Literary Style
The Dalit literature tradition is old, though the term "Dalit literature" was introduced only in 1958. Dhasal was greatly inspired by the work of Baburao Bagul, who employed photographic realism to draw attention to the circumstances which those deprived of their rights from birth have to endure. Dhasal’s poems broke away from stylistic conventions. He included in his poetry many words and expressions which only the Dalits normally used. Thus, in Golpitha he adapted his language to that of the red light milieu, which shocked middle class readers.
The establishment’s assessment of Dhasal’s political, as opposed to his artistic achievements may differ drastically, but for the writer they are inextricably linked. In an interview in 1982 he said that if the aim of social struggles was the removal of unhappiness, then poetry was necessary because it expressed that happiness vividly and powerfully. Later he stated, "Poetry is politics." Dhasal adheres to this principle in his private life. He told the photographer Henning Stegmüller, "I enjoy discovering myself. I am happy when I am writing a poem, and I am happy when I am leading a protest of prostitutes fighting for their rights."
Read more about this topic: Namdeo Dhasal
Famous quotes containing the words literary and/or style:
“In general I do not draw well with literary men—not that I dislike them but I never know what to say to them after I have praised their last publication.”
—George Gordon Noel Byron (1788–1824)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)