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By:

Uday Jogalekar

13 May 2026 at 3:25:14 pm

From Pracharak to Minister: My Memories of Dilipda

Long before he became a minister, Dilipda had already earned our respect through his simplicity, discipline, and warmth. In 2007, my job brought me to Kolkata. Once there, I began attending the local RSS shakha and gradually became involved in Sangh work. I first met Dilipda during a visit to a swayamsevak’s home. Coincidentally, that same year, he had been appointed to our division. As everyone introduced themselves, Dilipda casually asked me in Marathi, “How are you finding Bengal?” Hearing...

From Pracharak to Minister: My Memories of Dilipda

Long before he became a minister, Dilipda had already earned our respect through his simplicity, discipline, and warmth. In 2007, my job brought me to Kolkata. Once there, I began attending the local RSS shakha and gradually became involved in Sangh work. I first met Dilipda during a visit to a swayamsevak’s home. Coincidentally, that same year, he had been appointed to our division. As everyone introduced themselves, Dilipda casually asked me in Marathi, “How are you finding Bengal?” Hearing a Bengali pracharak — a full-time RSS worker devoted to organisational work — speak fluent Marathi came as a pleasant surprise to me. From that moment onwards, my interactions with Dilipda increased, and I gradually began to understand the many dimensions of his seemingly simple personality. Coming from Maharashtra, where Sangh work generally faced non-violent opposition, adapting to Bengal — where the opposition was often violent — was not easy. In that atmosphere, I learnt from Dilipda how to remain enthusiastic while also keeping fellow workers motivated and active. I often accompanied Dilipda during his visits to our area. He had a remarkable ability to blend effortlessly into any household, warmly enquire about every family member, and make everyone feel as though he were one of their own. Before being appointed to Kolkata, Dilipda had served as an RSS pracharak in the remote Andaman Islands from around 1999–2000 until 2007. Based in Port Blair, he worked under difficult conditions despite limited travel and communication facilities, diverse tribes speaking different languages, and a local mindset that often kept outsiders at a distance. He would often share positive experiences from his years in the Andamans but never once spoke about the hardships he endured. Despite working in such difficult conditions, he never mentioned his personal discomforts. This ability to remain free of complaints despite adversity is a hallmark of a pracharak, and Dilipda embodied it completely. He possessed the rare gift of finding positivity even in challenging situations. Excellent Cook In Bengal during 2007, Sangh work had not yet expanded to the scale it has reached today. At times, pracharaks had to cook their own meals, and this had made Dilipda an excellent cook. Whenever he returned to the city from his travels, our group would eagerly gather to enjoy his khichdi. Our area, Bidhannagar, was located in Salt Lake, a relatively prosperous locality. Adjacent to it were a few underprivileged settlements, and we would occasionally visit the nearby market. To reach the market from Salt Lake, one had to cross a wooden bridge, where the toll was 25 paise for pedestrians and one rupee for bicycles. Observing the difficulties faced by people in those settlements, Dilipda once suggested starting some sewa (service) activity there. That eventually led to the establishment of a homoeopathic clinic in the locality. While setting up the clinic, Dilipda effortlessly guided us through every stage of planning — what arrangements were needed, how the process should be structured, and what challenges might arise. It felt as though the entire plan was already mapped out in his mind. As the clinic became operational, we began noticing the educational difficulties faced by the local children. English, science, and mathematics were particularly challenging subjects for them, which eventually led to the start of a study centre. The idea of involving engineers from Salt Lake’s IT companies also came from Dilipda. Later, by bringing together IT professionals, an “IT Milan” initiative was started, and many of them eventually became swayamsevaks actively involved in Sangh work. Remarkable Ability At the time, the CPM government was in power in Bengal, and there were many obstacles to conducting shakha activities. Dilipda constantly guided us on overcoming these challenges. He had a remarkable ability to identify work that could bring meaningful change, plan it carefully, and execute it with determination and effectiveness. Whether it was service activities, daily shakha work, or handling sensitive cases related to “Love Jihad", Dilipda consistently displayed dedication, clarity of thought, a fighting spirit, and an unwavering readiness to work tirelessly toward the objective. What amazes me even today is that a pracharak like Dilipda — someone far ahead of us in age, experience, and accomplishments — would interact so casually and warmly with ordinary swayamsevaks like us, placing a hand on our shoulders and speaking as though he were a close friend. In 2009, I was transferred back to Mumbai, bringing my Kolkata chapter to an end. Later, in 2014, I learned that Dilipda had been given responsibility in the BJP. And now, in 2026, the BJP forming a government on its own strength speaks volumes about its contribution and leadership. Today, Dilipda has become a minister, and many titles and honours will naturally be associated with him. But to us, he will always remain simply "Dilipda". (The writer is an entrepreneur based in Kalwa, Thane.)

Banu Mushtaq: India’s Booker Prize Winner

Heart Lamp marks a historic first for Kannada literature and offers an unflinching look at Muslim women’s lives in Karnataka.

The Booker Prize stands as one of the most prestigious honours in the literary world, with winners gaining not only critical acclaim but also widespread international recognition for their work. Established in 1969, the Booker Prize has consistently elevated the careers of authors such as Salman Rushdie, Arundhati Roy, and Hilary Mantel, often leading to increased global readership and widespread translations of their works.


Banu Mushtaq is a prominent Kannada writer, poet, and social activist whose work has left a significant imprint on contemporary Indian literature. Widely recognised for her progressive and feminist outlook, Mushtaq’s writing is deeply rooted in the Sufi and mystic traditions, offering a unique blend of spirituality, cultural reflection, and political consciousness. Her literary contributions frequently address themes such as women’s rights, social justice, and marginalised voices, often interweaving poetic insight with sharp social critique. In addition to her accomplishments as a writer, she is also a practising lawyer and a vocal advocate for justice and equity. She is one of the emerging, innovative, creative, and realistic writers from the progressive protest literary circles of the 80s decade.


She was also among the activists associated with the Bandaya Sahitya movement—an influential literary rebellion in Kannada that sought to challenge entrenched caste and class hierarchies through powerful and socially conscious writing. As an active participant in this radical literary movement, she used her voice to highlight the struggles of the oppressed and marginalised. Her oeuvre includes six collections of short stories, a full-length novel, a collection of essays, and several poems, all written primarily in the Kannada language. Her literary output is known for its unflinching examination of themes such as gender inequality, religious faith, cultural identity, and societal pressures. Through her writing, she consistently demonstrates a deep and unwavering commitment to the pursuit of social justice.


One of Banu Mushtaq’s acclaimed short stories, Karinaagaragalu, was adapted into the 2003 Kannada film Hasina, directed by the renowned filmmaker Girish Kasaravalli. The film, much like the original story, explores themes of gender, societal expectations, and faith within the framework of a Muslim woman’s lived experience.


Her Booker-winning work, Heart Lamp, is a remarkable collection of twelve short stories written over the course of three decades. The stories centre on the lives of Muslim women in southern India, shedding light on their struggles, cultural contexts, and quiet resilience. The anthology has been translated into English by Deepa Bhasthi, whose sensitive and skillful rendering has brought the stories to a wider global audience. Heart Lamp received international acclaim when it was awarded the International Booker Prize in 2025—a historic milestone, marking the first time a work originally written in the Kannada language has been honoured with this prestigious literary recognition.


The narratives are characterised by a witty, vivid, colloquial, moving, and excoriating style and capture the nuances of family and community dynamics. Her narration style is infused with subtle humour, even when addressing heartbreaking situations, offering a unique lens into the everyday lives of characters.


Chair of the International Booker Prize judging panel, Max Porter, praised Heart Lamp for its profound impact, noting that while the stories are unmistakably feminist—containing 'extraordinary accounts of patriarchal systems and resistance'—they are, above all, 'beautiful accounts of everyday life and particularly the lives of women.’ The Guardian commended Mushtaq’s storytelling range, observing that 'the tone varies from quiet to comic, but the vision is consistent,' and lauded the book as a 'wonderful collection'.


Banu Mushtaq’s literary work resonates powerfully with the voices of several other prominent Indian women writers who have successfully brought regional narratives to the forefront of Indian literature. She stands alongside pioneering feminist authors such as Ismat Chughtai, renowned for her rebellious spirit and fearless exploration of female sexuality and the hypocrisies of middle-class morality; Mahasweta Devi, whose writing served as a searing indictment of social injustice and gave voice to the subaltern, the downtrodden, and tribal communities; Bama, a trailblazer in Dalit feminist literature, known for her portrayal of caste and gender oppression with unflinching honesty; and Kamala Das, often hailed as the confessional queen of Indian poetry, whose candid treatment of female sexuality and identity challenged literary conventions.


Mushtaq uses her evocative and emotionally layered storytelling to illuminate the struggles, strengths, and resilience of women, particularly those from marginalised backgrounds. Her narratives delve into issues of women’s rights, faith, and humanism, presenting these themes through a distinctly regional and culturally rooted lens. The present literary milestone, Heart Lamp, not only enriches Kannada literature but also amplifies the voices of those often unheard, solidifying her place among India's literary greats.


(The author is an assistant Professor of Language and Literature. Views personal.)

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