What is Progressive Literature? Why?

Translator’s Note
K. Damodaran was part of the Jeeval Sahitya Prastanam (life oriented literature
movement) was the Kerala regional branch of the All India Progressive Writers
Association. As part of my second translation exercise, I have translated certain
excerpts from K. Damodaran’s essay, ‘What is Progressive Literature? Why?, which
was presented for discussion at the Malabar Progressive Writers’ Conference which
took place in Nellayi from 6-8th May [year 1937]]

What is Progressive Literature? Why?

After the world economic crisis from 1929-33, to explain more clearly, after the
onslaught of the army of fascist dictatorship against all cultural values, a new movement
arose in word literature called progressive literature. The writers’ conference held in
Paris in 1934[1][sic] under the presence of world literary figures like Henri Barbusse,
Louis Aragon and Romilot [Romain Rolland?] laid the foundation for this new literary
movement. As a result of the efforts of Sajjad Zaheer and other anti-imperialist Indian
writers who attended the Paris Conference, an all India Progressive Writers’ meeting
was conducted in Lucknow in 1935 which was chaired [and addressed] by the emperor
of Hindi Literature, Shri Premchand. The All India Progressive Writer’s Association took
form after that meeting and its Kerala division was born under the name of Jeeval
Sahitya Prastanam [Life oriental Literaature Writers ‘Association] in 1937. It is known as
the Progressive Writers’ Association since 1942.
New Literary Movement in the Modern Period
The progressive literature movement emerged in order to accomplish certain obvious
social requirements. It is the movement of those who consciously create literature for
the progress of society.
The economic crisis of 1929-33 and the developments in the changing socio-economic-
political context following that not only affected the material living conditions of man but
also brought about enormous transformations in the emotional and mental realms. The
conflicts within social life reflected in the mental sphere. On the one side, endless
literary cultural activities were taking place to justify and uphold [maintain] the
exploitation and attempts of war by the time extinguished forces of imperialism; and on
the other, new literary cultural activities that stand firm and rooted with the people arose
to oppose attacks on cultural values and support the growth of forces of freedom and
peace; writers of progressive literature sprang forth as representatives of the second
one.
In that period when British imperialism continued to keep India under the fetters of
slavery, the chains of imperialism stood as a hindrance in various ways to the growth
and development of Indian society. In order to produce literary works that would inspire
[stimulate] common people to tear down these binding shackles, the institution of
progressive literature was invoked. The first progressive writers’ meeting accepted a
small announcement in lieu of the goals of the body of progressive literature. It was
declared that progressive writers should create literature that will assist the struggles
against British imperialism. The Jeeval Sahitya Prastanam in Kerala also acknowledged
this declaration.
In brief, the association of progressive writers was conceived to carry out certain
historical social necessities and to accomplish renewed responsibilities of changing
cultural aspects.
The Role of Movements in World Literature
Some argue that perfect [ideal] literary works are not produced as a result of
movements, hence such movements and institutions are not necessary and instead
they only lead to further confusion and disarray. What such people do is close their eyes
towards history. It is so because during various epochs in history, many movements
arose in literature in response to changing conditions of social life. Literature, similar to
social living, progressed through organisation. Whenever any new movement that
fuelled and inspired new social forces emerged, the [stubborn] defenders of antiquity
[old traditions] have displayed frenzied resistance against it. For example, during the
period of 14-16th century, when factories, industries and capitalist social relations
emerged, a new benevolent and humanitarian literary movement called the humanist
literature came up to resist and oppose existing scholastic literature. Literary figures like
Petrarch and Boccaccio were the leading proponents of this movement. Classical
literature which was of significance in 17th century and Romantic Literature which came
up in the 18th century were all new literary movements in their own periods.
In 18th century France, new literary movements sprang forth against the dominance of
the church and aristocracy, in association with revolutionary socio-political movements
of that period. Challenging existing spiritual and philosophical thoughts, literary leaders
like Voltaire and Diderot started portraying the progress of people in literary-cultural
platforms. Romantic literature, which emerged with the efforts of exemplary literary
figures like Victor Hugo, Shelley, Hayne et cetera fought for the freedom of forms from
the rigid postulates [canon] of classicism and to include and portray the progress and
lives of people against the dominance of aristocracy.
Realism as a movement in literature came up in 19th century with the demand to
sincerely and veraciously portray the unpleasant and dreadful aspects of life along with
its wonderful aspects. It later developed into naturalism. Naturalism is the depiction of
everything that is visible in the surrounding with photographic precision [verisimilitude].
Critical Realism emerged in response to this with the insistence that the realities of life
should be observed and reflected upon critically. It is a literary movement that aimed to
expose the evils of existing capitalist order with veracity by studying and observing the
realities of life in detail. Stendhal, Balzac, Dickens, Thackeray and similar other literary
figures were the proponents of critical realism.
Critical realist writers were able to genuinely portray the perversions and ugliness of
existing social life. But, they could not realise and identify the crucial forces that were
pushing this social order into its inevitable downfall. It was a period when the working
class was not yet fully conscious of its own strength.
In order to resolve this lack, in the beginning of 20th century, that is, when capitalist
regime was overthrown and the age of workers’ revolution began; a new literary
movement called Socialist Realism began under the guidance of Maxim Gorky. It is a
movement that not only honestly depicts social life, but also reflects where it is headed
along with examining how [social realities] change as a result of people’s struggles.
It can be noticed that Malayalam literature was also hit by the waves of these specific
movements which occurred in world literature. Malayalam literature came into being as
part of a movement to release itself from the hold of Sanskrit and Tamil and to earn the
right to produce literature in its own language. There were Romantic and Realist
movements in Malayalam literature as well. Similar to the movement for replacing
Sanskrit terms and concepts with folk terms and concepts, there have been strikes
[movements] to include socially relevant aspects instead of mere descriptions of gods
and goddesses and nature in Malayalam literature. As workers and peasants
movements strengthened, there have been movements in Malayalam [literature] to
portray ordinary workers, farmers, harijans (Dalits) and manual scavengers as
protagonists and existing oppressing classes as degenerate classes.
To summarise, it is through the conflict between old and new and movements
resonating social growth in various epochs of time that literature has grown [in time].
Ideal literature has never been impartial; it has always stood by novelty and innovation
in the face of conflict between old and new and abating social forces and strengthening
social forces. It is precisely because of this that it is considered ideal literature.
Who [all] are Progressive Writers?
Progressive literature emerged after wrestling with regressive literature that represents
imperialist forces. The foundational principle of such regressive literature is subjective
[and individual] spiritualism. In opposition to truth, realism and critical realism,
regressive literature in the grab of various terms such as futurism, surrealism,
existentialism, cosmopolitanism[sic] and so on try to confuse the people and impede
their progress. Despair, mysticism, the thought that man is helpless and incapable of
building one’s own future complete degradation, sexual vagaries, respect for war and
massacres, condescension to cultural values, faith in the evil of man and the disbelief in
the generosity of mankind, hatred towards ideals, all of these are the main trends of
regressive literature.
Such regressive trends are advertised behind a veil of arguments which state that art
does not have any other responsibility beyond that of being art in itself. Their intention is
to protect the existent established [dominant] order by drowning majority of people into
the depths of ignorance, superstition, uncertainty and inaction. In opposition to such
regressive trends and other positions which expound art for arts’ sake, the Jeeval
Sahitya movement came up and grew by arguing that the production of literature should
have a thoughtful and conscious aim.
Along with the growth of workers’ movements and peasants’ movements in Kerala, the
influence of socialism began to spread gradually around the country. It was in that
period that some anti-imperialist youth writers who were also leaders of the
rising bahujan[2] movements came forward with poems, stories and plays which
attempted to inspire and motivate the demonstrations and strikes of workers and
peasants by placing the goal of socialism ahead of them. Many among them were not
even skilled with artistic expertise and maturity. Even then, their works contained
aspects of socialist realism. It was under their leadership and guidance that jeeval
sahityamovement began in 1937.
Around the same time, the number of writers who attempted to reveal the malice and
ugliness of existing social order through their writings were increasing though they did
not overtly propound socialism and Marxism. There were also many other writers who
envisioned social equality and took the pen to write against untouchability, caste
hierarchy and so on. Most of their works imbibed critical realism. All of them combined
to form the progressive literature movement.
Progressive Literature is, hence, much more vast and extensive than socialist realist
literature. It encompasses not only socialist realism, but also critical realism.
To state differently, not only those writers are progressive writers who believe in
Marxism and work towards building socialism and overhauling the existing social order
by organising workers and peasants struggle and consolidating all the oppressed
classes under the leadership of the workers struggle. Marxism is a science that explains
the functioning of social forces lucidly and logically [with reason] by describing the
tenets of social progress. It is true that those who study Marxism not only understand
the [constitution of] society, but can also expedite the process of social transformation
by foreseeing how and where society is progressing. But it is incorrect to state that only
one who believes in Marxism can be a progressive writer. All those writers who expose
the perversions of existing social order which has already reached its timely culmination
and stand with the people for social growth in whichever way possible, even if they do
not believe in Marxism or illustrate the means for social transformation, are progressive
writers.
A progressive writer is both a literary figure and a firm proponent of progressive
thoughts. But who is a writer, what is literature, what is the definition of progressive and
what is social progress? It is important to have a clear understanding about all of this.
Is Everything That Is Written Literature?
Literature, by its larger definition, encompasses the works of all kinds of writers. It could
be differentiated into artistic, political, scientific and technical, based on the nature of its
contents. In its general meaning, literature includes everything that has been written. All
writers are literary figures. Like those who write prose and poetry, the ones who write
scientific books and political books are also considered to be literary figures.
Usually, the term literature is not used in its general sense. Mostly creative and artistic
works, for instance, poetry, stories, novels and plays [drama] are understood as works
of literature. Works which elucidate political matters could be termed political literature
and those related to science can be called scientific literature. But those who write such
works are not usually recognised as literary figures, according to the general
understanding and definition of the term.
The boundary lines between various kinds of literature are very narrow. At times, it is
difficult to differentiate one form from the other. There are numerous leaflets and books
which appeal to maintain or transform the practises of existing ruling order. All of them
could be seen as literature according to its larger definition. But, the poems of
Mayakovsky and Futchiks’ notes from the gallows come under literature in hand with
artistic innovation.
Some political and scientific works or certain excerpts of these works could be
described as artistic or creative. In spite of that, they are political or scientific works;
they are not art oriented literature in the usual sense.
What is Literature?
A literary figure is also a social being like everyone else. He [sic] writes literature in
compliance with the functioning of social forces. He represents the social
consciousness that comes as part of social growth. Literature is a form of social
consciousness.
But, a literary intellectual who represents social life is a vital human being, not a lifeless
machine. Hence, he depicts the course of his own viewpoints through literature. It is
possible to gauge whether he is a regressive or progressive writer only after identifying
whether his viewpoints are regressive or progressive.
Literary exponents are not a separate race [group] or a separate section. They come up
from various communities, races and sections of people. Therefore, there will be literary
figures that represent different communities and races and different established
interests. There will be [literary] writers who are workers, there will be [literary] writers
who are owners and there will be [literary] writers who are landlords. Their views on
social life might not be identical. It is not easy to hold a position that is bereft off the
differences in social life or community or racial differences. The surroundings in which a
literary writer grew up and his social relations, the books he read, the experiences he
has confronted in life are all crucial in shaping his opinions. Hence, the standpoint of a
[literary] writer can either regressive or progressive. Literature that is created and
produced with a progressive perspective is progressive literature.
Progressive stands for [...]
But, what does the term progressive imply;
The personal choices and experiments with beliefs of every individual need not
necessarily be progressive, that is, the definition of the term progressive is not
subjective. This is because social realities, conflicts in social life and struggles that are
reflected in literature are independent of the personal wishes and desires of the writer. A
literary writer alone is not the decisive figure in envisioning the direction of progress of
society. Social growth is commanded by certain special imperatives which are free from
the impressions and understandings of a literary writer. It is only in accordance with
these imperatives that society can progress.
Consider for example that a [literary] writer believes that it is progressive to restore
untouchability, caste hierarchies and the old varna-dharma[3] system. But such
thoughts are not compatible and in resonance with social realities. Untouchability and
caste hierarchies are not progressive but degenerate institutions.
Or else, assume that someone believes that a society based on cottage industries
instead of mechanised industries is progressive. Such a belief is incongruous with social
realities. This is because the growth of industries has become indispensible according
to certain economic policies which function outside the parameters of the [literary]
writers’ belief system.
If not, consider that a person decides that aristocratic rule is progressive. But, this
decision is not harmonious with social realities. Presently despite the strength of the
ruling forces of aristocracy, it is a deteriorating institution.
No matter what the plans and desires of a [literary] writer are, they should comply with
objective [social] realities. That is, a literary writer should be able to portray [depict]
growing and deteriorating forces in society as they are. Such a figure is a progressive
writer because he reflects social progress in his works. He is one who creates literature
that inspires the development of society.
A [Literary] Writer’s Freedom
There are many who argue that a [literary] writer should remain just a writer, or that the
free expressions of those writers who believe in creating literature from a progressive
perspective have surpassed unnecessary and dangerous thresholds. Some even argue
 that a writer is free from time enduring socio-political problems and the limits of territorial
and spatial boundaries. Is this correct?
No, it is not. Similar to those engaged in various occupations, a [literary] writer is also
bound to work within the parameters of prevailing social relations. A writer, even with
the most idiosyncratic personality, is a social being. He will be able to enjoy his freedom
only in association with other individuals of the society...
To summarise, it is the social conditions and scenario which shape the thoughts and
consciousness of a [literary] writer. He cannot become a writer by standing outside the
realm of social relation. Neither can he become a conscious individual.
So, a [literary’ writer becomes free when he associates himself with social conditions
and remain committed to the progress of society.
In a society, that is rampant with social oppression and exploitation, a [literary] writer
remains muddled in the tangle of various demands and obligations that trample his
personal freedom. It is only through conscious efforts for social progress that he can
break away from them.
....
Form and Content
There is a belief that any literature could become progressive if the form and
craftsmanship is exquisite. A progressive writer will not conform to that viewpoint. If
artistic and formal flawlessness are used to promote degenerate and regressive
thoughts, then they cease to be progressive literature. Along with form, its content
should also be beautiful. Only then will it be progressive literature.
A progressive writer does not blindly dismiss all art forms that have developed during
various periods in the cultural history of Kerala. A progressive writer can use any of
these art forms with or without changes. Be it Ottamthulal, Kathakali, Chakyarkootu and
Teyyam or novels, short stories and shadow plays; a progressive writer can use any of
these art forms with or without modifications. If not any of this, it could also be the most
contemporary art form. It is only necessary to fulfil what is required from the form of art.
As far as a progressive write is concerned, the purpose of form is to express the
intentions of the content. If a particular form can evoke and express the motives
tastefully and effortlessly, then it has succeeded. If the intent of any artwork with a
progressive outlook can touch the depths of a common viewers mind, then it has as
much beauty and tenderness. Since people constitute the forces that push forth social
transformation, a literary or art work that has inspired people has also contributed to the
process of social transformation.
...............

Current Viewpoints
When we accept the popular principle [norm] that a progressive writer creates literature
for the progress of society, the time to understand what entails ‘progress’ has long past
us. Taking into account the present condition of Indian society, a progressive writer
should imbibe the following viewpoints.
(1) A progressive writer should adopt a scientific approach towards viewing things.
Progressive writers should labour hard to eradicate superstitions and blind practises
which abound immensely in our society.
(2) A progressive writer should work for the freedom of women, freedom of speech and
expression, and other fundamental democratic rights.
(3) A progressive writer should aspire for the industrialisation of India; only an
industrialised social order can sustain India financially and economically.
(4) A progressive write should oppose popular established mindset and institutions that
uphold and emphasise such a mindset. We can march ahead only if we propagate
fraternity and unity in society.
(5) We should have an egalitarian economy without the hierarchies prevalent in the
current economic order.
(6) A progressive writer should strive for a united Kerala. The culture of Kerala will
develop only if united.
(7) Administrative procedures, education and other such matters should be carried out in
the mother tongue [regional language].
(8) A progressive writer should endeavour for world peace. Culture grows and progresses
only in a peaceful environment.
(9) A progressive writer should not isolate himself [sic] from society and continue to
create art; he should take an active part in the programmes of cultural organisations
around him.

It is only by internalising these viewpoints that a progressive write can remain

unflinching and stoic in the creation of literature and art that inspire and support social
transformation.

[1] The author is referring to the International Congress for the Defense of Culture held
in Paris in 1935. The date mentioned by the author is not the actual date of the
conference which was from 21-25 June 1935.
[2] Dalits
[3] A practice of hierarchical division of society in Vedic period into four varnas
(sections) based on their social and economic roles and profession. The Varna system
eventually founded itself within the rigid practice of caste system in India.
Posted by Devika at 11:05
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