Annihilation of Caste by Dr.B R Ambedkar


Reading Annihilation of Caste by Dr. B.R. Ambedkar felt like reading a powerful thesis full of arguments, logic, historical evidence, and bold truth-telling. It’s not a light read or a dramatic story, but a deeply academic, political, and philosophical text. The book is written in formal language and resembles a research paper that sets out to prove a central argument: that the caste system must be completely destroyed not reformed, not improved, but annihilated.


Originally written as a speech for the Jat-Pat Todak Mandal (a reformist Hindu group), Ambedkar was asked to remove some of the more radical parts of his speech. He refused. Instead, he published it himself in 1936. And I’m so glad he did. Reading it today, nearly 90 years later, the words still sting, disturb, and provoke thought.


Right from the beginning, Ambedkar is clear in his purpose. He does not soften his tone to please anyone. He criticizes the Hindu scriptures like the Manusmriti and Shastras, calling them tools of oppression. For someone like me, who grew up hearing the greatness of our ancient texts, it was shocking at first. But Ambedkar provides solid proof quoting directly from texts, giving examples, and connecting the dots. He writes like a scholar, but also like someone who has lived the pain of caste discrimination.


The book has the sharpness of an academic thesis. Each section builds on the previous one. Ambedkar first explains why reform from within Hinduism is not possible. Then, he attacks the idea that caste can be separated from Hindu religion. He makes a powerful point: caste is not just a social problem; it is a religious one. Religion has given it sacred approval. That’s why reformers like Gandhi, who tried to keep Hinduism and remove caste, failed to understand the root of the problem.


Ambedkar even criticizes Gandhi directly, and this was another surprise for me. In school, we often see Gandhi as the hero of India’s freedom and equality. But Ambedkar exposes how Gandhi’s words and actions often supported the caste system indirectly. For instance, Gandhi believed in the varna system and did not fully support inter-caste marriage or dining. Ambedkar, on the other hand, believed that without breaking these boundaries, real equality is impossible. He writes with fearless honesty, not to attack individuals, but to uncover the truth.


What I found most impressive was Ambedkar’s clarity of thought. His arguments are not emotional; they are rational. He writes like a lawyer and a historian, backing every claim with a reference or a counter-example. He even anticipates what critics will say and responds to those counter-arguments. This made the book feel like a classroom lecture or a debate, where logic wins over blind belief.


One powerful part of the text is when Ambedkar says: “Caste has killed public spirit. Caste has destroyed the sense of public charity. Caste has made public opinion impossible.” This struck me hard. We often talk about unity, nation-building, and democracy. But how can a society be united when it is divided by birth into higher and lower ranks? Ambedkar shows how caste does not only harm the so-called lower castes, but the whole society. It stops progress, creativity, and social justice.


Reading this text in today’s time made me realize how much of what Ambedkar wrote still holds true. We may have laws against caste discrimination, but caste-based violence, untouchability in practice, and social exclusion still continue in many parts of India. This book is not just a historic document; it’s a mirror to our present.


Stylistically, the book is heavy. It does not try to entertain. It expects the reader to think deeply. For students of political science, sociology, history, or literature, it offers rich material. At times, it feels like reading a journal article, with a strong thesis statement, evidence, analysis, and conclusion. But for someone interested in understanding India’s social system and the philosophy of resistance, it is a must-read.


What I appreciated most is that Ambedkar does not end with only criticism. He offers solutions. He talks about the need for equality, the value of liberty and fraternity, and the need for rational thought. His vision is not just to destroy caste, but to build a better society based on justice, dignity, and mutual respect.


To conclude, Annihilation of Caste is not a book you read and forget. It stays with you. It disturbs your comfort, shakes your beliefs, and forces you to look at society with fresh eyes. It reminded me that real change is not possible without radical thinking. Ambedkar was not just a reformer, but a revolutionary thinker who believed in the power of knowledge. This book, with all its academic seriousness, is a reminder that resistance begins with understanding and understanding begins with reading.


Thank you. Untill next review have a good time.

Certificate Course on Greek Mythology and Contemporary Literature



From 29 May to 11 June 2025, I had the enriching opportunity to participate in a deeply insightful online certificate course titled “Mythological Paradigms: Greek Mythology and its Relevance in Contemporary Literature.” Organized by Gokul Global University, Gujarat, in collaboration with the Nucleus of Learning and Development, and coordinated by Mr. Manoj Patel, the course brought together classical mythology and modern literary thought in innovative ways. Expertly conducted by Dr. Vanya Srivastava, Assistant Professor at Integral University, Lucknow, each session explored a new dimension of Greek mythology and how its narratives still reverberate through contemporary storytelling.


Here is a breakdown of the central themes explored each day:


Day 1: Foundations of Greek Mythology


Theme: Introduction to the Greek Pantheon and Mythological Cycles


The course began by establishing the essential framework of Greek mythology—its pantheon of gods, the cosmogony (origin of the universe), and key mythological cycles. This day was dedicated to identifying the structural backbone of myth-making in ancient Greece. The activity involved mapping gods and goddesses, their roles, and recognizing their enduring presence in contemporary culture (e.g., in branding, film, or symbolic representation).


Day 2: Heroes and Heroic Journeys


Theme: Archetypal Heroes and Joseph Campbell’s Monomyth


The second session examined the archetypes of classical heroes like Hercules, Perseus, and Theseus, comparing them with Campbell’s concept of the “Hero’s Journey.” The key insight was the cyclical pattern of departure, initiation, and return that links mythological heroes to modern figures like Superman or Harry Potter. The comparative analysis bridged ancient myth and modern superhero narratives.


Day 3: The Trojan War in Ancient and Modern Literature


Theme: Epic Conflict and Its Literary Legacy


This session explored the enduring legacy of Homer’s Iliad and Odyssey, particularly how the Trojan War serves as a template for both historical and psychological storytelling. Passages from the Iliad were juxtaposed with excerpts from modern war literature, highlighting themes of honor, sacrifice, and futility. It demonstrated how mythological conflict mirrors real human struggles.


Day 4: Tragic Dimensions – Greek Drama and Modern Theatre


Theme: Tragedy as a Universal Mode of Expression


Focusing on Greek tragedians such as Sophocles, Aeschylus, and Euripides, this day highlighted the principles of catharsis, hamartia, and fate. By analyzing scenes from modern plays inspired by myth (e.g., Jean Anouilh’s Antigone), we traced how classical tragedy continues to influence contemporary dramaturgy and political commentary.


Day 5: Divine Feminine – Goddesses and Women in Myth


Theme: Feminine Power, Archetypes, and Reinterpretation


This session was a deep dive into the representations of goddesses such as Athena, Artemis, Aphrodite, and Persephone. It unpacked how female figures embody both creative and destructive powers. A feminist lens was applied to reinterpret myths, revealing how contemporary writers reclaim these stories to critique patriarchy and explore gender identity.


Day 6: Mythological Underworlds and Psychological Depths


Theme: Afterlife and Inner Consciousness


The Greek underworld, particularly as envisioned by Hades, Persephone, and Orpheus, was explored in connection with modern psychological theory (Freud, Jung). The session focused on death, dreams, and transformation, showing how mythological descent into the underworld parallels journeys into the unconscious mind, grief, and personal change.


Day 7: Transformation Tales – Ovid’s Metamorphoses and Beyond


Theme: Change as the Essence of Myth


Inspired by Ovid’s Metamorphoses, this session highlighted transformation not just as physical change but as metaphor for emotional, social, and identity shifts. Participants were encouraged to write their own short metamorphosis narratives, blending mythic themes with personal or political commentary.


Day 8: Mythological Retelling as Cultural Critique


Theme: Rewriting Myth to Challenge Power Structures


This powerful session focused on contemporary novels that retell Greek myths to critique social, political, or gender norms. Texts such as Madeline Miller’s Circe and Pat Barker’s The Silence of the Girls were discussed to explore how retellings give voice to marginalized characters. Myth here becomes a site of resistance and revision.


Day 9: Myths in Popular Culture and Media


Theme: From Olympus to Hollywood


The ninth session traced how Greek myths infiltrate popular media—films, TV shows, graphic novels, and digital content. From Wonder Woman to Percy Jackson, mythological structures and figures continue to shape narratives in subtle and explicit ways. The activity involved identifying mythic elements in visual media and analyzing their significance.


Day 10: The Enduring Power of Myth


Theme: Why Myths Still Matter


The concluding session tied everything together, reflecting on the universal and timeless appeal of myth. Participants presented their understanding of contemporary texts through a mythological lens. This day celebrated the resilience and adaptability of myth, reminding us that these ancient stories continue to help us make sense of modern existence.


Key Takeaways from the Course:


Classical myths are not relics—they are living, evolving templates for storytelling.


Mythological frameworks enhance literary analysis and creative writing alike.


Archetypes and themes like the hero's journey, metamorphosis, and the divine feminine remain central in literature and media.


Modern literature often reclaims and critiques mythology to address contemporary issues such as war, gender, trauma, and identity.


Participating in this course not only deepened my understanding of Greek mythology but also empowered me to look at literature—and the world—through a richer, more symbolic lens.


Thank you.



Drupadi by Pratibha Ray

 



Hello!

I’m here again with a book review this time from my favourite genre: mythology. And it’s about one of my most favourite characters from the Mahabharata Draupadi.


I have already read Draupadi by Kajal Oza Vaidya, The Palace of Illusions by Chitra Banerjee Divakaruni, and Krushnayan by Kajal Oza Vaidya. These books had a deep impact on my imagination and consciousness. So naturally, when I picked up Yajnaseni The Story of Draupadi by Pratibha Ray, translated from Odia by Varsha Pathak, I wondered: What new could this book offer me? After all, I already knew the story.


But as Aristotle said, it’s not the story that makes a work great, but how it is structured and that’s exactly what works here. At first, I found the initial 80 pages quite similar to the other books I’ve read. I almost thought of putting it aside. But then came the twist.


Unlike the others, Yajnaseni goes deeper into Draupadi’s (Krushna) inner world especially her psychological and emotional sides. Her bodily desires, her unconscious longings, her love, attraction, anger, guilt, and strength everything is boldly explored. This Draupadi is not just a queen or wife but a thinking, feeling woman.


She openly says she loved Arjuna the most, still felt attracted to Karna, and had a platonic, spiritual bond with Krishna. Apart from these three, she was also a wife to the other four Pandavas but the emotional connection was very different with each.


The book also breaks the glorified image of Yudhishthir, the so-called Dharma Raja. Krishna openly criticizes him for being cold, indifferent, and passive. He never cared for Draupadi’s pain or emotions. On the other hand, Bhima is shown as hungry for food, power, and love but always present when Draupadi needed him. Arjuna, whom she loved deeply, is portrayed as distant and punishing, often ignoring her feelings. Nakul comes across as self-centred, and Sahadeva is the silent observer, speaking only when necessary.


Despite their flaws, Draupadi still manages to hold all five together, carrying the burden of their decisions and mistakes.


Another important point this book highlights is how male desires are considered above female desires. The men make decisions for themselves, often ignoring the impact those choices have on Draupadi. Yet she remains resilient and graceful.


Even though much of the book follows traditional storytelling, the bold inner voice of Draupadi brings a fresh, modern dimension. Her self-awareness, her emotional honesty, and her ability to question everything even the gods make this version memorable.


I loved the book and am still thinking about it. If you love mythology and especially stories that give voice to female characters, Yajnaseni is a must-read.


Thank you for staying with me till the end.

See you in my next review.

Till then, bye!