Category: X.T.M

Caste in America

I’ve found myself drifting further left than I expected this year. Much of that is circumstantial, being involved in local activism in the United States naturally places one within progressive coalitions. Yet even in this frame, my ideological compass is firmly rooted in some admiration for Brahminical continuity and Bharat Mata as civilizational anchor.

At times I speculate on where Bharat truly ends. Is it the Hindu Kush? The Iranian plateau? The Persian world has always seemed to me about 20–30% Indianise; its mythology, musicality, and memory bear the imprint of the Indo-Aryan stream more than the Indo-European one, no matter how insistently modern Iranians lean toward a Westward identification.

This brings me to a provocative thesis I’ve often floated: that Brahmins are the civilisational custodians of the Indian subcontinent, and that their displacement often signals a broader cultural erasure. The tragedy of the Kashmiri Panditsis not merely a community’s trauma, but a warning. Without Brahminical continuity, Vedic frameworks falter. Hinduism in Pakistan and Bangladesh remains vulnerable precisely because it lacks the embedded authority and supervisory function of Brahmin elites to anchor Vedic traditions and calibrate resistance to incessant Islamisation. Continue reading Caste in America

L’Opéra, Iran, and the Post-Hindu Condition

A Meditation on Revolution, Secularism, and South Asia’s Futures

Inspiration arrives in the strangest of places.

Recently, I found myself deep in yoga, settling deeper roots in Cambridge, Massachusetts. It’s not clear whether this will be our long-term home yet but even so time to lay down the contours of a life (our main life of course still remains Cambridge, UK while Chennai, India is a must thrice yearly ensconcement).

In the midst of this personal flux, a video Nivedita just shared with cut through the noise: a YouTube interview about Iran before and after the Islamic Revolution, told through the eyes of a Baha’i couple who fled Iran and went on to create a French patisserie empire in India, L’Opéra.

Continue reading L’Opéra, Iran, and the Post-Hindu Condition

Pakistan, a young state but an old nation

no one is born a Bahá’í; even those who are “Bahá’ízadeh” (those born to Bahá’í homes) must first affirm their belief at fifteen and confirm it at 21

Dawn Posting

Most of my writing these days happens either at the dead of night, bleeding into the Dawn. This is when the world is quiet enough to hear one’s thoughts.

I’ve asked the Editors to lean into their moderation. But I’ve also emphasized that a copy of the moderated comments should be preserved in their original form; so that, if there’s an appeal or a misreading, I can assess it personally. My instinct has always been to under-moderate. I would rather allow something unpleasant to be said than suppress something vital.

That said, miscommunication is inevitable in a forum like ours. I recently had my own moment of misunderstanding with Indosaurus. But in many ways, that’s exactly what makes Brown Pundits an exciting space. We are not a hive mind. We’re a broad church; Anglican in temperament, not Catholic in control. Communion, not command.

The Commentariat Continue reading Pakistan, a young state but an old nation

Vantara, Caste, and the Fragile Commons

I was speaking with Dr. Lalchand about a number of things, from Anant Ambani’s wildlife project to the recent caste discourse on Brown Pundits. Both, strangely enough, converge around the theme of scrutiny; of who gets to build, who gets to critique, and who sets the rules of engagement.

Let’s start with Vantara. Anant Ambani’s wildlife refuge is coming under sustained criticism. But I ask: why shouldn’t Bharat, arguably the only major civilisation that views animals as divinely inspired, have a world-class zoo or rescue center? If done with sensitivity and vision, this could be a profound expression of India’s Hindu civilisational ethos.

Vantara houses over 200 elephants, 50 bears, 160 tigers, 200 lions, 250 leopards, and 900 crocodiles; albeit imported from across the world into the baking flatlands beside an oil refinery. The scale is staggering. Yes, there are questions: about captive animal welfare, about the case of Pratima the elephant, about transparency. But we should also be able to think of Indian megafauna conservation at global scale especially in a nation where sacred animals are part of dharmic memory.

America had its Gilded Age. The robber barons left behind libraries, parks, and museums. Can’t India do the same? Or do we reflexively dismiss anything built by wealth as vanity? Can there not be a deeper Dharma behind patronage?

And that brings me yet again to caste, controversy, and the structure of Brown Pundits. Continue reading Vantara, Caste, and the Fragile Commons

Caste and the Structure of Discourse

I’ve come to realise that it’s often more productive to write full posts than to engage in fragmented comment threads. The richness of thought requires a form that can hold tension, contradiction, and nuance but comments, by design, resist that.

The Upper-Caste Template of South Asian Dharmic Discourse

Take, for example, sbarrkum, who shares personal reflections and images from his life on the common board. While one might raise questions about permissions or boundaries, it’s also important to respect dialectical differences in how people choose to engage. There’s no single valid mode of expression.

That brings me to a broader reflection: how the very structure of discourse in Dharmic South Asia has long been shaped by upper-caste templates; especially under Western influence. Over two centuries, upper castes have Brahmanised, Saffronised, Persianised, and then Westernised themselves, adopting and enforcing norms of discourse, authority, and ‘rationality.’

Why Intermarriage Doesn’t Erase Hierarchy Continue reading Caste and the Structure of Discourse

Brown Pundits and the Echo Chamber Problem

The Echo Chamber of the Commentariat

It has been on my mind that Brown Pundits, for all its liveliness, risks drifting into an echo chamber. The commentariat is our lifeblood: their activity sustains the blog far more than page views alone. And yet, the very strength of that community can also be its blind spot.

I do not want Kabir to end up being the Cassandra of BP, always warning of decline, and being proved right in the end. If we are not careful, we could slide into a right-wing echo chamber where challenging voices fade, and the capacity for deep interrogation, the core of what makes BP unique, is diminished.

Pahalgam and the Question of Narrative Continue reading Brown Pundits and the Echo Chamber Problem

Homebound with Ishaan Khatter

Last night Dr. Lalchand & I watched Homebound, India’s submission to the Oscars, at Apple Cinemas in Cambridge, Mass. This sad film follows a Dalit (Chandan Kumar) and a Muslim (Mohammed Shoaib Ali) struggling against the odds during the pandemic, their solidarity fictionalized as a fragile bridge across India’s deepest divides.

On the surface, it is a familiar story: the disenfranchised facing systemic barriers. But what struck me was how privilege itself performed disenfranchisement. Ishaan Khatter, brother to Shahid Kapoor, plays the marginalized Muslim. Janhvi Kapoor, descended from Bollywood royalty, embodies a Dalit woman. Vishal Jethwa, a bright-eyed Gujarati, portrays the Bhojpuri Dalit lead. This is not unique to India; Hollywood, too, casts elites as workers. Yet it raises the question: when poverty is performed rather than lived, is it “Dalit-washing”?

Poverty, Emotion, and Representation

Watching the film, I reflected on poverty’s emotional landscape. For elites, emotions can be expansive, indulgent, aestheticized into art. For the working poor, emotions are often constrained by survival — narrowed into necessity. Homebound tried to humanize its characters, but I wondered whether it romanticized what in practice is a relentless narrowing of possibility.

The West rewards this narrative. Parasite in Korea, Iranian cinema, Slumdog Millionaire — poverty & Global South tribulations as spectacle becomes “poverty porn.” The Guardian gave Homebound four stars. Great art often tilts melancholic, yes, but here the melancholia is curated for Western consumption.

Identity, Vectors, and Islamicate Selfhood

More unexpectedly, the film stirred something personal. I realized how much I have vacated my own Islamic identity. It was not traumatic. As a Bahá’í with Persian cultural roots, I found overlap — even comfort — in Hindu traditions. Dalits, in their rapid Hinduization, represent one vector of assimilation; Muslims and scheduled-caste Muslims, often in tension, another. Homebound imagines solidarity, but in life these vectors pull unequally. Continue reading Homebound with Ishaan Khatter

The River Cannot Go Back

I wanted to share something that floored me. Through Sahil Bloom, I came across this poem by Kahlil Gibran, and it struck me with its simplicity and depth. As an aside, it is worth remembering that Gibran was deeply inspired by ʻAbdu’l-Bahá, whose vision of unity and spiritual renewal touched many thinkers and artists of his time.

For the Commentariat, it’s worth noting that one of the 20th century’s greatest poets had Muslim antecedents: Gibran’s maternal great-grandfather converted from Islam to Christianity, a reminder that conversion did happen, and that traditions were more porous than the common perception that “Muslims can never leave Islam.”

The River Cannot Go Back

It is said that before entering the sea

a river trembles with fear.

She looks back at the path she has traveled,

from the peaks of the mountains, Continue reading The River Cannot Go Back

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