What is Progressive Literature? Why?

   Translator’s Note

K. Damodaran was part of the Jeeval Sahitya Prastanam (life oriented literature movement) was the Kerala regional branch of the All India Progressive Writers Association. As part of my second translation exercise, I have translated certain excerpts from K. Damodaran’s essay, ‘What is Progressive Literature? Why?, which was presented for discussion at the Malabar Progressive Writers’ Conference  which took place in Nellayi from 6-8^th May [year 1937]]

                           

                                        What is Progressive Literature? Why?

After the world economic crisis from 1929-33, to explain more clearly, after the onslaught of the army of fascist dictatorship against all cultural values, a new movement arose in word literature called progressive literature. The writers’ conference held in Paris in 1934[1][sic] under the presence of world literary figures like Henri Barbusse, Louis Aragon and Romilot [Romain Rolland?] laid the foundation for this new literary movement. As a result of the efforts of Sajjad Zaheer and other anti-imperialist Indian writers who attended the Paris Conference, an all India Progressive Writers’ meeting was conducted in Lucknow in 1935 which was chaired [and addressed] by the emperor of Hindi Literature, Shri Premchand. The All India Progressive Writer’s Association took form after that meeting and its Kerala division was born under the name of Jeeval Sahitya Prastanam [Life oriental Literaature Writers ‘Association] in 1937. It is known as the Progressive Writers’ Association since 1942.

New Literary Movement in the Modern Period

The progressive literature movement emerged in order to accomplish certain obvious social requirements. It is the movement of those who consciously create literature for the progress of society.

The economic crisis of 1929-33 and the developments in the changing socio-economic-political context following that not only affected the material living conditions of man but also brought about enormous transformations in the emotional and mental realms. The conflicts within social life reflected in the mental sphere. On the one side, endless literary cultural activities were taking place to justify and uphold [maintain] the exploitation and attempts of war by the time extinguished forces of imperialism; and on the other, new literary cultural activities that stand firm and rooted with the people arose to oppose attacks on cultural values and support the growth of forces of freedom and peace; writers of progressive literature sprang forth as representatives of the second one.

In that period when British imperialism continued to keep India under the fetters of slavery, the chains of imperialism stood as a hindrance in various ways to the growth and development of Indian society. In order to produce literary works that would inspire [stimulate] common people to tear down these binding shackles, the institution of progressive literature was invoked. The first progressive writers’ meeting accepted a small announcement in lieu of the goals of the body of progressive literature. It was declared that progressive writers should create literature that will assist the struggles against British imperialism. The Jeeval Sahitya Prastanam in Kerala also acknowledged this declaration.

In brief, the association of progressive writers was conceived to carry out certain historical social necessities and to accomplish renewed responsibilities of changing cultural aspects.

The Role of Movements in World Literature

Some argue that perfect [ideal] literary works are not produced as a result of movements, hence such movements and institutions are not necessary and instead they only lead to further confusion and disarray. What such people do is close their eyes towards history. It is so because during various epochs in history, many movements arose in literature in response to changing conditions of social life. Literature, similar to social living, progressed through organisation. Whenever any new movement that fuelled and inspired new social forces emerged, the [stubborn] defenders of antiquity [old traditions] have displayed frenzied resistance against it. For example, during the period of 14-16^th century, when factories, industries and capitalist social relations emerged, a new benevolent and humanitarian literary movement called the humanist literature came up to resist and oppose existing scholastic literature. Literary figures like Petrarch and Boccaccio were the leading proponents of this movement. Classical literature which was of significance in 17^th century and Romantic Literature which came up in the 18^th century were all new literary movements in their own periods.

In 18^th century France, new literary movements sprang forth against the dominance of the church and aristocracy, in association with revolutionary socio-political movements of that period. Challenging existing spiritual and philosophical thoughts, literary leaders like Voltaire and Diderot started portraying the progress of people in literary-cultural platforms. Romantic literature, which emerged with the efforts of exemplary literary figures like Victor Hugo, Shelley, Hayne et cetera fought for the freedom of forms from the rigid postulates [canon] of classicism and to include and portray the progress and lives of people against the dominance of aristocracy.

Realism as a movement in literature came up in 19^th century with the demand to sincerely and veraciously portray the unpleasant and dreadful aspects of life along with its wonderful aspects. It later developed into naturalism. Naturalism is the depiction of everything that is visible in the surrounding with photographic precision [verisimilitude]. Critical Realism emerged in response to this with the insistence that the realities of life should be observed and reflected upon critically. It is a literary movement that aimed to expose the evils of existing capitalist order with veracity by studying and observing the realities of life in detail. Stendhal, Balzac, Dickens, Thackeray and similar other literary figures were the proponents of critical realism.

Critical realist writers were able to genuinely portray the perversions and ugliness of existing social life. But, they could not realise and identify the crucial forces that were pushing this social order into its inevitable downfall. It was a period when the working class was not yet fully conscious of its own strength.

In order to resolve this lack, in the beginning of 20^th century, that is, when capitalist regime was overthrown and the age of workers’ revolution began; a new literary movement called Socialist Realism began under the guidance of Maxim Gorky. It is a movement that not only honestly depicts social life, but also reflects where it is headed along with examining how [social realities] change as a result of people’s struggles.

It can be noticed that Malayalam literature was also hit by the waves of these specific movements which occurred in world literature. Malayalam literature came into being as part of a movement to release itself from the hold of Sanskrit and Tamil and to earn the right to produce literature in its own language. There were Romantic and Realist movements in Malayalam literature as well. Similar to the movement for replacing Sanskrit terms and concepts with folk terms and concepts, there have been strikes [movements] to include socially relevant aspects instead of mere descriptions of gods and goddesses and nature in Malayalam literature. As workers and peasants movements strengthened, there have been movements in Malayalam [literature] to portray ordinary workers, farmers, harijans (Dalits) and manual scavengers as protagonists and existing oppressing classes as degenerate classes.

To summarise, it is through the conflict between old and new and movements resonating social growth in various epochs of time that literature has grown [in time].  Ideal literature has never been impartial; it has always stood by novelty and innovation in the face of conflict between old and new and abating social forces and strengthening social forces. It is precisely because of this that it is considered ideal literature.

Who [all] are Progressive Writers?

Progressive literature emerged after wrestling with regressive literature that represents imperialist forces. The foundational principle of such regressive literature is subjective [and individual] spiritualism. In opposition to truth, realism and critical realism, regressive literature in the grab of various terms such as futurism, surrealism, existentialism, cosmopolitanism[sic] and so on try to confuse the people and impede their progress. Despair, mysticism, the thought that man is helpless and incapable of building one’s own future complete degradation, sexual vagaries,  respect for war and massacres, condescension to cultural values, faith in the evil of man and the disbelief in the generosity of mankind, hatred towards ideals, all of these are the main trends of regressive literature.

Such regressive trends are advertised behind a veil of arguments which state that art does not have any other responsibility beyond that of being art in itself. Their intention is to protect the existent established [dominant] order by drowning majority of people into the depths of ignorance, superstition, uncertainty and inaction. In opposition to such regressive trends and other positions which expound art for arts’ sake, the Jeeval Sahitya movement came up and grew by arguing that the production of literature should have a thoughtful and conscious aim.

Along with the growth of workers’ movements and peasants’ movements in Kerala, the influence of socialism began to spread gradually around the country. It was in that period that some anti-imperialist youth writers who were also leaders of the rising bahujan[2] movements came forward with poems, stories and plays which attempted to inspire and motivate the demonstrations and strikes of workers and peasants by placing the goal of socialism ahead of them. Many among them were not even skilled with artistic expertise and maturity. Even then, their works contained aspects of socialist realism. It was under their leadership and guidance that jeeval sahitya movement began in 1937.

Around the same time, the number of writers who attempted to reveal the malice and ugliness of existing social order through their writings were increasing though they did not overtly propound socialism and Marxism. There were also many other writers who envisioned social equality and took the pen to write against untouchability, caste hierarchy and so on. Most of their works imbibed critical realism. All of them combined to form the progressive literature movement.

Progressive Literature is, hence, much more vast and extensive than socialist realist literature. It encompasses not only socialist realism, but also critical realism.

To state differently, not only those writers are progressive writers who believe in Marxism and work towards building socialism and overhauling the existing social order by organising workers and peasants struggle and consolidating all the oppressed classes under the leadership of the workers struggle. Marxism is a science that explains the functioning of social forces lucidly and logically [with reason] by describing the tenets of social progress. It is true that those who study Marxism not only understand the [constitution of] society, but can also expedite the process of social transformation by foreseeing how and where society is progressing. But it is incorrect to state that only one who believes in Marxism can be a progressive writer. All those writers who expose the perversions of existing social order which has already reached its timely culmination and stand with the people for social growth in whichever way possible, even if they do not believe in Marxism or illustrate the means for social transformation, are progressive writers.

A progressive writer is both a literary figure and a firm proponent of progressive thoughts. But who is a writer, what is literature, what is the definition of progressive and what is social progress? It is important to have a clear understanding about all of this.

Is Everything That Is Written Literature?

Literature, by its larger definition, encompasses the works of all kinds of writers. It could be differentiated into artistic, political, scientific and technical, based on the nature of its contents. In its general meaning, literature includes everything that has been written. All writers are literary figures. Like those who write prose and poetry, the ones who write scientific books and political books are also considered to be literary figures.

Usually, the term literature is not used in its general sense. Mostly creative and artistic works, for instance, poetry, stories, novels and plays [drama] are understood as works of literature. Works which elucidate political matters could be termed political literature and those related to science can be called scientific literature. But those who write such works are not usually recognised as literary figures, according to the general understanding and definition of the term.

The boundary lines between various kinds of literature are very narrow. At times, it is difficult to differentiate one form from the other. There are numerous leaflets and books which appeal to maintain or transform the practises of existing ruling order. All of them could be seen as literature according to its larger definition.  But, the poems of Mayakovsky and Futchiks’ notes from the gallows come under literature in hand with artistic innovation.

Some political and scientific works or certain excerpts of these works could be described as artistic or creative. In spite of that, they are political or scientific works; they are not art oriented literature in the usual sense.

What is Literature?

A literary figure is also a social being like everyone else. He [sic] writes literature in compliance with the functioning of social forces. He represents the social consciousness that comes as part of social growth.  Literature is a form of social consciousness.

But, a literary intellectual who represents social life is a vital human being, not a lifeless machine. Hence, he depicts the course of his own viewpoints through literature. It is possible to gauge whether he is a regressive or progressive writer only after identifying whether his viewpoints are regressive or progressive.

Literary exponents are not a separate race [group] or a separate section. They come up from various communities, races and sections of people. Therefore, there will be literary figures that represent different communities and races and different established interests. There will be [literary] writers who are workers, there will be [literary] writers who are owners and there will be [literary] writers who are landlords. Their views on social life might not be identical. It is not easy to hold a position that is bereft off the differences in social life or community or racial differences. The surroundings in which a literary writer grew up and his social relations, the books he read, the experiences he has confronted in life are all crucial in shaping his opinions. Hence, the standpoint of a [literary] writer can either regressive or progressive. Literature that is created and produced with a progressive perspective is progressive literature.

Progressive stands for [...]

But, what does the term progressive imply;

The personal choices and experiments with beliefs of every individual need not necessarily be progressive, that is, the definition of the term progressive is not subjective. This is because social realities, conflicts in social life and struggles that are reflected in literature are independent of the personal wishes and desires of the writer. A literary writer alone is not the decisive figure in envisioning the direction of progress of society. Social growth is commanded by certain special imperatives which are free from the impressions and understandings of a literary writer. It is only in accordance with these imperatives that society can progress.

Consider for example that a [literary] writer believes that it is progressive to restore untouchability, caste hierarchies and the old varna-dharma[3] system. But such thoughts are not compatible and in resonance with social realities. Untouchability and caste hierarchies are not progressive but degenerate institutions.

Or else, assume that someone believes that a society based on cottage industries instead of mechanised industries is progressive. Such a belief is incongruous with social realities. This is because the growth of industries has become indispensible according to certain economic policies which function outside the parameters of the [literary] writers’ belief system.

 If not, consider that a person decides that aristocratic rule is progressive. But, this decision is not harmonious with social realities. Presently despite the strength of the ruling forces of aristocracy, it is a deteriorating institution.

No matter what the plans and desires of a [literary] writer are, they should comply with objective [social] realities. That is, a literary writer should be able to portray [depict] growing and deteriorating forces in society as they are.  Such a figure is a progressive writer because he reflects social progress in his works. He is one who creates literature that inspires the development of society.

A [Literary] Writer’s Freedom

There are many who argue that a [literary] writer should remain just a writer, or that the free expressions of those writers who believe in creating literature from a progressive perspective have surpassed unnecessary and dangerous thresholds.  Some even argue that a writer is free from time enduring socio-political problems and the limits of territorial and spatial boundaries. Is this correct?

No, it is not. Similar to those engaged in various occupations, a [literary] writer is also bound to work within the parameters of prevailing social relations.  A writer, even with the most idiosyncratic personality, is a social being. He will be able to enjoy his freedom only in association with other individuals of the society...

To summarise, it is the social conditions and scenario which shape the thoughts and consciousness of a [literary] writer. He cannot become a writer by standing outside the realm of social relation. Neither can he become a conscious individual.

So, a [literary’ writer becomes free when he associates himself with social conditions and remain committed to the progress of society.

In a society, that is rampant with social oppression and exploitation, a [literary] writer remains muddled in the tangle of various demands and obligations that trample his personal freedom. It is only through conscious efforts for social progress that he can break away from them.

                                                                                          ....

Form and Content

There is a belief that any literature could become progressive if the form and craftsmanship is exquisite. A progressive writer will not conform to that viewpoint. If artistic and formal flawlessness are used to promote degenerate and regressive thoughts, then they cease to be progressive literature. Along with form, its content should also be beautiful. Only then will it be progressive literature.

A progressive writer does not blindly dismiss all art forms that have developed during various periods in the cultural history of Kerala. A progressive writer can use any of these art forms with or without changes. Be it Ottamthulal, Kathakali, Chakyarkootu and Teyyam or novels, short stories and shadow plays; a progressive writer can use any of these art forms with or without modifications. If not any of this, it could also be the most contemporary art form. It is only necessary to fulfil what is required from the form of art. As far as a progressive write is concerned, the purpose of form is to express the intentions of the content. If a particular form can evoke and express the motives tastefully and effortlessly, then it has succeeded. If the intent of any artwork with a progressive outlook can touch the depths of a common viewers mind, then it has as much beauty and tenderness.  Since people constitute the forces that push forth social transformation, a literary or art work that has inspired people has also contributed to the process of social transformation.       

                                                                                         ...............                                                                                                                                      

Current Viewpoints

When we accept the popular principle [norm] that a progressive writer creates literature for the progress of society, the time to understand what entails ‘progress’ has long past us. Taking into account the present condition of Indian society, a progressive writer should imbibe the following viewpoints.

(1)    A progressive writer should adopt a scientific approach towards viewing things. Progressive writers should labour hard to eradicate superstitions and blind practises which abound immensely in our society.

(2)    A progressive writer should work for the freedom of women, freedom of speech and expression, and other fundamental democratic rights.

(3)    A progressive writer should aspire for the industrialisation of India; only an industrialised social order can sustain India financially and economically.

(4)    A progressive write should oppose popular established mindset and institutions that uphold and emphasise such a mindset. We can march ahead only if we propagate fraternity and unity in society.

(5)    We should have an egalitarian economy without the hierarchies prevalent in the current economic order.

(6)    A progressive writer should strive for a united Kerala. The culture of Kerala will develop only if united.

(7)    Administrative procedures, education and other such matters should be carried out in the mother tongue [regional language].

(8)    A progressive writer should endeavour for world peace. Culture grows and progresses only in a peaceful environment.

(9)    A progressive writer should not isolate himself [sic] from society and continue to create art; he should take an active part in the programmes of cultural organisations around him.

It is only by internalising these viewpoints that a progressive write can remain unflinching and stoic in the creation of literature and art that inspire and support social transformation.

---

[1] The author is referring to the International Congress for the Defense of Culture held in Paris in 1935. The date mentioned by the author is not the actual date of the conference which was from 21-25 June 1935.

[2] Dalits

[3] A practice of hierarchical division of society in Vedic period into four varnas (sections) based on their social and economic roles and profession. The Varna system eventually founded itself within the rigid practice of caste system in India.