Covert Hinduism, Overt Secularism: A Postsecular Reading of the Indian English Novelistic Tradition

In this book, the term “postsecular” does not denote a rejection of secularism; rather, it parallels the “post” in “post-modern” or “post-structuralist,” where the prefix signifies moving beyond the limitations imposed by modern or structuralist paradigms. Alessandro Vescovi adopts a postsecular perspective, as it is instrumental in liberating literary criticism from the restrictions of rationalism to welcome religious and supernatural elements in postcolonial realistic narratives, without framing them as fantasy, magic realism, or mere anthropological curiosities. Drawing on Indology, world literature theory, narratology, postcolonial and cultural studies, this book examines a number of overtly secular Indian English novels in search of religious undertones. It argues that the interplay between literature and religion is far more intricate than postcolonial criticism often recognises. Thus, postsecularism challenges the rationalist hegemonic sway over postcolonial studies. Vescovi unpacks Indian secularism and distinguishes between secular and non-secular representations of religion in fiction, as well as between overt and covert Hinduism. Secular usage of religion involves describing religious beliefs or practices with a degree of authorial detachment, whereas non-secular usage implies an emotional engagement with religious themes and invites readers to reflect on spiritual matters and potentially align with the religious values presented. Secularism as a space of negotiation has been instrumental in paving the way to global readership but has also imposed constraints on openly discussing religion, traditional myths, and non-rationalist epistemologies, often leaving religious sympathies and ethos absent from internationally acclaimed novels. Vescovi argues that some Hindu elements are covertly woven into several secular narratives. These covert religious elements can emerge as moral dilemmas, religious imagery, character naming, plot schemes reminiscent of myths, and instances of poetic justice. To illustrate this resistance to secularism, the author collects examples from diverse authors, including Bankim Chandra, Raja Rao, R.K. Narayan, Anita Desai, Amitav Ghosh, Kiran Desai, and Jhumpa Lahiri. Additionally, two Kannada texts by Anantha Moorthy are studied as examples of overtly religious novels. The works of these authors are explored to uncover covert Hindu elements that enrich their respective poetics, resonating with traditional heritage and challenging traditional critical tools. Finally, this book advocates for a narratological approach to covert religiosity, assessing the roles of the implied author and reader when the novel broaches spiritual matters. It questions the narratological assumption that a novel has only one implied author and, consequently, one implied reader. The implied author may take on the role of entertainer, teacher, or guru, thus shaping the corresponding reader as a spectator, a pupil, or a disciple. The covert nature of religious discourses in literature allows readers to assume the most congenial role.

In questo libro il temine “postsecular” non indica un rifiuto del secolarismo, ma è usato come il post-moderno o post-strutturalismo a indicare un superamento. Vescovi sostiene che una scrittura eminentemente laica abbia aiutato il romanzo indiano a raggiungere un pubblico internazionale, ma abbia nel contempo inibito il riferimento ad alcuni elementi legati all’Induismo. La sua attenta lettura è un tentativo di rintracciare elementi tradizionali in alcuni accidenti della trama, nei nomi dei personaggi, o nell’etica narrativa, sfidando in parte l’egemonia dei paradigmi interpretativi razionalisti che hanno caratterizzato molta critica postcoloniale.