Publisher : Niyogi, Rs 316
This book is a gripping tale of guerrilla warfare and political radicalism, more specifically in Kerala in the 70s. It charts out the conflict between the state and the anarchists who attempt to voice anti-state sentiments and undertake rebellious acts to counter state-sponsored exploitation, writes IPSHITA NATH
E Santhosh Kumar’s The Island of lost Shadows is a gripping tale of guerrilla warfare and political radicalism in the 70s within the Indian subcontinent, specifically Kerala. It charts out the conflict between the state and the anarchists — revolutionaries — who attempt to voice anti-state sentiments and undertake rebellious acts in order to counter state-sponsored violence and exploitation. A heady mixture of suspense, intrigue, and socialism is created in the novel, and revolution lies at the heart of the narrative. The reader is taken into the depths of the problematic political scenario of the country, which is complicated further by the preponderance of radical leftist ideologies in such spaces. Indeed, Kerala during the given period was undergoing massive changes, and the conflict ridden times when feudalism and political excesses were rampant are most expertly depicted in this narrative.
Interestingly, the novel chronicles the perils and adventures of a young revolutionary, Sivan, on one hand, who has had to go into hiding for fear of being captured by the agents of the state. The mysterious island where he takes refuge is however treacherous and sans trust-worthy people. Dangers lurk in the corners and fears of prosecution run high. Suspicion, lies, deceit, and seduction complicate the situation further and Sivan finds himself balking several times.
Conflict in human emotions are also well played out here. Restraint and sexual desire are shown, and Sivan must practice the former in the face of the latter as ‘revolution’ seems directly opposed to personal pleasure. Selfish causes must always come after the larger social cause one is fighting for. The narrative manages to highlight the difficult choices that need to be made for the sake of communism, and how commitment to comrades must come before everything else. The constant fear of getting caught also allows the reader to understand the risks involved in engaging in revolutionary activities.
On the other hand, the character of Sreenivasan, a poet who wrote radical poetry, demonstrates the ideological and artistic aspects of revolution. Art, especially poetry, is therefore shown as a powerful weapon against the regimental Government that believes in repressing the masses. The potency of politically charged writing, and the threat that such writers pose to the hegemonic systems in society are compellingly brought out. Art of such nature intimidates and in fact challenges the people in power and must therefore be banned. Such censorship occurs even within the narrative as Kumar constantly harps on how imperative it was for the revolutionary journals to keep getting published and circulated, despite the state strategies to shut them down and confiscate them. This becomes especially significant in current times of surveillance wherein the state increasingly curtails people’s freedom of speech and expression, especially of writers and authors who create literature that challenges the dominant ideologies. However, dissident voices are always silenced, and the author convincingly portrays such counter-insurgency techniques of the state. Sreenivasan’s disappearance therefore becomes one of the primary preoccupations of the novel. His wife who perseveres in looking for her missing husband is confronted by the bitter possibilities of him having been prosecuted secretly, or assassinated because of the subversive poetry he wrote.
Ultimately, the disappearance of Sreenivasan becomes significant because it shows how artists are disallowed from protesting against the state. But the writer seems to be saying that journalism and print media are the media through which significant changes in social and political structures of the society may be ushered in.
However the author does not idealise the power of art and instead chooses to illustrate what the cost is; how such articulations of protest are penalised with utmost brutality. Here, the question of sedition also comes into play because the narrative challenges the easy categorisation of radicalism and revolution as ‘terrorism’.
Indeed, Insurgents are often branded as traitors, renegades, and terrorists because they refuse to comply with the hegemonic discourses promulgated by the state. They often take up arms to fight against state brutality on weaker sections of the society. However, is it possible to call them anti-nation/ seditionistIJ
The reader is sucked into the vortex of Kumar’s exhilarating tale. He manages to uniquely portray the chilling insurgency activities in Kerala by first showing how red politics tries to find alternative modes of justice, and then by depicting the various methods deployed in seizing political control. Scenes like the killing of a local feudal lord are vivid and unpalatable. Yet they lend the novel an earnest air for the author refuses to sanitise leftist politics and that which constitutes “lal Salaam”.
Since the book is in translation, one cannot say how good it was in the original language, Malayalam. It must be said that some lines seem awkward and irregular, and at times abrupt. And one may attribute it to the style of translation. Yet, despite the flaws, the narrative is gripping and I would certainly recommend it to readers.
The reviewer is Assistant Professor, Delhi University