea for the
formation of Modern Architects and Artists' Research Group (MARG). He undertook
a hurried trip to get a divorce from Kathleen but the waiting period proved
fatal and de Silva decided to marry a Frenchman. Next in line was a Greek
dancer. He eventually married Shirin Vajifdar, one of the three dancing sisters
in Bombay to whom he remained officially married till death did them apart.
Uncle
Mulk had begun to get disillusioned with an India which was Sures h Kobli not
in consonance with Nehru's ideals and beliefs. He blended Gandhian philosophy, and Nehruvian thoughts to create a worldview of his
own. That's probably why in later years he not only found solace in Khandala hills in Maharashtra, but also satisfaction in working for the
depressed and the downtrodden for whom he
adopted a village, complete with a school and a
dispensary which was funded by Sarvodaya Trust to which he bequeathed all that he possessed in the mortal world. On hindsight
his moving away from the glare of public life was a precursor for a quiet exit
from the disillusionment that the India of his dreams had come to mean. Uncle
Mulk will be missed for his fiery presence more and more in times to come.
Talking about Seven Summers, the first in the series of the semi autobiographical which Anand had sought to define as a confessional
narrative, the beginning of which had been made
after an escapade with first love Irene, at Mount Snowdon in the late twenties,
K N Sinha (one of his earliest academic admirers) described it as "a novel
of intense feeling.
Here,
Anand dramatizes his own consciousness through the first seven years of his
life and presents a soul-searching diary of the real, intimate life known to himself... (Its excellence lies in the personal intensity, in
the purity and immediacy with which the author records his experiences, dimmed
by the passage of time." And it was this intensity, this immediacy which
he sought to bring to all his writings.
very useful article, particularly to the student of lterature.
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