In 1954, a Bombay economist named A.D. Shroff began a Forum of Free Enterprise, whose ideas on economic development were somewhat at odds with those then influentially articulated by the Planning Commission of the Government of India. Shroff complained against the ‘indifference, if not discouragement’ with which the state treated entrepreneurs.
At the same time as Shroff, but independently of him, a journalist named Philip Spratt was writing a series of essays in favour of free enterprise. Spratt was a Cambridge communist who was sent by the party in 1920s to foment revolution in the subcontinent. Detected in the act, he spent many years in an Indian jail. The books he read in the prison, and his marriage to an Indian woman afterwards, inspired a steady move rightwards. By the 1950s, he was editing a pro-American weekly from Bangalore, called MysIndia. There he inveighed against the economic policies of the government of India. These, he said, treated the entrepreneur ‘as a criminal who has dared to use his brains independently of the state to create wealth and give employment’. The state’s chief planner, P.C. Mahalanobis, had surrounded himself with Western leftists and Soviet academicians, who reinforced his belief in ‘rigid control by the government over all activities’. The result, said Spratt, would be ‘the smothering of free enterprise, a famine of consumer goods, and the tying down of millions of workers to soul-deadening techniques.’
The voices of men like Spratt and Shroff were drowned in the chorus of popular support for a model of heavy industrialization funded and directed by the governments. The 1950s were certainly not propitious times for free marketers in India. But from time to time their ideas were revived. After the rupee was devalued in 1966, there were some moves towards freeing the trade regime, and hopes that the licensing system would also be liberalized. However, after Indira Gandhi split the Congress Party in 1969, her government took its ‘left turn’,
nationalizing a fresh range of industries and returning to economic autarky.

“Neither Philip Spratt nor A.D. Shroff______ able to convince Mahalanobis.” Select the most appropriate phrase out of the four options for filling the blank space in the aforesaid sentence.

• Were

• Are

• Was

• Was

In 1954, a Bombay economist named A.D. Shroff began a Forum of Free Enterprise, whose ideas on economic development were somewhat at odds with those then influentially articulated by the Planning Commission of the Government of India. Shroff complained against the ‘indifference, if not discouragement’ with which the state treated entrepreneurs.
At the same time as Shroff, but independently of him, a journalist named Philip Spratt was writing a series of essays in favour of free enterprise. Spratt was a Cambridge communist who was sent by the party in 1920s to foment revolution in the subcontinent. Detected in the act, he spent many years in an Indian jail. The books he read in the prison, and his marriage to an Indian woman afterwards, inspired a steady move rightwards. By the 1950s, he was editing a pro-American weekly from Bangalore, called MysIndia. There he inveighed against the economic policies of the government of India. These, he said, treated the entrepreneur ‘as a criminal who has dared to use his brains independently of the state to create wealth and give employment’. The state’s chief planner, P.C. Mahalanobis, had surrounded himself with Western leftists and Soviet academicians, who reinforced his belief in ‘rigid control by the government over all activities’. The result, said Spratt, would be ‘the smothering of free enterprise, a famine of consumer goods, and the tying down of millions of workers to soul-deadening techniques.’
The voices of men like Spratt and Shroff were drowned in the chorus of popular support for a model of heavy industrialization funded and directed by the governments. The 1950s were certainly not propitious times for free marketers in India. But from time to time their ideas were revived. After the rupee was devalued in 1966, there were some moves towards freeing the trade regime, and hopes that the licensing system would also be liberalized. However, after Indira Gandhi split the Congress Party in 1969, her government took its ‘left turn’,
nationalizing a fresh range of industries and returning to economic autarky.
The word ‘inveighed’ in this passage means

• Praised

• Recited

• Proclaimed

• Proclaimed

In Manu Joseph’s debut novel Serious Men, the protagonist, Ayyan Mani; is a sly, scheming Dalit-Buddhist who almost gets away with passing off his partially deaf son, Adi, as a prodigy, a genius who can recite the first 1,000 prime numbers. The garb of satire—where almost every character cuts a sorry figure—gives the author the licence to offer one of the most bleak and pessimistic portrayals of urban Dalits. Despite his savage portrayal of Dalit (and female) characters—or perhaps because of it?—Serious Men has won critical appreciation from a cross-section of readers and critics.
At a time when a formidable body of Dalit literature—writing by Dalits about Dalit lives—has created a distinct space for itself, how and why is it that a novel such as Serious Men, with its gleefully skewed portrayal of an angry Dalit man, manages to win such accolades? In American literature—and particularly in the case of African-American authors and character—these issues of representation have been debated for decades. But in India, the sustained refusal to address issues related to caste in everyday life—and the continued and unquestioned predominance of a Brahminical stranglehold over cultural production—have led us to a place where non-Dalit portrayal of Dalits in literature, cinema and art remains the norm.

The journey of modern Dalit literature has been a difficult one. But even though it has not necessarily enjoyed the support of numbers we must engage with what Dalits are writing—not simply for reasons of authenticity, or as a concession to identity politics, but simply because of the aesthetic value of this body of writing, and for the insights it offers into the human condition. In a society that is still largely unwilling to recognize Dalits as equal, rights-bearing human beings, in a society that is inherently indifferent to the everyday violence against Dalits, in a society unwilling to share social and cultural resources equitably with Dalits unless mandated by law (as seen in the anti-reservation discourse), Dalit literature has the potential to humanize non-Dalits and sensitise them to a world into which they have no insight. But before we can understand what Dalit literature is seeking to accomplish, we need first to come to terms with the stranglehold of non-Dalit representations of Dalits.
Rohinton Mistry’s A Fine Balance, published 15 years ago, chronicles the travails of two Dalit characters— uncle Ishvar and nephew Omprakash—who migrate to Bombay and yet cannot escape brutality. While the present of the novel is set at the time of the Emergency, Ishvar’s father Dukhi belongs to the era of the anticolonial nationalist movement. During one of Dukhi’s visits to the town, he chances upon a meeting of the Indian National Congress, where speakers spread the “Mahatma’s message regarding the freedom struggle, the struggle for justice,” and wiping out “the disease of untouchability, ravaging us for centuries, denying dignity to our fellow human beings.” Neither in the 1940s, where the novel’s past is set, nor in the Emergency period of the 1970s—when the minds and bodies Ishvar and Omprakash, are savaged by the state—do we find any mention of a figure like BR Ambedkar or of Dalit movements. In his ‘nationalist’ understanding of modern Indian history, Mistry seems to have not veered too far from the road charted by predecessors like Mulk Raj Anand and Premchand. Sixty years after Premchand, Mistry’s literary imagination seems stuck in the empathy-realism mode, trapping Dalits in abjection. Mistry happily continues the broad stereotype of the Dalit as a passive sufferer, without consciousness of caste politics.
Which of the following is the closest description of the central argument of this passage:

• Manu Joseph’s novel presents a scathing portrayal of Dalits.

• Contemporary American literature is very cautious on politically correct representation of minorities.

• The last two decades have witnessed the rise of a very vibrant Dalit literature.

• The last two decades have witnessed the rise of a very vibrant Dalit literature.

In Manu Joseph’s debut novel Serious Men, the protagonist, Ayyan Mani; is a sly, scheming Dalit-Buddhist who almost gets away with passing off his partially deaf son, Adi, as a prodigy, a genius who can recite the first 1,000 prime numbers. The garb of satire—where almost every character cuts a sorry figure—gives the author the licence to offer one of the most bleak and pessimistic portrayals of urban Dalits. Despite his savage portrayal of Dalit (and female) characters—or perhaps because of it?—Serious Men has won critical appreciation from a cross-section of readers and critics.
At a time when a formidable body of Dalit literature—writing by Dalits about Dalit lives—has created a distinct space for itself, how and why is it that a novel such as Serious Men, with its gleefully skewed portrayal of an angry Dalit man, manages to win such accolades? In American literature—and particularly in the case of African-American authors and character—these issues of representation have been debated for decades. But in India, the sustained refusal to address issues related to caste in everyday life—and the continued and unquestioned predominance of a Brahminical stranglehold over cultural production—have led us to a place where non-Dalit portrayal of Dalits in literature, cinema and art remains the norm.

The journey of modern Dalit literature has been a difficult one. But even though it has not necessarily enjoyed the support of numbers we must engage with what Dalits are writing—not simply for reasons of authenticity, or as a concession to identity politics, but simply because of the aesthetic value of this body of writing, and for the insights it offers into the human condition. In a society that is still largely unwilling to recognize Dalits as equal, rights-bearing human beings, in a society that is inherently indifferent to the everyday violence against Dalits, in a society unwilling to share social and cultural resources equitably with Dalits unless mandated by law (as seen in the anti-reservation discourse), Dalit literature has the potential to humanize non-Dalits and sensitise them to a world into which they have no insight. But before we can understand what Dalit literature is seeking to accomplish, we need first to come to terms with the stranglehold of non-Dalit representations of Dalits.
Rohinton Mistry’s A Fine Balance, published 15 years ago, chronicles the travails of two Dalit characters— uncle Ishvar and nephew Omprakash—who migrate to Bombay and yet cannot escape brutality. While the present of the novel is set at the time of the Emergency, Ishvar’s father Dukhi belongs to the era of the anticolonial nationalist movement. During one of Dukhi’s visits to the town, he chances upon a meeting of the Indian National Congress, where speakers spread the “Mahatma’s message regarding the freedom struggle, the struggle for justice,” and wiping out “the disease of untouchability, ravaging us for centuries, denying dignity to our fellow human beings.” Neither in the 1940s, where the novel’s past is set, nor in the Emergency period of the 1970s—when the minds and bodies Ishvar and Omprakash, are savaged by the state—do we find any mention of a figure like BR Ambedkar or of Dalit movements. In his ‘nationalist’ understanding of modern Indian history, Mistry seems to have not veered too far from the road charted by predecessors like Mulk Raj Anand and Premchand. Sixty years after Premchand, Mistry’s literary imagination seems stuck in the empathy-realism mode, trapping Dalits in abjection. Mistry happily continues the broad stereotype of the Dalit as a passive sufferer, without consciousness of caste politics.

• Presented a stereotyped version of Dalit characters in their writings

• Excelled in writing satires on social inequality

• Were politically opposed to the views of B.R. Ambedkar

• Were politically opposed to the views of B.R. Ambedkar

In Manu Joseph’s debut novel Serious Men, the protagonist, Ayyan Mani; is a sly, scheming Dalit-Buddhist who almost gets away with passing off his partially deaf son, Adi, as a prodigy, a genius who can recite the first 1,000 prime numbers. The garb of satire—where almost every character cuts a sorry figure—gives the author the licence to offer one of the most bleak and pessimistic portrayals of urban Dalits. Despite his savage portrayal of Dalit (and female) characters—or perhaps because of it?—Serious Men has won critical appreciation from a cross-section of readers and critics.
At a time when a formidable body of Dalit literature—writing by Dalits about Dalit lives—has created a distinct space for itself, how and why is it that a novel such as Serious Men, with its gleefully skewed portrayal of an angry Dalit man, manages to win such accolades? In American literature—and particularly in the case of African-American authors and character—these issues of representation have been debated for decades. But in India, the sustained refusal to address issues related to caste in everyday life—and the continued and unquestioned predominance of a Brahminical stranglehold over cultural production—have led us to a place where non-Dalit portrayal of Dalits in literature, cinema and art remains the norm.

The journey of modern Dalit literature has been a difficult one. But even though it has not necessarily enjoyed the support of numbers we must engage with what Dalits are writing—not simply for reasons of authenticity, or as a concession to identity politics, but simply because of the aesthetic value of this body of writing, and for the insights it offers into the human condition. In a society that is still largely unwilling to recognize Dalits as equal, rights-bearing human beings, in a society that is inherently indifferent to the everyday violence against Dalits, in a society unwilling to share social and cultural resources equitably with Dalits unless mandated by law (as seen in the anti-reservation discourse), Dalit literature has the potential to humanize non-Dalits and sensitise them to a world into which they have no insight. But before we can understand what Dalit literature is seeking to accomplish, we need first to come to terms with the stranglehold of non-Dalit representations of Dalits.
Rohinton Mistry’s A Fine Balance, published 15 years ago, chronicles the travails of two Dalit characters— uncle Ishvar and nephew Omprakash—who migrate to Bombay and yet cannot escape brutality. While the present of the novel is set at the time of the Emergency, Ishvar’s father Dukhi belongs to the era of the anticolonial nationalist movement. During one of Dukhi’s visits to the town, he chances upon a meeting of the Indian National Congress, where speakers spread the “Mahatma’s message regarding the freedom struggle, the struggle for justice,” and wiping out “the disease of untouchability, ravaging us for centuries, denying dignity to our fellow human beings.” Neither in the 1940s, where the novel’s past is set, nor in the Emergency period of the 1970s—when the minds and bodies Ishvar and Omprakash, are savaged by the state—do we find any mention of a figure like BR Ambedkar or of Dalit movements. In his ‘nationalist’ understanding of modern Indian history, Mistry seems to have not veered too far from the road charted by predecessors like Mulk Raj Anand and Premchand. Sixty years after Premchand, Mistry’s literary imagination seems stuck in the empathy-realism mode, trapping Dalits in abjection. Mistry happily continues the broad stereotype of the Dalit as a passive sufferer, without consciousness of caste politics.
The writer refers to the ‘anti-reservation discourse’ in order to argue that:

• Dalit literature has had a very difficult journey since its origins

• Manu Joseph is viscerally opposed to Dalits

• Persons belonging to the upper castes are inherently indifferent to routine violence against Dalits.

• Persons belonging to the upper castes are inherently indifferent to routine violence against Dalits.

In Manu Joseph’s debut novel Serious Men, the protagonist, Ayyan Mani; is a sly, scheming Dalit-Buddhist who almost gets away with passing off his partially deaf son, Adi, as a prodigy, a genius who can recite the first 1,000 prime numbers. The garb of satire—where almost every character cuts a sorry figure—gives the author the licence to offer one of the most bleak and pessimistic portrayals of urban Dalits. Despite his savage portrayal of Dalit (and female) characters—or perhaps because of it?—Serious Men has won critical appreciation from a cross-section of readers and critics.
At a time when a formidable body of Dalit literature—writing by Dalits about Dalit lives—has created a distinct space for itself, how and why is it that a novel such as Serious Men, with its gleefully skewed portrayal of an angry Dalit man, manages to win such accolades? In American literature—and particularly in the case of African-American authors and character—these issues of representation have been debated for decades. But in India, the sustained refusal to address issues related to caste in everyday life—and the continued and unquestioned predominance of a Brahminical stranglehold over cultural production—have led us to a place where non-Dalit portrayal of Dalits in literature, cinema and art remains the norm.

The journey of modern Dalit literature has been a difficult one. But even though it has not necessarily enjoyed the support of numbers we must engage with what Dalits are writing—not simply for reasons of authenticity, or as a concession to identity politics, but simply because of the aesthetic value of this body of writing, and for the insights it offers into the human condition. In a society that is still largely unwilling to recognize Dalits as equal, rights-bearing human beings, in a society that is inherently indifferent to the everyday violence against Dalits, in a society unwilling to share social and cultural resources equitably with Dalits unless mandated by law (as seen in the anti-reservation discourse), Dalit literature has the potential to humanize non-Dalits and sensitise them to a world into which they have no insight. But before we can understand what Dalit literature is seeking to accomplish, we need first to come to terms with the stranglehold of non-Dalit representations of Dalits.
Rohinton Mistry’s A Fine Balance, published 15 years ago, chronicles the travails of two Dalit characters— uncle Ishvar and nephew Omprakash—who migrate to Bombay and yet cannot escape brutality. While the present of the novel is set at the time of the Emergency, Ishvar’s father Dukhi belongs to the era of the anticolonial nationalist movement. During one of Dukhi’s visits to the town, he chances upon a meeting of the Indian National Congress, where speakers spread the “Mahatma’s message regarding the freedom struggle, the struggle for justice,” and wiping out “the disease of untouchability, ravaging us for centuries, denying dignity to our fellow human beings.” Neither in the 1940s, where the novel’s past is set, nor in the Emergency period of the 1970s—when the minds and bodies Ishvar and Omprakash, are savaged by the state—do we find any mention of a figure like BR Ambedkar or of Dalit movements. In his ‘nationalist’ understanding of modern Indian history, Mistry seems to have not veered too far from the road charted by predecessors like Mulk Raj Anand and Premchand. Sixty years after Premchand, Mistry’s literary imagination seems stuck in the empathy-realism mode, trapping Dalits in abjection. Mistry happily continues the broad stereotype of the Dalit as a passive sufferer, without consciousness of caste politics.

• The author of Serious Men has used the literary device of satire to present an unflattering picture of women characters

• Issues of representation of minorities have been debated extensively in American literature

• The writer of this passage believes that engagement with Dalits is necessary only because such engagement affirms the importance of identity politics

• The writer of this passage believes that engagement with Dalits is necessary only because such engagement affirms the importance of identity politics

In Manu Joseph’s debut novel Serious Men, the protagonist, Ayyan Mani; is a sly, scheming Dalit-Buddhist who almost gets away with passing off his partially deaf son, Adi, as a prodigy, a genius who can recite the first 1,000 prime numbers. The garb of satire—where almost every character cuts a sorry figure—gives the author the licence to offer one of the most bleak and pessimistic portrayals of urban Dalits. Despite his savage portrayal of Dalit (and female) characters—or perhaps because of it?—Serious Men has won critical appreciation from a cross-section of readers and critics.
At a time when a formidable body of Dalit literature—writing by Dalits about Dalit lives—has created a distinct space for itself, how and why is it that a novel such as Serious Men, with its gleefully skewed portrayal of an angry Dalit man, manages to win such accolades? In American literature—and particularly in the case of African-American authors and character—these issues of representation have been debated for decades. But in India, the sustained refusal to address issues related to caste in everyday life—and the continued and unquestioned predominance of a Brahminical stranglehold over cultural production—have led us to a place where non-Dalit portrayal of Dalits in literature, cinema and art remains the norm.

The journey of modern Dalit literature has been a difficult one. But even though it has not necessarily enjoyed the support of numbers we must engage with what Dalits are writing—not simply for reasons of authenticity, or as a concession to identity politics, but simply because of the aesthetic value of this body of writing, and for the insights it offers into the human condition. In a society that is still largely unwilling to recognize Dalits as equal, rights-bearing human beings, in a society that is inherently indifferent to the everyday violence against Dalits, in a society unwilling to share social and cultural resources equitably with Dalits unless mandated by law (as seen in the anti-reservation discourse), Dalit literature has the potential to humanize non-Dalits and sensitise them to a world into which they have no insight. But before we can understand what Dalit literature is seeking to accomplish, we need first to come to terms with the stranglehold of non-Dalit representations of Dalits.
Rohinton Mistry’s A Fine Balance, published 15 years ago, chronicles the travails of two Dalit characters— uncle Ishvar and nephew Omprakash—who migrate to Bombay and yet cannot escape brutality. While the present of the novel is set at the time of the Emergency, Ishvar’s father Dukhi belongs to the era of the anticolonial nationalist movement. During one of Dukhi’s visits to the town, he chances upon a meeting of the Indian National Congress, where speakers spread the “Mahatma’s message regarding the freedom struggle, the struggle for justice,” and wiping out “the disease of untouchability, ravaging us for centuries, denying dignity to our fellow human beings.” Neither in the 1940s, where the novel’s past is set, nor in the Emergency period of the 1970s—when the minds and bodies Ishvar and Omprakash, are savaged by the state—do we find any mention of a figure like BR Ambedkar or of Dalit movements. In his ‘nationalist’ understanding of modern Indian history, Mistry seems to have not veered too far from the road charted by predecessors like Mulk Raj Anand and Premchand. Sixty years after Premchand, Mistry’s literary imagination seems stuck in the empathy-realism mode, trapping Dalits in abjection. Mistry happily continues the broad stereotype of the Dalit as a passive sufferer, without consciousness of caste politics.
According to the information available in the passage, the writer attributes the prevalence of representation of Dalits by non-Dalits in literature, art and media to:

• The nationalist understanding of Indian history

• Marginalization of B.R. Ambedkar from nationalist movement

• The anti-reservation discourse

• The anti-reservation discourse

In Manu Joseph’s debut novel Serious Men, the protagonist, Ayyan Mani; is a sly, scheming Dalit-Buddhist who almost gets away with passing off his partially deaf son, Adi, as a prodigy, a genius who can recite the first 1,000 prime numbers. The garb of satire—where almost every character cuts a sorry figure—gives the author the licence to offer one of the most bleak and pessimistic portrayals of urban Dalits. Despite his savage portrayal of Dalit (and female) characters—or perhaps because of it?—Serious Men has won critical appreciation from a cross-section of readers and critics.
At a time when a formidable body of Dalit literature—writing by Dalits about Dalit lives—has created a distinct space for itself, how and why is it that a novel such as Serious Men, with its gleefully skewed portrayal of an angry Dalit man, manages to win such accolades? In American literature—and particularly in the case of African-American authors and character—these issues of representation have been debated for decades. But in India, the sustained refusal to address issues related to caste in everyday life—and the continued and unquestioned predominance of a Brahminical stranglehold over cultural production—have led us to a place where non-Dalit portrayal of Dalits in literature, cinema and art remains the norm.

The journey of modern Dalit literature has been a difficult one. But even though it has not necessarily enjoyed the support of numbers we must engage with what Dalits are writing—not simply for reasons of authenticity, or as a concession to identity politics, but simply because of the aesthetic value of this body of writing, and for the insights it offers into the human condition. In a society that is still largely unwilling to recognize Dalits as equal, rights-bearing human beings, in a society that is inherently indifferent to the everyday violence against Dalits, in a society unwilling to share social and cultural resources equitably with Dalits unless mandated by law (as seen in the anti-reservation discourse), Dalit literature has the potential to humanize non-Dalits and sensitise them to a world into which they have no insight. But before we can understand what Dalit literature is seeking to accomplish, we need first to come to terms with the stranglehold of non-Dalit representations of Dalits.
Rohinton Mistry’s A Fine Balance, published 15 years ago, chronicles the travails of two Dalit characters— uncle Ishvar and nephew Omprakash—who migrate to Bombay and yet cannot escape brutality. While the present of the novel is set at the time of the Emergency, Ishvar’s father Dukhi belongs to the era of the anticolonial nationalist movement. During one of Dukhi’s visits to the town, he chances upon a meeting of the Indian National Congress, where speakers spread the “Mahatma’s message regarding the freedom struggle, the struggle for justice,” and wiping out “the disease of untouchability, ravaging us for centuries, denying dignity to our fellow human beings.” Neither in the 1940s, where the novel’s past is set, nor in the Emergency period of the 1970s—when the minds and bodies Ishvar and Omprakash, are savaged by the state—do we find any mention of a figure like BR Ambedkar or of Dalit movements. In his ‘nationalist’ understanding of modern Indian history, Mistry seems to have not veered too far from the road charted by predecessors like Mulk Raj Anand and Premchand. Sixty years after Premchand, Mistry’s literary imagination seems stuck in the empathy-realism mode, trapping Dalits in abjection. Mistry happily continues the broad stereotype of the Dalit as a passive sufferer, without consciousness of caste politics.
Which of the following is not among the reasons suggested by the writer for engaging with Dalit writing:

• Dalit literature has the potential to sensitize non-Dalits about the experiences of the former

• Dalit writing is more authentic than representation of Dalits by non-Dalits

• Dalit literature does not have the support of numbers.

• Dalit literature does not have the support of numbers.

In Manu Joseph’s debut novel Serious Men, the protagonist, Ayyan Mani; is a sly, scheming Dalit-Buddhist who almost gets away with passing off his partially deaf son, Adi, as a prodigy, a genius who can recite the first 1,000 prime numbers. The garb of satire—where almost every character cuts a sorry figure—gives the author the licence to offer one of the most bleak and pessimistic portrayals of urban Dalits. Despite his savage portrayal of Dalit (and female) characters—or perhaps because of it?—Serious Men has won critical appreciation from a cross-section of readers and critics.
At a time when a formidable body of Dalit literature—writing by Dalits about Dalit lives—has created a distinct space for itself, how and why is it that a novel such as Serious Men, with its gleefully skewed portrayal of an angry Dalit man, manages to win such accolades? In American literature—and particularly in the case of African-American authors and character—these issues of representation have been debated for decades. But in India, the sustained refusal to address issues related to caste in everyday life—and the continued and unquestioned predominance of a Brahminical stranglehold over cultural production—have led us to a place where non-Dalit portrayal of Dalits in literature, cinema and art remains the norm.

The journey of modern Dalit literature has been a difficult one. But even though it has not necessarily enjoyed the support of numbers we must engage with what Dalits are writing—not simply for reasons of authenticity, or as a concession to identity politics, but simply because of the aesthetic value of this body of writing, and for the insights it offers into the human condition. In a society that is still largely unwilling to recognize Dalits as equal, rights-bearing human beings, in a society that is inherently indifferent to the everyday violence against Dalits, in a society unwilling to share social and cultural resources equitably with Dalits unless mandated by law (as seen in the anti-reservation discourse), Dalit literature has the potential to humanize non-Dalits and sensitise them to a world into which they have no insight. But before we can understand what Dalit literature is seeking to accomplish, we need first to come to terms with the stranglehold of non-Dalit representations of Dalits.
Rohinton Mistry’s A Fine Balance, published 15 years ago, chronicles the travails of two Dalit characters— uncle Ishvar and nephew Omprakash—who migrate to Bombay and yet cannot escape brutality. While the present of the novel is set at the time of the Emergency, Ishvar’s father Dukhi belongs to the era of the anticolonial nationalist movement. During one of Dukhi’s visits to the town, he chances upon a meeting of the Indian National Congress, where speakers spread the “Mahatma’s message regarding the freedom struggle, the struggle for justice,” and wiping out “the disease of untouchability, ravaging us for centuries, denying dignity to our fellow human beings.” Neither in the 1940s, where the novel’s past is set, nor in the Emergency period of the 1970s—when the minds and bodies Ishvar and Omprakash, are savaged by the state—do we find any mention of a figure like BR Ambedkar or of Dalit movements. In his ‘nationalist’ understanding of modern Indian history, Mistry seems to have not veered too far from the road charted by predecessors like Mulk Raj Anand and Premchand. Sixty years after Premchand, Mistry’s literary imagination seems stuck in the empathy-realism mode, trapping Dalits in abjection. Mistry happily continues the broad stereotype of the Dalit as a passive sufferer, without consciousness of caste politics.
Which of the following statement cannot be inferred from the passage

• Upper-castes have dominated the instruments of cultural production in Indian society.

• Indian society is unwilling to recognize Dalits as equal, rights bearing human beings.

• Dalit writers have carved out a space for writings on Dalit experience and world view

• Dalit writers have carved out a space for writings on Dalit experience and world view

In Manu Joseph’s debut novel Serious Men, the protagonist, Ayyan Mani; is a sly, scheming Dalit-Buddhist who almost gets away with passing off his partially deaf son, Adi, as a prodigy, a genius who can recite the first 1,000 prime numbers. The garb of satire—where almost every character cuts a sorry figure—gives the author the licence to offer one of the most bleak and pessimistic portrayals of urban Dalits. Despite his savage portrayal of Dalit (and female) characters—or perhaps because of it?—Serious Men has won critical appreciation from a cross-section of readers and critics.
At a time when a formidable body of Dalit literature—writing by Dalits about Dalit lives—has created a distinct space for itself, how and why is it that a novel such as Serious Men, with its gleefully skewed portrayal of an angry Dalit man, manages to win such accolades? In American literature—and particularly in the case of African-American authors and character—these issues of representation have been debated for decades. But in India, the sustained refusal to address issues related to caste in everyday life—and the continued and unquestioned predominance of a Brahminical stranglehold over cultural production—have led us to a place where non-Dalit portrayal of Dalits in literature, cinema and art remains the norm.

The journey of modern Dalit literature has been a difficult one. But even though it has not necessarily enjoyed the support of numbers we must engage with what Dalits are writing—not simply for reasons of authenticity, or as a concession to identity politics, but simply because of the aesthetic value of this body of writing, and for the insights it offers into the human condition. In a society that is still largely unwilling to recognize Dalits as equal, rights-bearing human beings, in a society that is inherently indifferent to the everyday violence against Dalits, in a society unwilling to share social and cultural resources equitably with Dalits unless mandated by law (as seen in the anti-reservation discourse), Dalit literature has the potential to humanize non-Dalits and sensitise them to a world into which they have no insight. But before we can understand what Dalit literature is seeking to accomplish, we need first to come to terms with the stranglehold of non-Dalit representations of Dalits.
Rohinton Mistry’s A Fine Balance, published 15 years ago, chronicles the travails of two Dalit characters— uncle Ishvar and nephew Omprakash—who migrate to Bombay and yet cannot escape brutality. While the present of the novel is set at the time of the Emergency, Ishvar’s father Dukhi belongs to the era of the anticolonial nationalist movement. During one of Dukhi’s visits to the town, he chances upon a meeting of the Indian National Congress, where speakers spread the “Mahatma’s message regarding the freedom struggle, the struggle for justice,” and wiping out “the disease of untouchability, ravaging us for centuries, denying dignity to our fellow human beings.” Neither in the 1940s, where the novel’s past is set, nor in the Emergency period of the 1970s—when the minds and bodies Ishvar and Omprakash, are savaged by the state—do we find any mention of a figure like BR Ambedkar or of Dalit movements. In his ‘nationalist’ understanding of modern Indian history, Mistry seems to have not veered too far from the road charted by predecessors like Mulk Raj Anand and Premchand. Sixty years after Premchand, Mistry’s literary imagination seems stuck in the empathy-realism mode, trapping Dalits in abjection. Mistry happily continues the broad stereotype of the Dalit as a passive sufferer, without consciousness of caste politics.
The writer of this passage is critical of Rohinton Mistry’s A Fine Balance for the reason that:

• It is an example of a book of Dalit characters by a Non-Dalit

• The book suggests that Dalits are nothing more than passive sufferers without any agency

• The book ignores the everyday violence that Dalits have to confront with

• The book ignores the everyday violence that Dalits have to confront with