Can paupers compete with the kings? … Though drunk on power, the landlords of Dakkin-Patti could not have defiled the Tazia. “When the procession of Dakkin-Patti reached the turn, they were taken aback by the papery Tazia facing them.
He paints an accurate and a realistic picture of the elite by delineating the contradictions and the absurdities of the feudal culture that was deeply rooted in the rural hinterland.įor instance, in his novel Aadha Gaon, the arrogance of the male members of a well-off landlord family is palpable. His description of their lifestyle, norms and mindset exemplify the keenness of his observation. Many of his novels, including Aadha Gaon (1966, Rajkamal Prakashan), Dil Ek Sada Kagaz (1973, Rajkamal Prakashan) and Neem Ka Ped, vividly describe the riches and the lavish life of landlord families. Rahi was born into a well-heeled, aristocratic clan of landlords. A closer look would reveal that another issue that is omnipresent in his novels is caste.
Partition, rise of communalism as a political force in post-Independence India, the disenchantment that set in among the people, Emergency and the religion-power nexus – all find a prominent place in his works. His sharp and penetrating vision does not miss the political events and the catalysts of landmark sociopolitical developments of his times. Whether it is the pre-Independence or post-Independence era, these are present in vivid detail in Rahi’s novels. His writings mirror his environment, with all its diversities, peculiarities and monstrosities. Dr Rahi Masoom Raza (1 September 1927 – 15 March 1992) – a leading post-Independence Hindi novelist – was no exception. In other words, they become inclined to create after drawing meaning from the material world. Their environment is the primary source of their sensitivities. While almost all people are alive to their environment, writers and artists are more sensitive than others and can hardly remain divorced from the developments around them.
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