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The essay takes a holistic view of the word “exile” to encompass a range of displaced existence. It illustrates through John Simpson’s The Oxford Book of Exile the various forms of exiles. The essay then goes on to show that diasporic Indian writing is in some sense also a part of exile literature. By exemplifying writers both from the old Indian diaspora of indentured labourers and the modern Indian diaspora of IT technocrats, it shows that despite peculiarities there is an inherent exilic state in all dislocated lives whether it be voluntary or involuntary migration. More importantly, a broad survey of the contributions of the second generation of the modern Indian diaspora in the field of Indian writing in English depict certain shift in concerns in comparison to the previous generation and thereby it widens the field of exile literature. Displacement, whether forced or self-imposed, is in many ways a calamity. Yet, a peculiar but a potent point to note is that writers in their displaced existence generally tend to excel in their work, as if the changed atmosphere acts as a stimulant for them. These writings in dislocated circumstances are often termed as exile literature. The word “exile” has negative connotations but if the self-exile of a Byron is considered, then the response to that very word becomes ambivalent. If a holistic view of the word “exile” is taken, the definition would include migrant writers and non-resident writers and even gallivanting writers who roam about for better pastures to graze and fill their oeuvre. World literature has an abundance of writers whose writings have prospered while they were in exile. Although it would be preposterous to assume the vice-versa that exiled writers would not have prospered had they not been in exile, the fact in the former statement cannot be denied. Cultural theorists and literary critics are all alike in this view. The study of world literature might be the study of the way in which cultures recognize themselves through their projections of ‘otherness.’ Where, once, the transmission of national traditions was the major theme of a world literature, perhaps we can now suggest that transnational Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975–2935) Volume I, Number 2, Autumn 2009 URL of the Issue: www.rupkatha.com/journalvol1no2.php PHP URL of the article: www.rupkatha.com/exileliteraturethediasporicindianwriters.php PDF URL of the article: www.rupkatha.com/0102exileliteratureanddiasporicindianwriter.pdf © www.rupkatha.com 187 Exile Literature and the Diasporic Indian Writer histories of migrants, the colonized, or political refugees these border and frontier conditions may be the terrains of world literature. (Bhabha 12) The diasporic production of cultural meanings occurs in many areas, such as contemporary music, film, theatre and dance, but writing is one of the most interesting and strategic ways in which diaspora might disrupt the binary of local and global and problematize national, racial and ethnic formulations of identity.(Ashcroft 218) The multivoiced migrant novel gave vivid expression to theories of the “open” indeterminate text, or of transgressive, non-authoritative reading. (Boehmer 243) In an interview with Nikhil Padgaonkar for Doordarshan, Edward W. Said reflected on the condition of exile: I think that if one is an intellectual, one has to exile oneself from what has been given to you, what is customary, and to see it from a point of view that looks at it as if it were something that is provisional and foreign to oneself. That allows for independence—commitment—but independence and a certain kind of detachment. (Said 13) John Simpson in The Oxford Book of Exile writes that exile “is the human condition; and the great upheavals of history have merely added physical expression to an inner fact” (Simpson “Introduction”). Indeed it is so if exile is taken to be identical with self-alienation in the modern, post-Marxist, Brechtian sense of the term. Physical mobility often heightens the spiritual or psychological sense of alienation from the places one continually moves between. The world, in existentialist terms, appears absurd and indifferent towards one’s needs. In such a situation one cannot help but feel like an outsider. Therefore, it is well agreed that exile is a part of the human experience. Many a Shakespearean play has in it exile in the form of banishment and it dates back even before the time of Pericles of Athens. As for writers of yore there is Ovid whose hyperbolic lamentation on being exiled from Rome for publishing an obscene poem forms part of his Tristia I. There is Virgil whose Aeneas leaves Troy urged by the ghost of his wife thereby displaying the writer’s predicament. 188 Rupkatha Journal Vol 1 No 2 The effect that exile has, not on the writers’ work, but on the writers themselves seems apparently paradoxical at first. Exile appears both as a liberating experience as well as a shocking experience. The paradox is apparent because it is just a manifestation of the tension that keeps the strings attached and taut between the writer’s place of origin and the place of exile. Whatever may be the geographical location of the exiled writer, in the mental landscape the writer is forever enmeshed among the strings attached to poles that pull in opposite directions. The only way the writer can rescue oneself from the tautness of the enmeshing strings is by writing or by other forms of artistic expression. The relief is only a temporary condition for no writer’s work is so sharp a wedge that can snap the strings that history-makers have woven. Even if a writer consciously tries to justify one end, simultaneously, but unconsciously, there arises a longing for the other. Therein lies the fascination of exile literature. Prominent in exile literature are the works of writers who were made to flee their countries by oppressive regimes. Two of the Russian writers namely Gorky and Solzhenitsyn form an amusing pair of victims of political exile. Gorky’s works—especially his communist manifesto Mother—incited the Tsarist regime as much as what Solzhenitsyn’s works—like The Gulag Archipelago did to the Communists when they came to power. Such is the dichotomy of world politics faced by the writers. If not politics then there are racial segregation, religious discrimination, and war that force writers to flee from their countries. The First World War saw a large exodus of writers who felt that they could not write in wartime Europe as they have previously written. The Second World War saw the Nazi’s persecution of the Jews. Thomas Mann wrote from his refuge in Chicago to Hermann Hesse in Germany about the uprooting and also mentioned that Europe would be a different place after the war (Simpson 227). As it turned out, the whole world became a different place as soon as Enola Gay flew over the sky of Hiroshima. What these writers benefited from their exile was freedom of speech but they could never forget the shock of their original expulsion. They always believed that it was their right to be home, yet those who were privileged to return home, were often disappointed with the changes. At home few friends remained and they missed the society of like-minded intellectuals that they had formed during the time and in the place of their exile. Once-an-exile becomes 189 Exile Literature and the Diasporic Indian Writer forever-an-exile and the works of such writers hold the verve of their restlessness. In Kafka’s short story The Departure the protagonist mentions that he can reach his goal by “getting out of here.” When asked what his goal was he gives a memorable riposte: “Out of here that’s my goal” (Quoted in Simpson 96). Many writers get out of their native land because either the weather does not suit them or the society does not suit them or they just get out in search of the springs of Hippocrene for their muse. R. L. Stevenson preferred to live in Samoa because he enjoyed health in the tropics. P. B. Shelley was the quintessential radical. Even before his elopement with Mary Godwin he showed signs of his radicalism by publishing a tract called The Necessity of Atheism for which he was expelled from Oxford. Eventually the conservative English society forced him to leave England. Shelley’s exile from society was so acute that in one of his letters to Mary he expressed his desire to desert all human society. He wrote, “I would retire with you and our child to a solitary island in the sea, [. . .] and shut upon my retreat the floodgates of the world” (Quoted in Simpson 216). On the other hand Byron’s was a self-exile into the continent in search of the fire to keep his muse’s torch burning. He even participated in the Greek War of Independence because England did not provide him with such a stimulating atmosphere in which to write. Exile in the form of migration has been the cause of emergence of a large number of writers who have given direction to the progress of English literature. Irish-English writers like G. B. Shaw and W. B. Yeats have produced works that have become landmarks of English literature. Joyce in his novel The Portrait of an Artist as a Young Man writes: “When the soul of a man is born in this country there are nets flung at it to hold it back from flight. [. . .] I shall try to fly by those nets” (Quoted in Simpson 258). Similar was the case with American-English writers like Henry James and especially T. S. Eliot who in his poems expressed his observations about the rootlessness of modern life. As intellectual exiles from America to Europe, they were fleeing from what they perceived to be the provincialism of America and its intellectual barrenness. They fed the European sense of cultural superiority due to their restlessness and incipient exilic predicament. In this regard their exilic condition, apparently, appears to be weak when compared to that of Conrad. Joseph Conrad was born in Poland b

Perspective: Exile Literature and the Diasporic Indian Writer