‘Azadi: Freedom. Fascism. Fiction’ by Arundhati Roy is a political intervention that is more than just a collection of essays and challenges readers to consider the narratives influencing modern-day India. The collection, written between 2018 and 2020, documents a tumultuous time that included the growth of Hindu nationalism, the repeal of Article 370 in Kashmir, demonstrations against the Citizenship Amendment Act, and the COVID-19 pandemic. As implied by the title, Roy explores the meaning of democracy in a society experiencing authoritarian change through the lens of three interconnected concepts: freedom, fascism, and fiction. The book has recently been banned in IIOJK by Indian government, which reflects how truth and dissident voices even in literature against Indian government are caged in India.
The articles begin with thoughts on Azadi, a word that is used as a call for independence throughout Kashmir but that Roy expands into a metaphor for freedom from various types of tyranny. The Indian people’s collective desire for emancipation from caste systems, sexism, corporate exploitation, and religious prejudice is what she sees Azadi as being about, in addition to the political struggle in Kashmir. Roy reveals the connection between the repression of Kashmiri voices and India’s broader democratic problem. She does not hold back from characterizing the repeal of Article 370 as an act of occupation, placing the Kashmiri issue in the context of the international conversation on human rights and self-determination.
The book’s gloomy undercurrent is the second theme, fascism. Roy contends that India is witnessing a decline in democratic institutions and human freedoms under Prime Minister Narendra Modi and the Bharatiya Janata Party (BJP). She contends that this type of authoritarianism is especially pernicious since it is disguised as election legitimacy. According to her, the administration in power in India is establishing a majoritarian state in Research Officer, Center for International Strategic Studies (CISS), Muzaffarabad, Azad Jamuu and Kashmir (AJK), Pakistan. 6 Pages that Frighten Power: The Banned Literature of Kashmir which Muslims are demonized, opposition is illegal, and corporate power grows alongside state power. Roy emphasizes the perils of mainstream hate politics by equating it with past fascist governments. She reminds us that literature can be both a witness and a form of resistance with her incisive and unyielding criticism.
She also highlights how fiction serves as a place of survival and imagination. In her reflections on her own development as a novelist and essayist, she highlights the importance of narrative during crises. According to her, fiction can question the narratives that the public and the government impose, rather than serving as an escape. She considers how words may fight oppression in one essay, reminding readers that art and literature are still essential forms of protest and Azadi for her is expressing her emotions and truth through novels.
Azadi’s ability to interact with events in real time is one of its advantages. Roy describes the nationwide demonstrations against the Citizenship Amendment Act and the National Registration of Citizens as unparalleled demonstrations of unity that transcended class and religious boundaries. She focuses primarily on rallies conducted by women, particularly at Shaheen Bagh, which represented popular resistance to dictatorship. Her portrayal is one of sympathetic participation rather than detached observation, which lends the pieces a sense of urgency and genuineness.
The book’s latter chapters discuss the COVID-19 epidemic, which she characterizes as a political and medical emergency. Roy draws attention to the disproportionate suffering endured by migrant laborers in India who were stuck due to unexpected lockdowns. The epidemic exposed the profound structural disparities that separate Indian society, in addition to the vulnerability of public health services. She maintains that if people reject to revert to the existing Status quo, crises may become chances for change by using COVID-19 as a ‘portal’ to envision a more equitable future.
Roy’s writing is poetic, impassioned, and unreservedly polemical in terms of style. Her writing combines literary flourishes, journalistic precision, and introspection to produce political literature that is both controversial and approachable. Her views and work truly depict the Indian state and Kashmir issue with utmost sincerity. Even the critics cannot dispute her voice’s ability to confront complacency and quiet.
The goal of fiction is to pose difficult problems rather than provide tidy answers. It compels readers to acknowledge the inconsistencies in India’s democracy, the brittleness of its plurality, and the tenacity of its dissident voices. For anyone studying South Asian studies, literature, or politics, the book is a vital reminder of the part intellectuals and artists play in opposing dictatorship. Roy’s writing is disturbing, contentious, and emotionally charged, making it difficult to read, yet for these same reasons, it is essential.
The book Azadi is a potent and topical compilation where you see Arundati becoming the voice of the voiceless Muslims and minorities in India. Roy argues on the continuing importance of fiction in creating alternative futures, reinterprets freedom as a practice of resistance rather than a catchphrase, and cautions against the encroaching specters of fascism. The book provides critique as well as the prospect of hope to readers who are prepared to interact with her vision of freedom. Such works are banned in India, which emphasizes how the government is restricting people’s access to literature and is another example of fascism that requires attention.
