Though this book has been in our shelf for almost a year now, I decided to pick it up in the days leading up to the current round of assembly elections. I felt that this really is the apt time to read this book, considering the fact that the one remaining dravidian party (the other has been almost made subservient to the sangh parivar, after the passing of Jayalalitha) is projected to assume power in Tamil Nadu after a gap of a few years.
R.Kannan's biography of C.N.Annadurai is not just about the person who has come to tower over all the political figures in Tamil Nadu, but is also a chronicle of a crucial period in the dravidian movement in the state, when the non-Brahmin Justice Party was transformed into the political Dravidar Kazhagam, laying the foundations of Tamil cultural and political nationalism, and the transformation of the same into the Dravida Munnetra Kazhagam, five years by later in 1949, by Anna who makes a decisive break from his mentor E.V.Ramasamy 'Periyar'. A decade later, in 1962, the party would become the principal opposition party in the state, and in 1967, Anna would become the first DMK Chief Minister.
Kannan starts the story from much before Anna becomes active in politics, at a time when Periyar is busy sowing the seeds of the Dravidian movement, burning Manusmriti, shattering images of gods to prove that they have no sanctity and pointing at the dominance of the Brahmins in the Congress and also touches upon the works of people like Thyagaraja Chettiar who issued the non-Brahmin manifesto in 1916.
The anti-Hindi agitation, the memories of which still has influence in south, also is covered in detail. To the argument that Hindi is the language spoken by the largest number of people in India, Anna used to argue that by the same logic the national bird of the country should be crow and not the peacock. Kannan also points at how the party slowly went back from Periyar's early calls for a separate Dravida Nadu, which also happens to be the name of the weekly that Anna launched in 1942.
The Dravida Nadu magazine showcased Anna's wide array of talents, with him writing in as many as 20 pseudonyms, penning essays, short stories, one-act plays and commentaries. Soon, he also established the Dravida Drama Troupe and wrote his maiden play 'Chandrodayam', a social propagandist play. It came at a time when it was inconceivable that plays could address social issues, and freed theatre from the clutches of myths and epics. 'Chandrodayam' was a scathing attack on pontiffs, 'Velaikkari' exposed feudal heartlessness and extolled inter-caste marriage, 'Kaadal Jothi' spoke of widow remarriage, 'Sorgavaasal' showed that atheists could be moral and theists duplicitous, and 'Sivaji Kanda Hindu Rajyam', which gave a then 17-year old Ganesan his popular name of Sivaji Ganesan. Anna and his 'thambis' including Kalaignar Karunaniddhi would seen turn Tamil cinema into a potent tool for social and political propaganda, starting with 'Velaikkari'. Kannan notes how the faith of the heroes in these films was limited to deities of the non-Brahmin pantheon.
The book deals at length with the rift between Anna and his mentor Periyar, who wished that social reforms should happen before political reforms and tended to stay away from political power. Anna also disagreed with Periyar in celebrating India's independence, which he saw as a day of joy, while Periyar saw it as 'British-Bania-Brahmin contractual day'. While conceding to Periyar that north Indian rule would substitute British rule, he said that if the north turned out to be imperialist and exploitative like the British, one could get ride of the their yoke too. Anna used allegorical stories in Dravida Nadu to convey his displeasure to the mentor over various issues thet kept brewing between them. The major break between them was over Periyar's decision to marry the much younger Maniammai, going against his own preachings. This break finally led to the founding of the DMK, with Anna joined by the likes of Navalar Nedunchezhian. But, despite all the bad blood, Anna named Periyar as the party's titular president, even though he never accepted that post.
Kannan traces the quick growth of the DMK, with 600 units and 50,000 members enrolling within a month, and the strategies used to reach out to the various sections. He notes how the DMK engaged in a serious propaganda campaign against the repression on the Communists, especially after 22 Communists were gunned down in the Salem Jail in 1950. To form an opinion on the DMK and its early strategies, Kannan depends quiet a lot on Jayakanthan's Literary Man's Political Experiences, some of whose views are a little uncharitable. Kalaignar's film Parasakthi was one of the early engines of growth for the DMK. Later, with his scripts for MGR, he aided the star's as well as the party's growth among the masses. MGR famously waved the party flag in 'Nadodi Mannan' in 1958.
Anna, even back then, was prescient about the future that centre-state relations could take. He once told Vinobha Bhave - "Instead of viewing it as the centre's injustice causing bitterness, you should understand that if there is a centre, there will always be unfairness. At the moment those who are fair-minded are with the Congress, but in the future generations, there will be more unfairness." Although he had only a short stint in power as the CM, with his tenure cut short by illness and his passing away, he did firmly put in place the ideas of social justice in governance that would give a direction to the party in the decades to come.