Hope springs in land of oppressed
This is a novel obviously written by a theorist; it’s a good example of theory fictionalised. The Untouchable God: A Novel on Caste and Race is a structured novel, divided into non- flow on sectional subnarratives apparently with no connecting link except a tenuous string of names mentioned together at the beginning, allowing the author to extend into different cultural contexts at the end of each sub- narrative.
Prof. Ilaiah’s novel spells out a point of view in an argumentative way, using the specific multicultural contexts as a means to universalisation. The reader will be making a mistake if s/ he were to read the novel for merely the caste/ class critique it appears to make. We can easily read it as a socio- cultural history as also an analysis of the multicultural Indian ethos.
Two very powerful motifs run through the different sets of narratives here. One is that the oppressed section of humanity has been given a voice. Prof. Ilaiah identifies the categories of persons who are the social constructs resulting from community practices, and closely examines those who touch “others” in intra communal/ caste and inter- communal/ caste relationship. He uses event and dialogue as representational platforms. What makes this fictionalised theory very effective is its sardonic tone and use of irony that is thoroughly sophisticated.
The villains of the piece are relentlessly drawn from the so- called privileged lot, defined in terms of class, caste, politics and culture. They ( Veda Shatry, Namboodri, Tilak, Krishnamurthy, Basu) have been portrayed not as outright teeth- grinding villains, but as cold, egotistical men and with corrupt psyches.
The concerned reader’s troubled conscience is soothed by the way the novelist allows the characters ( Paraiah, Mahalakshimi, Shiva Shakti, Saraswathi, Hussain) from the oppressed class/ caste to have a voice. No, not the voice of vocal protest but a niggling, troublesome presence that becomes an unbearable noose around the neck of the perpetrator of social crimes. The pattern is steady and the discomfiture of the egoist, the embarrassment and shame a recurrent motif.
Gender is the second effective tool used in the novel as a connecting idiom. In each of the representational sections, one typically fundamentalist set of contested class relationships are taken up and examined. In each of these, one dominant representational male figure is given close attention. In each, the possession of the apparent dominance is placed in the line of fire, not by any successful rebellious opponent, but by seemingly powerless, victimised persona from the “other” class/ caste, be it the caste or race created by oppressive social status, poverty or gender. Silently and effectively, in each section, this “other” is shown as cornering the dominant male egoists and forcing them to be put in situations of personal embarrassments, discomfiture and, at times, public shame.
The concluding chapter of the novel is in my opinion a tour de force. The tone of the novel imperceptibly changes from a restless theorist’s questioning and troubled analysis to a tone of gentle passion and deep concern for the milling humanity. The sensitivity that has gone into the projection of Isaiah Jackson’s character is heart- warming and indeed intensely humane in treatment. His original, highly intellectual mission gets a human face because of his extreme empathy for not one but all, in all situations. And the end of the novel reiterates the hope that at some time, in some place, peace will be possible.
Prof. Ilaiah’s novel shall remain in my heart for long for its harsh truthfulness and also for the humane possibility it holds out. Problems are to be recognised; a single novel cannot provide solutions. This novel is true to both the above truisms. But it helps the reader to walk away, not with hatred, but hope in her/ his heart UNTOUCHABLE GOD:
A NOVEL ON CASTE AND RACE