A Critique of Hungryalism by Titas De Sarkar
It shouldn’t surprise the readers that the Hungryalists
indulged in a ‘narcissistic spirit’ right from the second paragraph
of the first Bulletin they published, in the early sixties.
The very beginning of their existence was a self-declared one.
It was possibly the only way that they could have come into their own.
This was a backlash against the marginalised status
of these poets in the society, in the cultural field.
Their lives were the result of the tumultuous decades
post the Partition of Bengal in 1947, when there was intense displacement
from both the sides of the border, an acute shortage of space,
along with a consistent rise in unemployment.
The founder members, finding no representation of these
daily challenges in the literary texts, took it upon themselves
to bring the written language up-to-date as it were,
in both its form and content. It came out as a response
to a literary scene that was hijacked by middle-class ethics,
codes, and so-called pretensions. The status-quo was sought
to be maintained because of the degradation of such a lifestyle
in the real world, where joint families were replaced by
nuclear ones on one hand, and women were going out and
finding their feet in the job market like never before –
more often than not against the wishes of their husbands and fathers.
Regular political rallies were organised against government
inaction and inefficiency as more and more people were
becoming disillusioned with the promises of the newly formed nation-state.
It was a time when the middle class found their cultural capital to be
vastly at odds with their unenviable economic standing.
It is out of such an asynchronous existence, that the politics of
the Hungry poets emerged. It was not only self-representational,
but without the Self, the very movement had neither
an origin nor a justification. What could it be, after all,
if not being narcissistic?
indulged in a ‘narcissistic spirit’ right from the second paragraph
of the first Bulletin they published, in the early sixties.
The very beginning of their existence was a self-declared one.
It was possibly the only way that they could have come into their own.
This was a backlash against the marginalised status
of these poets in the society, in the cultural field.
Their lives were the result of the tumultuous decades
post the Partition of Bengal in 1947, when there was intense displacement
from both the sides of the border, an acute shortage of space,
along with a consistent rise in unemployment.
The founder members, finding no representation of these
daily challenges in the literary texts, took it upon themselves
to bring the written language up-to-date as it were,
in both its form and content. It came out as a response
to a literary scene that was hijacked by middle-class ethics,
codes, and so-called pretensions. The status-quo was sought
to be maintained because of the degradation of such a lifestyle
in the real world, where joint families were replaced by
nuclear ones on one hand, and women were going out and
finding their feet in the job market like never before –
more often than not against the wishes of their husbands and fathers.
Regular political rallies were organised against government
inaction and inefficiency as more and more people were
becoming disillusioned with the promises of the newly formed nation-state.
It was a time when the middle class found their cultural capital to be
vastly at odds with their unenviable economic standing.
It is out of such an asynchronous existence, that the politics of
the Hungry poets emerged. It was not only self-representational,
but without the Self, the very movement had neither
an origin nor a justification. What could it be, after all,
if not being narcissistic?
A Bulletin for your thought
Representing the oppressed Self, however, h
as the tendency of going overboard. A few (seven, to be specific)
of the Hungry Bulletins are going to be examined here
to see if that was indeed the case, and if so, how were they
crossing such boundaries. The fact that these specific bulletins
were part of the anthology on the Hungry Generation that
was published only in 2015 is itself an indication of how they
want to project themselves, after all these years.
A manifesto is in itself a propaganda of one’s own ideas
about the world, its politics and the ideology held dear by the author,
regarding contemporary problems and the ways to counter them.
Four Hungry manifesto out of the seven that are under
consideration were written in a point-by-point structure,
presenting the agenda in the simplest of formats.
The reason for mentioning this is to point out that the poets
resorted to different tactics for letting their principles
known to the masses, rather than letting their writing speak for itself.
Does this betray their lack of confidence in the readers,
who they might have thought to be so used to the
conventional reading structures and ways of thinking,
that they would be unable to grasp the politics behind
the ‘obscenities’ that these young poets were introducing
to the pages of their magazines? In any case, they were letting know
of their reasons and approaches to dissent through art in a way
which was all too familiar in the political domain, but not very much
so in the artistic circles. And that was arguably another aspect
of this Hungry movement – if the personal is political,
they were bringing to the Bengali literature, that intimate
aspect of politics of the educated middle class youth with
his sexual desires, political anxieties, conflicts of the everyday,
and ways of articulation, which was not addressed till then.
as the tendency of going overboard. A few (seven, to be specific)
of the Hungry Bulletins are going to be examined here
to see if that was indeed the case, and if so, how were they
crossing such boundaries. The fact that these specific bulletins
were part of the anthology on the Hungry Generation that
was published only in 2015 is itself an indication of how they
want to project themselves, after all these years.
A manifesto is in itself a propaganda of one’s own ideas
about the world, its politics and the ideology held dear by the author,
regarding contemporary problems and the ways to counter them.
Four Hungry manifesto out of the seven that are under
consideration were written in a point-by-point structure,
presenting the agenda in the simplest of formats.
The reason for mentioning this is to point out that the poets
resorted to different tactics for letting their principles
known to the masses, rather than letting their writing speak for itself.
Does this betray their lack of confidence in the readers,
who they might have thought to be so used to the
conventional reading structures and ways of thinking,
that they would be unable to grasp the politics behind
the ‘obscenities’ that these young poets were introducing
to the pages of their magazines? In any case, they were letting know
of their reasons and approaches to dissent through art in a way
which was all too familiar in the political domain, but not very much
so in the artistic circles. And that was arguably another aspect
of this Hungry movement – if the personal is political,
they were bringing to the Bengali literature, that intimate
aspect of politics of the educated middle class youth with
his sexual desires, political anxieties, conflicts of the everyday,
and ways of articulation, which was not addressed till then.
Manifesto of the marginalised
Let us briefly look into the contents of the manifesto.
The first bulletin credits Malay Roychoudhury as the ‘creator’,
Shakti Chattopadhyay as the ‘leader’, with Debi Roy editing and
Haradhan Dhara publishing it. Interestingly, the manifesto is in English.
The poets prefer poetry to resemble a ‘holocaust’ rather than
‘a civilizing manoeuvre’. They are trying to overcome the
‘artificial muddle’ which is devoid of the ‘scream of desperation’.
To them, most of the poems of that time were all too glamorous,
logical, and ‘unsexed’, written by individuals,
who were more concerned with self-preservation than self-doubt.
Let us briefly look into the contents of the manifesto.
The first bulletin credits Malay Roychoudhury as the ‘creator’,
Shakti Chattopadhyay as the ‘leader’, with Debi Roy editing and
Haradhan Dhara publishing it. Interestingly, the manifesto is in English.
The poets prefer poetry to resemble a ‘holocaust’ rather than
‘a civilizing manoeuvre’. They are trying to overcome the
‘artificial muddle’ which is devoid of the ‘scream of desperation’.
To them, most of the poems of that time were all too glamorous,
logical, and ‘unsexed’, written by individuals,
who were more concerned with self-preservation than self-doubt.
About the objectives of the Hungry movement,
it is stated in the tenth bulletin that they would
put words to make silence (or, what was silenced till then) speak.
They dream of going back to the pre-civilizational chaos and start
a new world, through their creations.
This will be done by coming to terms with every sense-perception
which the author possesses, going beyond the world of comprehension.
When this leads to the self-discovery of the skeptic and vulnerable poet,
he’ll cease to create anymore.
it is stated in the tenth bulletin that they would
put words to make silence (or, what was silenced till then) speak.
They dream of going back to the pre-civilizational chaos and start
a new world, through their creations.
This will be done by coming to terms with every sense-perception
which the author possesses, going beyond the world of comprehension.
When this leads to the self-discovery of the skeptic and vulnerable poet,
he’ll cease to create anymore.
Another bulletin, simply titled as ‘The Manifesto of the Hungry Movement’,
speaks in first person and with itself about how to write poetry.
The poet wishes to inspect himself and every aspect of his lived experience,
and question those before accepting them or otherwise.
The poems should betray precisely those moments when
he was most vulnerable, so as to get an insight into his inner self.
About the linguistic signs of poetry, the poet wishes to
do away with the rhyming scheme and adopt such colloquial
words which would immediately resound with the readers.
The commonsensical placing of one word after the other would
be replaced to break the existing politics behind language,
which is ‘meaningful’, even if that leads to ‘meaninglessness’
in their creations, to begin with.
speaks in first person and with itself about how to write poetry.
The poet wishes to inspect himself and every aspect of his lived experience,
and question those before accepting them or otherwise.
The poems should betray precisely those moments when
he was most vulnerable, so as to get an insight into his inner self.
About the linguistic signs of poetry, the poet wishes to
do away with the rhyming scheme and adopt such colloquial
words which would immediately resound with the readers.
The commonsensical placing of one word after the other would
be replaced to break the existing politics behind language,
which is ‘meaningful’, even if that leads to ‘meaninglessness’
in their creations, to begin with.
In bulletin number fifteen, declared as
the ‘Political Manifesto of the Hungry Movement’,
the authors claim that they would liberate the very soul of the masses
from politics, because the latter is only self-serving,
irresponsible and ultimately, a fraud. No respect will be shown
to a politician of any colour. They will transform the very
notion of political faith.
the ‘Political Manifesto of the Hungry Movement’,
the authors claim that they would liberate the very soul of the masses
from politics, because the latter is only self-serving,
irresponsible and ultimately, a fraud. No respect will be shown
to a politician of any colour. They will transform the very
notion of political faith.
Bulletin numbered sixty-five is the one related to
the Hungryalist’s notion of religion.
The first point only has two words in Bengali –
‘God is garbage’. According to them, religion makes people
lose their sense of reason; it is the institution which condones
every sinful act like ‘murder, rape, suicide, addiction’,
and leads to ‘insanity’ and ‘sleeplessness’.
Religion is a tool to acquire the tangibles and intangibles
of the world, and only the best of human beings could resist
the temptation of mindlessly submitting themselves to it.
It is a law unto itself, which has a parasitical existence.
It prospers only in the hearts of the faithful.
Religion is only self-glorifying.
the Hungryalist’s notion of religion.
The first point only has two words in Bengali –
‘God is garbage’. According to them, religion makes people
lose their sense of reason; it is the institution which condones
every sinful act like ‘murder, rape, suicide, addiction’,
and leads to ‘insanity’ and ‘sleeplessness’.
Religion is a tool to acquire the tangibles and intangibles
of the world, and only the best of human beings could resist
the temptation of mindlessly submitting themselves to it.
It is a law unto itself, which has a parasitical existence.
It prospers only in the hearts of the faithful.
Religion is only self-glorifying.
The forty-eighth bulletin is interesting as it talks about
the role of the painter in the society, written by two painters –
Anil Karanjai and Karunanidhan Mukhopadhyay.
In true Hungry spirit, they wanted to paint
those aspects of people’s lives which aren’t highlighted
due to their poor socio-economic condition.
They rue the fact that many painters let go of this principle
as their patrons belong to the elite class.
Their objective would then be to come out of this easy co-existence
and spread their creation to the masses, staying true to their ideologies.
Hungry painters are free of materialistic concerns
and they consider themselves to be the conscience of the society
and ‘destroyer of evil’. To them, any pretension in art is unforgivable.
the role of the painter in the society, written by two painters –
Anil Karanjai and Karunanidhan Mukhopadhyay.
In true Hungry spirit, they wanted to paint
those aspects of people’s lives which aren’t highlighted
due to their poor socio-economic condition.
They rue the fact that many painters let go of this principle
as their patrons belong to the elite class.
Their objective would then be to come out of this easy co-existence
and spread their creation to the masses, staying true to their ideologies.
Hungry painters are free of materialistic concerns
and they consider themselves to be the conscience of the society
and ‘destroyer of evil’. To them, any pretension in art is unforgivable.
The last bulletin to be discussed here, titled ‘Hungry Generation’,
encapsulates the meaning that poetry holds for them.
Poems written by their contemporaries do not resemble
life in any way, they regret. Moving beyond meaning-making,
poems should try to explore the chaotic, what society considers as disorder.
Poems sustain these authors despite the psychological and physical ‘hunger’
they suffer from. Disillusioned with ‘men, god, democracy and science’,
poems have become their last resort.
For them, poetry and existence have become synonymous.
However, poetry is not the escape route from the world that has rejected them.
Rather, poets could truly be liberated by giving into
their savage spontaneity. Freedom from conventional form could
only be found in the orgasmic outburst of emotions.
It is therefore a call to a culture-war against high-brow art,
which is consciously made aesthetically pleasurable,
lyrically articulated, and pursued merely as a pastime –
a frivolous exercise. In contrast, poems exist to satiate the soul of the Hungry.
encapsulates the meaning that poetry holds for them.
Poems written by their contemporaries do not resemble
life in any way, they regret. Moving beyond meaning-making,
poems should try to explore the chaotic, what society considers as disorder.
Poems sustain these authors despite the psychological and physical ‘hunger’
they suffer from. Disillusioned with ‘men, god, democracy and science’,
poems have become their last resort.
For them, poetry and existence have become synonymous.
However, poetry is not the escape route from the world that has rejected them.
Rather, poets could truly be liberated by giving into
their savage spontaneity. Freedom from conventional form could
only be found in the orgasmic outburst of emotions.
It is therefore a call to a culture-war against high-brow art,
which is consciously made aesthetically pleasurable,
lyrically articulated, and pursued merely as a pastime –
a frivolous exercise. In contrast, poems exist to satiate the soul of the Hungry.
Too Hungry to resist
The above claims betray certain anxieties of the Hungry activists.
There was a constant desperation to prove that they were
different from the rest, and that they were better.
A possible reaction to the judgmental society, they countered it
by examining their colleagues in turn and found them wanting,
according to their set standards. However, bringing out manifesto
and justifying their actions is also a way of seeking validation
from the masses, a hope that they’ll be understood on some levels.
Because misunderstood they were, and the readers often
looked past the politics and the intellect behind the usage of words,
which were summarily discounted as obscene and derogatory.
Yet, they believed that those very people, who according to them
were already structured by the State, societal conventions,
and ritualistic behaviour, could be capable of empathy,
and would be able to appreciate their project.
There was a constant desperation to prove that they were
different from the rest, and that they were better.
A possible reaction to the judgmental society, they countered it
by examining their colleagues in turn and found them wanting,
according to their set standards. However, bringing out manifesto
and justifying their actions is also a way of seeking validation
from the masses, a hope that they’ll be understood on some levels.
Because misunderstood they were, and the readers often
looked past the politics and the intellect behind the usage of words,
which were summarily discounted as obscene and derogatory.
Yet, they believed that those very people, who according to them
were already structured by the State, societal conventions,
and ritualistic behaviour, could be capable of empathy,
and would be able to appreciate their project.
Publishing manifestoes also indicate an expectation
of winning over a section of the society in a short span of time.
Making their objectives clear would assist others to support their
cause sooner than having a prolonged investigation into their
writings and then arriving at an understanding about their work.
The Hungryalists were so few in number, that reaching out to
the readers in such a straightforward manner was probably
a way to find like-minded souls.
of winning over a section of the society in a short span of time.
Making their objectives clear would assist others to support their
cause sooner than having a prolonged investigation into their
writings and then arriving at an understanding about their work.
The Hungryalists were so few in number, that reaching out to
the readers in such a straightforward manner was probably
a way to find like-minded souls.
The hyperbole which is noticed often in these manifesto
is probably because of the huge vacuum that these poets were trying to fill,
both in the literary as well as personal context.
Taking on the entire society and its conventions is a monumental task.
When that is taken up from a marginalised position,
the articulation could cross the limits of what is humanly achievable,
as has happened here. The over-ambitious politics was also due
to the youthfulness of the authors, which has been referred to as a phase
of high optimism, a time when the protagonists are old enough
to form ideologies but young enough not to have all the responsibilities
of an adult, which gives them that impetus to see their politics through.
is probably because of the huge vacuum that these poets were trying to fill,
both in the literary as well as personal context.
Taking on the entire society and its conventions is a monumental task.
When that is taken up from a marginalised position,
the articulation could cross the limits of what is humanly achievable,
as has happened here. The over-ambitious politics was also due
to the youthfulness of the authors, which has been referred to as a phase
of high optimism, a time when the protagonists are old enough
to form ideologies but young enough not to have all the responsibilities
of an adult, which gives them that impetus to see their politics through.
An interesting possibility would have been to witness
these artists doing what they did best – write or paint –
without having to justify their positions, by publishing manifesto
and such like. But herein lies the paradox: the reason for that justification
– their poverty, lack of societal acceptance, and cultural representation
– is the very reason why the Hungry movement had come into existence
in the first place. If there was no need for any justification,
then that would have meant that the society had already reconciled
itself with their art and politics.
these artists doing what they did best – write or paint –
without having to justify their positions, by publishing manifesto
and such like. But herein lies the paradox: the reason for that justification
– their poverty, lack of societal acceptance, and cultural representation
– is the very reason why the Hungry movement had come into existence
in the first place. If there was no need for any justification,
then that would have meant that the society had already reconciled
itself with their art and politics.
While the motive for coming out with manifesto is understandable,
what remains unclear is the way of executing the claims that
the movement had committed itself to.
How were they actually going to overcome the ‘artificial muddle’?
What are the kinds of introspection that would make the poet connect
with his unconscious? Why are his words outside the conspiracy
of the structures after all, even if it breaks the known form?
– all these issues require serious engagement.
Merely putting it down on paper without a definite
framework of execution only makes the words hollow.
Making declarations about liberating the soul from politics
sounds rather amateurish, if not downright problematic.
One of the Hungry tactics was to consciously make exaggerated
statements through their manifesto, poems or even certain activities
like sending masks of animals to individuals holding
important positions in the government, but such shock
and awe effects are only momentary.
A detailed discussion about themes such as uncontrolled flow of emotions
or spontaneous writing could have given one a better understanding
of their ideas vis-à-vis other poets of the world at that time.
Moreover, any reader of the Bengali language would know
that quite often the words that the manifesto had were a far cry
from the commonly spoken language of the masses.
Such a convoluted way of writing only distanced them from others.
what remains unclear is the way of executing the claims that
the movement had committed itself to.
How were they actually going to overcome the ‘artificial muddle’?
What are the kinds of introspection that would make the poet connect
with his unconscious? Why are his words outside the conspiracy
of the structures after all, even if it breaks the known form?
– all these issues require serious engagement.
Merely putting it down on paper without a definite
framework of execution only makes the words hollow.
Making declarations about liberating the soul from politics
sounds rather amateurish, if not downright problematic.
One of the Hungry tactics was to consciously make exaggerated
statements through their manifesto, poems or even certain activities
like sending masks of animals to individuals holding
important positions in the government, but such shock
and awe effects are only momentary.
A detailed discussion about themes such as uncontrolled flow of emotions
or spontaneous writing could have given one a better understanding
of their ideas vis-à-vis other poets of the world at that time.
Moreover, any reader of the Bengali language would know
that quite often the words that the manifesto had were a far cry
from the commonly spoken language of the masses.
Such a convoluted way of writing only distanced them from others.
The manifestoes show that the Hungryalists did have
the intent of trying to transform the literary scene and in the process,
the society. They did possess a few progressive ideas,
and their hearts were in the right place when they propounded
a culture for the masses, free from the trappings of elite cultural tropes.
However, the feeling one gets from the bulletins is that
they had hit above their weight. They did so knowingly,
but a spoonful of restraint, an ounce of elucidation of their
propositions and a generous helping of a vision about their
long-term prospects could have given more strength to their struggle
and made it more popular. Or maybe,
they just wanted to remain Hungry forever.
the intent of trying to transform the literary scene and in the process,
the society. They did possess a few progressive ideas,
and their hearts were in the right place when they propounded
a culture for the masses, free from the trappings of elite cultural tropes.
However, the feeling one gets from the bulletins is that
they had hit above their weight. They did so knowingly,
but a spoonful of restraint, an ounce of elucidation of their
propositions and a generous helping of a vision about their
long-term prospects could have given more strength to their struggle
and made it more popular. Or maybe,
they just wanted to remain Hungry forever.
Bio:
Titas De Sarkar is currently pursuing his Doctoral research from Centre for Historical Studies,
Jawaharlal Nehru University, New Delhi. He is working on
Youth Cultures and Post-Colonial Politics
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