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Burning issues
Harsh Mander’s “Whose land is this?” is a pointer to the burning issues faced by India. It clearly depicts, by citing examples from different states, the unending struggle of the unfortunates in India. The writer raises so many fundamental questions that we often neglect. It is our duty to find solutions. Our politicians and writers should find time to address these issues. I think, India suffers a lot not because the violence of bad people but because the silence ofgood people.
AjithKumar.K.P.,
Kollam, Kerala
The article reflects the reality of our country even after 60 years of Independence. We struggle with hunger, want, fear, prejudice and hate. The author brings out the cries of India with many lively examples. It is a thought provoking question:, what does the country have to look forward to in 2008?
Rev. Andrew B. Natarajan,
Kodaikanal
After reading the article we are forced to judge how inhuman we are. We should be ashamed of calling ourselves civilised. We have no right to celebrate any functions, leave alone new year. For the poor in India life is an endless fight for survival. These have-nots give licence to our politicians to grab everything for themselves. The wealth amassed by corrupt politicians and officials for the past 60 years, if confiscated and spent in nation-building, will put an end to the pathetic plight of the poor.
N. Krishnaswamy,
Coimbatore
Harsh Mander rightly points out that teeming numbers of our people are being left far behind by all yardsticks of development. Our nation is proud of winners not losers. Crores of our people, especially tribals, are reeling under poverty and an indescribable scale of suffering. The author rightly states that there seems no light even in the far distant end of the tunnel in which they find themselves trapped. A day must come when this light is lit; when this land truly belong to all who are in it and nurtured in its soil. S.V.K. Chandran,
Thiruvananthapuram
Sadanand Menon’s “Art as Spectacle” touches all aspects of culture within quotes. Our generation, in 1960s, was brought up on a heavy dose of political correctness and the binding responsibilities of art. The ‘Emergency’ trained us on the ‘actions’ of the state. Subversion was seen as the primary need for redeeming co-existence modalities from corruption. In today’s ‘image era’, if everything is for sale, is there anything to share? One has to totally agree with his final paragraph where he calls for “attempting anew, to wrest the arts away from a conformism that is about to overpower it” all the time.
M.Natesh,
Chennai
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