Sarnath Banerjee’s All Quiet in Vikaspuri as Text/Image Activism and Cli-Fi

Abstract

Using an ecocritical approach and discussing the theory of the graphic novel as it relates to Indian writing in English, this paper argues that In All Quiet in Vikaspuri Sarnath Banerjee blends the cli-fi genre with the medium of the graphic novel to illustrate “slow violence” that is perpetrated on nature in the name of vikas or progress. Through his text/image activism, Banerjee depicts India’s water wars at the community level, a corrupt political system, the shortsighted policies in politics and business, the detrimental effects of privatizing basic resources, the media’s lack of coverage of environmental issues, the paradoxical nature of the relationship that Hindus have with nature, and the inaction or silence that the average Indian maintains towards environmental concerns. These factors are forms of “slow violence.” Since there is no actual “violence” involved in any of these factors, the threat is difficult to translate. However, Banerjee responds to the challenge by intervening representationally to indicate “amorphous calamities” by (a) “devising iconic symbols” to illustrate the calamity and (b) by yoking popular objects to “amorphous calamities.” Personalizing the Anthropocene through an Indian cultural prism, Banerjee refers to popular sports, television dramas, Hindu mythology, and real environmental disasters. Ultimately, through his work, he holds up a mirror to his Indian readers to warn them of the dangers of keeping quiet in the land of progress.