Annihilation of Caste — Dr. B.R. Ambedkar

The Jat-Pat Todak Mandal, an organisation founded by members associated with the Arya Samaj, sought to challenge the caste system through inter-caste dining and marriage.

Dr. B.R. Ambedkar was invited to preside over a conference organised by the Mandal. He prepared a detailed speech containing historical perspectives and arguments that questioned the very foundations of the caste system. Disagreements over its contents, however, eventually led to the cancellation of the conference.

Annihilation of Caste is the text of that undelivered speech.

Social Reform vs Political Reform

Dr. Ambedkar begins by arguing that political and economics reform are impossible without social reform. Based on historical events and developments across the world, he demonstrates how many political revolutions were preceded by social or religious revolutions.

Political reform, he argues, has little meaning if it fails to account for the social conditions within which it operates.

“Every Congressman who repeats the dogma of Mill that one country is not fit to rule another country, must admit that one class is not fit to rule another class.”

He criticises the social conferences associated with the Congress for focusing more on abolishing social evils among caste-Hindus than on dismantling the caste system itself.

At the same time, Ambedkar challenges Indian socialists who believed economic reform should take precedence over every other form of reform. Economic status, he argues, is not always the ultimate determinant of an individual’s position. In India, social status itself can become a source of power and authority.

“Religion, social status, and property are all sources of power and authority, which one man has, to control the liberty of another. One is predominant at one stage; the other is predominant at another stage. That is the only difference. If liberty is the ideal, if liberty means the destruction of the dominion which one man holds over another, then obviously it cannot be insisted upon that economic reform must be the one kind of reform worthy of pursuit. If the source of power and dominion is, at any given time or in any given society, social and religious, then social reform and religious reform must be accepted as the necessary sort of reform.”

His conclusion is emphatic:

“Turn in any direction you like, caste is the monster that crosses your path. You cannot have political reform, you cannot have economic reform, unless you kill this monster.”

Caste: Division of Labour or Division of Labourers?

Ambedkar dismantles the familiar defence that caste is merely a division of labour. The division created by caste, he argues, is not based on individual choice or aptitude, but on the dogma of predestination.

He then makes the striking assertion:

“Hindu society is a myth.”

The argument remains relevant even today, when different caste identities are often subsumed under the broader identity of being Hindu.

“Hindu Society as such does not exist. It is only a collection of castes. Each caste is conscious of its existence. A caste has no feeling that it is affiliated to other castes, except when there is a Hindu–Muslim riot…..

There is no Hindu consciousness of kind. In every Hindu the consciousness that exists is the consciousness of his caste. That is the reason why the Hindus cannot be said to form a society or a nation.”

Caste is Anti-Social

Ambedkar identifies another defining characteristic of caste: its anti-social nature. Caste-consciousness creates pride within one’s own group while encouraging separation and dominance over others.

“An anti-social spirit is found wherever one group has ‘interests of its own’ which shut it out from full interaction with other groups, so that its prevailing purpose is protection of what it has got. The Hindus, therefore, are not merely an assortment of castes, but are so many warring groups, each living for itself and for its selfish ideal.”

“The existence of caste and caste-consciousness has served to keep the memory of past feuds between castes green, and has prevented solidarity.”

Caste prevents spread of religion

Then, Ambedkar brings up an interesting debate on whether Hinduism was a missionary religion. He argues that the widespread similarities in customs and practices across India’s vast geographical expanse suggest that Hinduism must, at some point, have possessed a missionary character. He then connects its decline as a missionary religion to the emergence of caste.

“The Hindu religion ceased to be a missionary religion when the caste system grew up among the Hindus. Caste is inconsistent with conversion. Inculcation of beliefs and dogmas is not the only problem that is involved in conversion. To find a place for the convert in the social life of the community is another, and a much more important, problem that arises in connection with conversion. That problem is where to place the convert, in what caste? It is a problem that arises in connection with conversion. That problem is where to place the convert, in what caste?”

Chaturvarnya and the Fixity of Social Status

Ambedkar next examines Chaturvarnya, an ideal upheld by Arya Samajists, which claims that social classification should be based on a person’s worth rather than birth.

He questions the very idea of assigning permanent labels to individuals based on their supposed worth. Over time, these labels inevitably become fixed in people’s minds and transform into a hierarchy determined by birth.

He also makes a shocking observation about why a social revolution against the evils prevalent in Indian society was not possible in the same way as in other countries. The Shudras, occupying the lowest position in the Chaturvarnya system, were systematically disempowered. Denied the right to bear arms, they were, in Ambedkar’s argument, deprived of one of the means through which oppressed groups could rebel.

On the question of caste among non-Hindus, Ambedkar argues that its social significance cannot simply be equated with caste among Hindus. 

“The questions to be asked in determining what is an ideal society are: How numerous and varied are the interests which are consciously shared by the groups? How full and free is the interplay with other forms of associations? Are the forces that separate groups and classes more numerous than the forces that unite them? What social significance is attached to this group life? Is its exclusiveness a matter of custom and convenience, or is it a matter of religion? It is in the light of these questions that one must decide whether caste among non-Hindus is the same as caste among Hindus.”

The Real Remedy: Inter-Caste Marriage

Having established the destructive nature of caste, Ambedkar considers possible remedies: abolition of sub-castes, inter-caste dining, and inter-caste marriage.

Of these, he considers inter-caste marriage the most effective, because only the fusion of blood can create a genuine sense of kinship.

“The real remedy for breaking caste is inter-marriage. Nothing else will serve as the solvent of caste.”

But Ambedkar’s argument goes deeper than social interaction. Caste, he insists, is ultimately a state of mind.

“Caste is not a physical object like a wall of bricks or a line of barbed wire which prevents the Hindus from commingling and which has, therefore, to be pulled down. Caste is a notion, it is a state of the mind. The destruction of caste does not therefore mean the destruction of a physical barrier. It means a notional change.”

The Authority of the Shastras

This leads Ambedkar to what is perhaps the most fundamental question in the book: what sustains the caste mindset?

He argues that reformers who fight untouchability and caste often overlook the authority of the Shastras. People cannot be expected to abandon practices when they continue to regard the religious texts that sanction those practices as sacred.

“The Hindus hold to the sacredness of the social order. Caste has a divine basis. You must therefore destroy the sacredness and divinity with which caste has become invested. In the last analysis, this means you must destroy the authority of the Shastras and the Vedas.”

Ambedkar also cites passages from the Manu that condemn rationalism as a means of interpreting the Vedas and prescribe excommunication as its punishment. He argues that what Hindus call religion is, in essence, a code of ordinances.

“But the worst evil of this code of ordinances is that the laws it contains must be the same yesterday, today and forever.”

For Ambedkar, the fundamental problem with this code of ordinances is its finality and fixity. If the social order is considered divinely ordained and permanently fixed, meaningful reform becomes impossible.

A Radical Conclusion

Annihilation of Caste is ultimately not merely an argument against caste discrimination. It is an examination of the social, religious and psychological foundations that allow caste to survive.

Ambedkar’s conclusion is therefore radical: the abolition of caste must begin with a fundamental reformation of religion. If that reformation is impossible because the religious texts themselves are treated as immutable and sacred, then the authority of that religion must be destroyed.

More than a critique of a social system, Annihilation of Caste is a forceful argument for confronting the beliefs and institutions that make that system possible. Its questions about social reform, hierarchy, religious authority and the relationship between political freedom and social equality remain deeply relevant even today.

சிங்கிஸ் ஐத்மாத்தவின் “ஜமீலா” - தமிழில் பூ.சோமசுந்தரம்

சிங்கிஸ் ஐத்மாத்தவின் “ஜமீலா” எனும் குறுநாவல், சோவியத் கூட்டுமயமாக்கல் திட்டம் நிலைபெற்றிருந்த காலகட்டத்தில், கிர்கிஸ்தான் நாட்டின் ஒரு கிராமத்தைச் சேர்ந்த ஜமீலா எனும் இளம்பெண்ணின் கதை.

சையது எனும் இளைஞனின் பார்வையில் இந்நாவலின் கதையாடல் அமைகிறது. ஒரு ஓவியத்தை வர்ணிக்கத் துவங்கும் சையது, அந்த வர்ணனையை முடிக்காமல் ஒரு கதையைச் சொல்ல ஆரம்பிக்கிறான். கதை அவனது பள்ளிப் பருவ நாட்களுக்கு நகர்கிறது.

1940-களில் பல சோவியத் கிராமங்களைப் போல, அந்தக் கிராமத்திலும் கூட்டுப் பண்ணை அமைப்பு நடைமுறையில் இருந்தது. இரண்டாம் உலகப் போரின் காரணமாக, பொருத்தமான வயதை எட்டிய ஆண்கள் ராணுவத்திற்கு அனுப்பப்பட்டனர். சிறுவர்கள், பெண்கள் மற்றும் முதியோர்கள் வயல் வேலைகளிலும், கிராமத்தின் பிற உழைப்புகளிலும் ஈடுபட வேண்டிய சூழல் ஏற்பட்டது.

இந்த சமூக நிலையைப் பின்னணியாகக் கொண்ட இந்தக் கதை, நிலவிய அரசியல் மற்றும் சமூகக் கட்டுப்பாடுகளை ஆங்காங்கே பேசினாலும், போரின் விளைவாக அக்கிராம மக்களின் வாழ்வில் ஏற்படும் பாதிப்பையும், தனிநபர் உறவுகளையும், பெண்களின் உள்மனப் போராட்டங்களையுமே பிரதானமாகக் கொண்டு பயணிக்கிறது.

ஜமீலாவின் கணவன் போர்முனைக்குச் சென்றுள்ளான். போர்முனையிலிருந்து காயமடைந்து திரும்பிய தானியாரை, ஜமீலா மற்றும் சையதுவுடன் இணைந்து ரயில் நிலையத்துக்குத் தானியம் ஏற்றிச் செல்லும் பணிக்கு குழுத் தலைவன் நியமிக்கிறான். இந்த மூவரின் வாழ்வும் அதன் பின்னர் எவ்வாறு மாறுகிறது, அந்த மாற்றம் சமூகக் களங்கங்களையும் மரபுகளையும் எவ்வாறு கேள்விக்கு உட்படுத்துகிறது என்பதே “ஜமீலா”வின் மையக்கதை.

போரிலிருந்து திரும்பிய பின்னும் அதன் கோரத்திலிருந்து முழுமையாக மீளாத தானியார், ஆணாதிக்க சமூக மரபுகளுக்கும் வழக்கங்களுக்கும் கட்டுப்படுத்தப்படும் ஜமீலா, பள்ளிப் பருவத்திலேயே குடும்பத்தின் பொருளாதாரச் சுமையைச் சுமந்து, தன் சுயத்தை இழந்த நிலையில் தனது கனவுகளைத் துரத்த முற்படும் சையது என mental trauma மற்றும் self-discovery-ஐ இக்கதைமாந்தர்கள் மூலம் பேசுகிறது இந்நாவல். இவர்களின் வழியாக சமூக அமைப்பால் கட்டமைக்கப்படும் புனித பிம்பங்களையும் அது உடைத்தெறிகிறது.

சிங்கிஸ் ஐத்மாத்தவ் இயற்கையையும் நிலப்பரப்பையும் நாவல் நெடுகிலும் கதாபாத்திரங்களின் மனநிலையைப் பிரதிபலிக்கப் பயன்படுத்துகிறார். அந்த வர்ணனைகள் சோவியத் ஒன்றியத்தின் மத்திய ஆசிய நிலப்பரப்பை கண்முன் கொண்டு வருகின்றன.

ஜமீலா — சமூகக் களங்கங்களைத் தகர்க்கும் உணர்வுபூர்வமான காதல் கதை.

Dorothy - An earnest attempt that challenges social stigma

A disruptive cinema that makes an earnest attempt to challenge the social stigma.

A movie that questions caste, class, and gender discrimination, as well as the undue pride one takes in exerting dominance over another.

Without stopping there, it extends its exploration to the societal boundaries that limit one’s gender identity.

Karthik Subbaraj presents this lesser-explored theme through a cohesive mainstream cinema that is nothing short of brilliant.

Isaigani Ilaiyaraja’s score for this unconventional film is what he does best. The placement of “How to Name It” and “Muthumani” lets the weight of those moments sink in. He sits back comfortably and lets his music speak at many places and silence at others, making this audacious attempt in Tamizh cinema worth remembering.

Best experienced in theatres…

பட்டுக்கோட்டை பிரபாகரின் "குற்றச் சுரங்கம்"

ஒரு அரசியல்வாதி.

ஒரு உயர்நிலை போலீஸ் அதிகாரி.

இவர்களை மிரட்டும் ஒரு blackmailer.

முதலமைச்சருக்கு அடுத்த நிலையில் இருக்கும் அமைச்சருக்கும், ஒரு டி.ஐ.ஜிக்கும் மரணதேவன் என்ற நபரிடமிருந்து அழைப்பு வருகிறது. இருவரும் தங்கள் பதவியை விட்டு விலக வேண்டும் என்று காலக்கெடு விதிக்கும் அவன், அதை மீறினால் கொலை செய்வதாகவும் மிரட்டுகிறான்.

யார் இந்த மர்ம நபர்? இவர்கள் மூவரையும் இணைக்கும் புள்ளி எது?

ஒரு template revenge drama கதையாக இருந்தாலும், அதை present செய்யும் விதத்தில் விறுவிறுப்பு குறையாமல் கதை நகர்கிறது.

இந்நாவல் melodramatic ஆக மாறக்கூடிய பல இடங்களிலும் emotions-ஐ controlled-ஆக வைத்திருந்து, அதே சமயத்தில் வாசகரிடம் அதை சரியாகக் கடத்துவதும் சிறப்பு. குறிப்பாக, கதாபாத்திரங்களின் உணர்வுகளை அதிகப்படுத்தாமல், தேவையான இடங்களில் மட்டும் அழுத்தம் கொடுப்பது கதையின் flow-ஐ பாதிக்காமல் இருக்க உதவுகிறது.

இருவேறு timeline-களில் non-linear-ஆக எழுதப்பட்ட அத்தியாயங்கள், கதையின் suspense-ஐ தொடர்ந்து hold செய்கின்றன. Predictable ஆக இருந்தாலும், போதுமான drama இருப்பதால் தொய்வே இல்லாமல் பயணிக்கிறது பட்டுக்கோட்டை பிரபாகரின் இந்நாவல்.

Jason Kasper’s “The Spider Heist”

“The Spider Heist” is the first instalment in a series of heist thrillers by Jason Kasper.

Blair Morgan, a former FBI covert-entry specialist, finds her life in shambles after being used as a scapegoat and fired by her corrupt boss. She takes up a job as a waitress. When she is asked by Sterling, a stranger dining at the hotel, to go on a chance date with a bank employee, she agrees, driven by her circumstances. Towards the end of the date, she finds herself entangled in a bank heist planned by a small group of thieves who appear to be nothing more than amateurs.

This intriguing premise of a former FBI agent being held hostage during a bank heist sets the stage for a thrilling mix of intrigue, fun, and entertainment.

Once Sterling and his crew enter the bank, Blair begins to notice the unusual operating procedures they employ. When the Los Angeles police are alerted, they begin negotiations, appealing to the crew from outside the bank. Before the situation can escalate further, the FBI steps in. Jim, the FBI agent in charge of the hostage situation, identifies Blair to the media as one of the thieves - an unexpected blow to Blair’s already battered reputation.

The novel takes its time setting the stage for the crew’s getaway. With their escape plan kept firmly under wraps, the story maintains a steady pace, leaving us wondering what they have planned and how they intend to pull it off.

But when the FBI and police plan a break-in, the novel suddenly shifts into breakneck speed, taking us through a daring getaway across sprawling skyscrapers, followed by a high-speed chase.

Jason Kasper delivers a brilliant portrayal of Sterling’s heroics during the high-speed chase, packing the sequence with non-stop peril and keeping the tension relentlessly high. With police helicopters circling overhead and squad cars setting up roadblocks at every turn, the ensuing action is an absolute treat to read.

“The Spider Heist” is a high-on-action suspense thriller that is great fun, with a likeable group of thieves and their effortlessly daring attempts to escape.

“Rich Blood” by Robert Bailey

A personal injury lawyer, Jason Rich, who is just out of rehab for alcoholism. His estranged sister, Jana Waters, charged with the murder of her husband, Dr. Braxton Waters. A local drug lord who has been taking advantage of Jana to defer a payment she owes him and is now threatening her family. A handyman accusing Jana of being an accomplice to the murder. An ex-patient of Braxton, who lost a medical negligence case against him. Corrupt policemen. Affairs. Secrets.

A murder case with too many loose ends. And Jason, with no experience in criminal law, finds himself stepping into the case to defend his sister.

With such an intriguing premise, the novel seems to have all the ingredients of a compelling page-turner. But does it live up to its promise?

The biggest strength of the novel is its well-established cast of characters. Each character comes with a distinct personality, history and set of motivations, making the world of Rich Blood feel lived-in. This is perhaps intentional, as the novel also serves as the foundation for the Jason Rich series.

Touted as a legal thriller, the novel feels more like an investigative thriller, with relatively little courtroom drama. Nevertheless, the pre-trial investigation keeps the story moving at a rapid pace, with genuine twists and turns that are difficult to see coming. The mystery keeps unfolding at a steady clip, making it hard to put the book down.

However, once the story moves into the courtroom, the pace feels noticeably rushed. The events that follow seem to be wrapped up rather quickly, leaving the courtroom proceedings feeling less satisfying than the gripping investigation that precedes them.

The dual-twist ending feels forced and comes across as a letdown in an otherwise engaging thriller. After such a compelling build-up, the conclusion doesn’t quite deliver the payoff the novel seems to promise.

Harlan Coben’s “Fool Me Once”

Harlan Coben’s “Fool Me Once” revolves around Maya Stern, a military veteran whose career comes to an abrupt end after she blows up an SUV carrying civilians during a mission. When footage of the incident is leaked online by a whistleblower organization, her reputation is destroyed. But there is far more to the story than what the world has seen.

The novel opens with the funeral of Joe, Maya’s husband. He was murdered during what appeared to be a burglary gone wrong while he and Maya were taking a stroll through a park. But was it really just a random robbery? To make matters even more unsettling, Maya’s sister had also been murdered only a few months earlier in what was believed to be a home invasion. Were these two robberies merely tragic coincidences, or was there an unseen thread connecting them?

After the funeral, Maya’s close friend Eileen gifts her a digital photo frame with a hidden nanny cam, hoping it will help her keep an eye on her young daughter, Lily. Haunted by PTSD from the military incident, Maya finds it difficult to adjust to civilian life. She struggles to connect with Lily, who spends most of her time in the care of Isabella, the nanny.

She settles into this routine until one day, when she spots something strange and unsettling in the footage from the nanny cam. She sees Joe, her dead husband, playing with Lily. Did Joe fake his own murder? Is someone orchestrating an elaborate deception? Or is Maya’s trauma finally blurring the line between reality and illusion?

From that moment onward, Fool Me Once hurtles forward at a relentless pace, plunging the reader into a whirlwind of twists, secrets, and revelations.

As Maya begins digging into her sister’s murder, she uncovers the outlines of a conspiracy that may have cost her sister her life. What initially appears to be two unrelated tragedies slowly begins to unravel into something far more sinister, with each answer leading to even more unsettling questions.

While parts of the novel are fairly predictable, Harlan Coben keeps the pages turning with crisp pacing and a steady stream of revelations. Even when some twists can be anticipated, the suspense rarely lets up. The climactic revelation ties the various threads together and delivers a satisfying conclusion.

Barring a few moments where the characters make decisions that feel a little too convenient or implausible, “Fool Me Once” is a thoroughly engaging thriller.