Thursday, October 1, 2009

The Emperor's 'Borrowed' Robe: Part 3

"Narang however, has entirely distorted his image. It is not up to Sahitya Academy or Narang’s supporters to reinstate his image. Only Narang can restore it - not on the same altitude however - if he admits his unethical and unliterary act. At this stage, it is not up to the Sahitya Academy to decide the future of the plagiarist. Let the honest readers determine the actual place of Narang in Urdu literature and criticism."

-Imran Shahid Bhinder


You wrote about it in a Pakistani journal and later in a Delhi-based Urdu magazine. What response did you get?

Primarily the news about Narang’s plagiarism was appalling for the literary community in general and for Narang‘s companions in particular. Its impact was certainly anti foundational. Initially when I published my first article in a Pakistani journal, a common reader perhaps was all at sea so he or she considered it better to keep silent. However, as the matter ascended further, when I published, simultaneously, a number of detailed articles particularly in a Germany based literary journal “Jadeed Adab”, many readers responded harshly. Narang and company intended to convert Narang’s detestable act of plagiarism as a part of traditional literary antagonism between the two rival literary groups based in India.

Nevertheless, this time it was a genuine literary concern not just an act of mudslinging against each other as they have been indulging in for past many years. A particular literary community in Pakistan who claims to have done a lot in introducing postmodernism to Urdu readers has been quiet since the beginning of the issue. Their silence gives a unique message to the genuine researcher that he or she should excavate the issue of plagiarism further.

Have you spoken to Mr Narang? Or someone from his behalf got in touch with you?

Why should I speak to Narang? Why should Narang’s companions need to contact me? When the evidence about his plagiarism is there which they have not rebutted, Narang like a true reader of literature just needs to execute self-introspection. Similarly, Narang’s helpers need to analyse the evidence that I thoroughly recorded in my four essays and must condemn the act while adhering to the literary ethics. I will draw their attention to this point again, to compare the plagiarised material, which I have identified, against the actual writings by the western interpreters of structuralist theory.

This is no longer a demanding exercise as I have made the matter smoothly accessible even to a layperson. After getting confirmed the integrity of evidence, if they feel motivated by the crooked act of their mentor, come forward and play their part to get rid of this firmly established iniquity in Urdu. This matter must not be considered between two persons or two groups, it is twenty first century for God’s sake, and it must be a concern for the whole Urdu world. Rationalist approaches must go on. I also expect from Narang, if he has ever been an honest student of Urdu literature, to come forward and confess his blatant mistake.

In addition, it will be of great interest to your reader to know that an increasingly condemnable act by Narang was committed as a response to my articles. Instead of repenting over the act which is supposed to ruin his own literary standing, Narang approached the publisher of “Jadeed Adab”, and threatened him that if he publishes more essays about Narang’s plagiarism, he will have to face the consequences. I must say thanks here to the editor of “Jadeed Adab”, Mr Haider Qureshi, who really deserves appreciation. Qureshi took a firm stand and published my three essays in his journal. The details of this episode can be read in another Mumbai based literary journal “Esbaat-3”.

Narang got the Sahitya Akademi award for the book. What do you think does it say about the Urdu writers and intellectuals who did not seem to have found it for so many years?

I think all awards, including Sahitya Academy award, which Narang has received after the publication of his book have absolutely lost their credibility. All other writers who did not get it so far must thank God. Think for a while what impact will it have on a sixteen-year old student of Urdu as well as a student of other languages? To plagiarise and get awards? The awards are not given on the basis of true achievement of writers.

In the West, only those writers are honoured who help expanding effectively an ideological apparatus for the ruling class. In order to accomplish the assignment they extensively sponsor subjective philosophies. Subjective philosophies question the validity of objective truth. Rather than concentrating on the actual exploitative and barbaric capitalist structure, which shape even the literary and artistic trends in the west and has a deep link with both their real and imaginary life, students are compelled to believe on some timeless abstractions because they consider these abstractions a superior part of reality.

However, in India extreme communal factor as well as ideological propensities of the ruling elite plays a decisive role in determining the credibility of writers. Against this background a true intellectual - rather than waiting for the awards - should extinguish such a desire if he or she has one.

Do you think this is an exception, or is it that plagiarism is rampant in the Urdu world? Gopi Chand Narang is a renowned name in the world of Urdu literature. Do you think this episode will sully his image? Or will it be forgotten?

I would like to give a detailed answer to this question. Plagiarism is not an exception. It has always been a part of Urdu literature and criticism. For the past several decades particularly with the rise of modernist movement in Urdu literature, this tendency in Urdu literature and criticism seems to have escalated. Plagiarism is an act of enormous moral bankruptcy and cause serious damage to the literary process. If you analyse this activity more deeply you will find out that a plagiarists absolutely ignores the society he live in. Plagiarism is committed not with an intention to lead literary process to a different dimension, but under the sole desire of image management.

For past few decades, plagiarism has expanded like a plague in Urdu literature. I view the roots of this rising phenomenon in the modernist movement started in the west and blindly adopted by the Urdu world. Although in the west, the modernist movement flourished with the imagist manifesto in 1910 it however intensified the tendency of extreme subjectivism among the poets and critics. It is true that in the Urdu world the passivity borrowed from the modernist movement revealed a partial and inherent compatibility with the Indian mentality and temperament.

Proponents of the western modernist borrowed all their appropriate theoretical instruments from great German philosopher Immanuel Kant. Modernist movement under immense influence of Kantian philosophy culminated in Heideggerian and later Sarterian existentialism.

Heidegger was an important representative of German Nationalism; he preferred ontologism rather than rationalism, and borrowed the key philosophy of time from Kant, which meant that man was not in time; on the contrary, time was in man. Based on this Kantian conception, it was important for Heideggerian Being to understand his own destiny as historical being. Heideggers Dasein was not an empty abstraction; it was not wise to imitate it without understanding the causes of the emergence of Heideggers philosophy of Dasein. In this way, Existentialism helped in promoting selfishness in the west that ended as barbarism.

Urdu writers did not locate the emergence of philosophies within a particular context; lack of this aspect led them to ignore the internal contradictions of their own societies. Western existentialism founded the modernist movement in Urdu. Politically western existentialism never lost the collective spirit, in Urdu it emerged in its distorted form as individual based process that finally ends up as all sorts of insatiability.

I give you some examples of the poets and writers of the west see how they established a link with the political history of the west. The overall objective situation of the twentieth century was not so encouraging, which further strengthened their subjectivism. Ezra Pound turned out to be a fascist. W B Yeats propagated Irish Nationalism and another important figure T S Elliot, first converted into fascism but later abdicated from fascistic activities. Western philosophical approaches have always been rational in both subjective and objective process. Having influenced by this kind of philosophy, Urdu writers said good-bye to collective causes and adhered strictly to their own passive individualism.

When we read the history of Indian mythology, we discover that it has remained subjective throughout, but as there is a difference between subjectivism of rationalism and mystics, Indian subjectivism will have to be classified as mystical subjectivism. Western rationalism centralizes human subject although ideally, mysticism however decentralizes human subject in the name of human centrality.

In short, however, under the huge influence of western rational subjectivism, Urdu writers found western rationalism more attractive. Because unconsciously they could see a clear link between social and political life and theoretical discoveries, although they do not express it, but if you read any book by the Urdu critics or poets you will find innumerable references of the western writers and hardly find any by the Indian mystics. Deep contradiction in their writings and behaviour is that they support Indian mysticism in a self-contradictory way. Western rationalism questions the decentralizing aspect of Indian mysticism.

Extreme form of subjectivism debases objective process and reality, and turn writers to pursue self-interests. Urdu writers for their personal interests - their desires to be popular - completely ignored the objective process and eventually fell victim of this plagiaristic virus.

Narang however, has entirely distorted his image. It is not up to Sahitya Academy or Narang’s supporters to reinstate his image. Only Narang can restore it - not on the same altitude however - if he admits his unethical and unliterary act. At this stage, it is not up to the Sahitya Academy to decide the future of the plagiarist. Let the honest readers determine the actual place of Narang in Urdu literature and criticism. I would further add that if Sahitya Academy does not take stringent action against Narang’s act of Plagiarism, you would see that in the near future Sahitya Academy would have to rectify its own image. I understand that this deeply rooted literary evil can never be uprooted within days, which occupied so revered place among the hearts and minds of the so-called theorists and poets of Urdu.

However, I can hear the echo of a storm rushing towards these privileged people and places. Honest writers and critics must come forward and raise the issue further. They should also contact the relevant authorities to form a committee as Haider Qureshi suggested few months ago, and decide the fate of Narang’s plagiarism as far as award related activity is concerned, as well as devise strategies to prevent it from arising in the future.

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