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Members of India's untouchable tribe have adopted the name "Dalit" as their own in order to distinguish themselves from other people. The disadvantaged members of Indian society who live on the outskirts of cities are referred to as "Dalits." Adivasis, landless homestead workers, laborers, the enduring masses, migratory and criminal clans, and women are all included in this category. It is significant to the untouchables as well as to every other person who is falling behind both socially and monetarily during the time spent the country's development. Academics interpret the term "Dalit" in a number of different ways. An ongoing exercise in fictional analysis will be the discussion regarding who exactly is a Dalit writer. Is anyone who depicts the day-to-day lives of Dalits considered a Dalit author, or is a composer who falls under the Dalit people category considered a Dalit author? Dalit authors have consistently criticized Class Hindu authors who write about Dalits for how insignificant their experiences and comforts are compared to Dalits'. Indeed, even the most ground breaking and imaginative authors, like Prem Chand, Mulk Raj Anand, T. S. Pillai, V. S. Khandekar, and a portion of the others who were accepted to mirror the spirits of Dalits, are not recognized. This is true. According to authors of Dalit literature, only Dalits possess the level of influence and expertise required to be a genuine Dalit musician. Their works are the writings of their own life blood, which is a trademark disturbance of the thoughts and considerations that have been stopped up throughout various many years [1]. The social revolution that took place at the time gave rise to Dalit literature. A democratic movement emerged in the 20th century, following colonialism and post-modernism, with the aim of establishing a fair society in which all people would be treated equally, regardless of their caste, color, or country of origin. The objectives of this movement were ultimately achieved. As a result of the demand for equality and human rights, members of society who were disadvantaged, depressed, and indigenous were compelled to act. Humanism was incorporated into Indian culture as well, so the country did not lag behind. In opposition to the traditionalist and stigmatized social attitude and culture, movements for social change gained momentum. The position framework, which has been the essential wellspring of cultural mistreatment and shamefulness coordinated on Dalit individuals for a long time, was the objective of the unrest's attack. Mahatma Jyotiba Phule and Dr. B.R. Ambedkar were leaders who spoke out against racism and oppression. Dalits took to composing as a useful outlet to communicate their perspectives and considerations. Dalit writing began in Marathi as the medium of instruction; However, beginning in the 1960s, a number of other dialects, including Gujarati, gained popularity. The campaign against reservation in Gujarat in the 1980s brought it to a very high level of prominence. Gujarati Dalit literature has become a well-known genre at this point. Because its primary objective is to give Dalits a voice and address their concerns and challenges, this type of writing has its own unique values, forms, styles, and aesthetics. Vernacular dialects, otherwise called local dialects, are the essential method of correspondence, and they catch the fundamental center of the social scene at the grassroots level. The primary goal of Dalit literature, despite the fact that it is written in several regional languages, is to make sure that people all over the world understand Dalits' situation, aspirations, and circumstances. Translation is a crucial part when viewed from this angle. People all over the world may be more aware of Dalit literature if the translation is accurate and of high quality. Millions of people all over the world can get information about their concerns. The most significant factor in achieving this objective is the universality of English. An English translation of Dalit literature expands the mainstream literary treasure and makes Dalit literature more accessible to a wider audience [2]. In India, the majority of people who used to be referred to as "Untouchable" now refer to themselves as "Dalit." The expression "Dalit" alludes to the powerless individuals from Indian culture who dwell on the edges of the city and incorporates Adivasis, landless property laborers, workers, the getting through masses, transitory and criminal factions, as well as ladies. It is significant for everyone else who is socially and financially further and further behind as the nation develops, including the untouchables. Scholars are interpreting the term "Dalit" in a number of different ways. An ongoing discussion about potential Dalit authors will be part of the process of analyzing fictional works. It is evident that even the most innovative and forward-thinking authors, such as Prem Chand, Mulk Raj Anand, T. S. Pillai, and V. S. Khandekar, as well as others who were intended to represent the energy of Dalits, are clearly undervalued. According to authors who identify as Dalits, one must be a Dalit by birth in order to possess the authority and knowledge required for the role in order to be considered a genuine Dalit musician. Because their works are the literature that gives them life, thoughts and ideas have been mixed up over many centuries. Literature written by Dalits was inspired by the struggle for social change. During the postmodernist era of the 20th century, following colonization, a democratic movement emerged with the goal of establishing a just society in which all people would be treated equally, regardless of their caste, color, or country of origin. The objective of this movement was to establish a society where people would be treated fairly. The native individuals, poor people, and other underestimated bunches in the public arena were propelled to battle for correspondence and basic freedoms by the goal to work on their general situation. India caught up quickly, and the humanist movement left an impression there as well. As an alternative to society's conventional and discriminatory mentality and culture, social reform groups have recently gained momentum.

Dalit abstract, social, and political articulations have lasted for an unusually long time. This has led to more of this kind of literature being made available, as well as research into the many different ways Dalit society expresses itself. In addition, society has provided the authorities, journalists, professionals, activists, and politicians with significant input. It is a necessary component "- It is essential to keep in mind that the name "Dalit" is not yet an officially recognized form; rather, it's a conversation that's going on and getting better over time. In the meantime, each narrative, piece of writing, and political discussion not only creates the social space that is associated with being a Dalit but also conveys the unique pressures that the author, essayist, or legislator is under. Despite the vast differences in vernacular, locale, sub-standings, and class, the likelihood of the Dalit is dealt with in terms of the common understanding of forbiddance and suffering as well as the norms of populist change [5]. This is the kind of thing that should be perceived. As a result, every Dalit's voice is communicated through articulation, and it's important to remember that the Dalit's voice is also communicated through behavior, which helps to establish this as the voice's strategy. To be successful, the Dalit style must therefore structure itself within this dynamic. The actual demonstration of its creation empowers it to talk its encounters, understand its ethical standing, and expressive its arrangements for what is in store.

The various approaches that can be utilized to address the genuine understanding of Dalits most effectively are the primary focus of the Dalit writing style. There is no record of Dalit articulation ever being recorded. Readers have had the opportunity to investigate the effects of location and class by flame broiling the edges in one section of recently published research in the field of continuous events. The fact that, in contrast to other writing styles, it does not begin or function primarily as an exercise in abstraction is another essential aspect of the Dalit writing style. They are more than just a school function; Instead, they are an abstract social and social action. Each of them is a social marvel that is similar to the other. Because of this, Dalit literature portrays the individual as being from his or her region, just as the individual strives to remain in front of his or her community and society. The significant relationship between the individual self and the open self frustrates subjectivity in these personal histories. Dalit scholars, on the other hand, do not use writing similarly as a constructive power (making the emancipatory talk about the Dalit or the Working Class), but rather as a pessimistic power, delineating the social substances, both of the cumbersome structures of force and of the normal workers' sad conditions, in a way that beats any hint of subjectivity. There is a certain vitality to Dalit literature. In Dalit short stories, a modern experience of untouchability is embodied. The heinous atrocities of the past as well as the deceitful brutality of the present are implied in these stories. They demonstrate the moral values—classes of greatness, dependability, truth, and valuethat Dalits acquire, as well as the processes by which they develop an all-around creative vitality [6].

As well as explaining and notwithstanding explaining several certifiable obscurities and vulnerabilities, as well as filling the more indisputable need of conferring the state of the art sort of freedom supporter group, fortitude, and character of the more prominent and comprehensive society, which has been the openness of the Dalit essayist over the scope of their fundamental personal development, the liberative capacity of Dalit writing and the standard goal and its message, shows the restriction of explaining two or three veritable obscurities and vulnerabilities. During the course of their own self-recovery, the Dalit creator, savant, and ideologue also discovered a connected and extremely common stream of thought, code of morals, and consecrated image structure with which significant ideological linkage could be made without bending their documented truth. The epistemological and generally applicable aspects of their entire endeavour are brought to the forefront as a result.

The Dalit literary movement began in Maharashtra and spread to adjacent states like Gujarat, Karnataka, Andhra Pradesh, and others after gaining traction there. The Sanskrit word "dalit," from which we get the name "Dalit," is the source of the phrase "pounded." This word is perceived in all Indian dialects since Sanskrit is the first language of every single Indian language. The expression "dalit" is taking its place as "untouchable" becomes less common. There have been a few names used to describe the general population of distant systems since quite some time ago. "Ati-Shudra," "Outside Castes," "Outcasts," "Depressed Classes," and "Scheduled Castes" are among these terms. Ex-Untouchables, for example

The untouchables were those who were present when upper-class Hindus, experts, and social reformers spoke specific words. Negative terms like stigmatization, dominance, and paternalism are akin to these. The Untouchables observed the beginning of these terms. Even though Eleanor Zelliot noted that there is a distinct rejection of sullying, Karma, and supported caste order, the general public who belong to this class are required to portray themselves as "Dalits." As a result of this, the public is required to portray themselves as Dalits. In Molesworth's Marathi-English Dictionary, which was published in 1975, the term "dalit" is defined as "ground, shattered, or crushed to pieces." This is an earlier version of the term, first used in 1813. 7] Dalit works similarly disregard traditional literature. The three most important literary ideals—Satya, which means "truth," Shivam, which means "goodness," and Sundaram, which means "superiority"—are the focus of conventional opinion, and these debates need to be turned around. Dalit task is dependent on the actual universe, regardless of what can be predicted, and human beings have a greater capacity than either God or the country to move with that. In this way, to decide if a Dalit has been fulfilled, one may either follow Bharata's idea of Nayaka Dhirodat, Dhirlalit, Dhir Prasant, or Dhiruddat, or he can carry out Jagannath's understanding of the section VakyamrasatamkamKavayam. Dalit works cast off contemporary strategies like Sigmund Freud's therapy, Roland Barthe's structuralism, or Jacques Derrida's deconstruction approach. Additionally, Dalit literature disregards Indian theories like rasa and Dhawni. C. B. Bharti's "the feel of Dalit literature," which is an example of Dalit literature, discusses Dalit chic. He asserts that the purpose of Dalit labor is to expose the wickedness and lack of sincerity of the upper classes and to protest the established system, which is based on injustice. To put it another way, the objective of Dalit work is to demonstrate that the upper classes are dishonest. It is urgently necessary to develop a distinctive aesthetic for Dalit poetry that is based on lifelong experiences and insights.

Dalit intellectual, social, and political ideas have not been articulated for a significant amount of time over the past two decades, which is unusual. This has brought about an expanded openness to such material as well as an expanded interest with the different instruments. The Dalit society has developed to provide the government, journalists, specialists, activists, and legislators with a platform for speech and essential social commentary. It's important to emphasize that the debate over the name "Dalit" is just beginning to take shape right now. The unique stresses that the author, essayist, or legislator was experiencing at the time of writing, working on, or having the discussion are simultaneously conveyed in each tale, piece of work, and political conversation that provides Dalits with a social space that is shared by all.

In addition to the guidelines for populist change, the Dalit's potential is addressed by addressing the widely held notions of prohibition and pain. It must be comprehended by considering the various regional, social, economic, and vernacular contexts. Consequently, the Dalit voice is conveyed through each and every articulation, which also serves as the strategy behind the Dalit voice. The Dalit style must therefore devise a strategy for organization within this fluidity. Through its conceptualization, experience can be expressed verbally, comprehend moral stance, and represent the future. The body of work that is known as "Dalit literature" focuses primarily on figuring out the best ways to get an accurate understanding of Dalits.

Due to the practice of flame-boiling the edges, a portion of the most recent research on continuous events was able to investigate the position class impacts. Additionally, one of the most distinctive characteristics of Dalit literature is that it does not begin or function fundamentally as an exercise in abstraction. They are examples of comparative social marvels that represent socio-social interaction as an abstract act of performance beyond academic activities.

Maharashtra provided a fertile environment for the development of Dalit literature as a result of this cooperation, as well as the emergence of organizations like the Black Panthers in the United States and the Indian Naxalite movement. Additionally, the leftist uprisings and the anti-war movement that emerged in response to the Vietnam War were significant contributors.

Along these lines, the development began by the Dark Pumas affected the Dalit Jaguars. As a result of this, Dalit-literature-aspiring new writers found a home in little magazines, which served as a platform for their literary debuts. Baburao Bagul, Namdeo Dhasal, Sharan Kumar Limbale, Yashwant Manohar, Arjun Dangle, Daya Pawar, and Shankarrao Karat, to name just a few, were among the notable individuals who were active during this time period. Known as the "voice of the voiceless," these social upheavals were a major source of inspiration for Indian Dalit writers. The Dalit literature received a much-needed boost from participants in the Dalit Panthers revolt. Maharashtra's perspective can provide insight into this. Omprakash Valmiki, Chandra Bhan Prasad, Mohandas Namishray, and Surajpal Chauhan became the main characters in an autobiographical work called Tiraskrit (2002) about the Hindi region.

Dalit ladies who were likewise dynamic members in the development initially began composing and exploring different avenues regarding various different points utilizing a wide range of systems. Sonnets, short stories, and volumes of memoirs were used to let out the anger that had been bottled up for centuries. The literary work that was written and performed by women was called "Stri Dalit Sahitya" in the Indian state of Maharashtra. Subsequently, columnists like Child Kamble, Kumud Pawde, Urmila Pawar, and Sumitra Bhave portrayed or composed their encounters. Manju Bala and Kalyani Thakur Charal, two authors, planned their meetings in Bengal. In various parts of India, particularly in the southern part of the country, women scholars like Bama, Sivakami, Sukirtharani, and Meena Kandasamy (all of whom are from Tamil Nadu), activists like Ruth Manorama and Swathy Margaret, Challapalli Swaroopa Rani (from Andhra Pradesh), and Du Saraswathi (from Karnataka), and scholars like GoguSyamala have risen to prominence. Additionally, Dalit works like Hans have been compiled as a result of an increase in the production of abstract diaries. The number of different interpretations of Dalit compositions has significantly increased in recent years. These include Treasurys encompassing a variety of authors and types of work by a variety of authors as well as analyses of specific works written by Dalit academics. In more recent editions, one of the earlier interpretations, first presented in Marathi Poisoned Bread (1994), has been made available. Writing Caste/Writing Gender (2006), No Alphabet in Sight (2011), An Anthology of Gujarati Dalit Literature (2011), Oxford India Anthology of Malayalam Dalit Writing (2012), and Steel Nibs are sprouting are a few distinct examples of this. There are very few examples of English-language fiction that address the circumstances of Dalit characters in any significant way; However, this is yet another emerging field. One of the projects with the most precise timing includes Rohinton Mistry's "A Fine Balance." Other examples include the 2005 novel "Hitchhiker" by Vinod George Joseph and Manu Joseph's "Serious Men" The vast majority of journalists attempting to portray the experiences of Dalits in English are non-dalits, with the exception of a few essayists like Meena Kandasamy and writers like Sivakami, who has deciphered her own portion works [4]. With the exception of a few essayists like Meena Kandasamy, this is the case.

One of the aspects of society that the revolution sought to eradicate was the caste system, which had long been the primary cause of Dalit social oppression and injustice. Dr. B.R. Ambedkar and Mahatma Jyotiba Phule, two important people, spoke out against discrimination and persecution. Over the course of history, Dalit literature developed into a useful means of expressing their points of view. Dalit literature was initially written in the language of Marathi; However, in the 1960s, Gujarati and a few other languages began to gain popularity. During the 1980s, it rose to gigantic conspicuousness as an immediate consequence of the counter reservation activism that happened in Gujarat. Gujarati Dalit literature has become a well-known genre at this point in time. Because of the way that its significant object is to voice Dalit complaints and dissatisfactions, this sort of writing utilizes various particular standards, structures, styles, and feel.

At the most fundamental level, the social milieu can be conveyed through the primary medium, which may be a regional or vernacular language. However, despite being written in regional languages, the primary goal of Dalit literature is to convey the struggles, aspirations, and circumstances of Dalits worldwide to the general public. Even more so, translation contributes significantly to this in numerous ways. Dalit literature is made accessible to an international audience by a skilled and accurate translator. Millions of people around the world have been made aware of their problems. Learning English is an essential step toward achieving this goal because it is regarded as a universal language. A Dalit work that has been translated into English not only reaches a larger audience but also contributes significantly to popular literature.

The collaboration of various groups and the emergence of movements like the Black Panthers in the United States and the Naxalite movement in India led to the birth of the Dalit writing movement in Maharashtra. Additionally, the leftist uprisings and the anti-Vietnam War campaign played a significant role in this. The Dalit Panthers were also affected by the Black Panthers' movement. In this situation, a few little diaries went about as a discussion to acquaint forthcoming Dalit essayists with a market that had not been taken advantage of up until that point. During this time span, there were numerous celebrities who were dynamic, including Baburao Bagul, Namdeo Dhasal, Sharan Kumar Limbale, Yashwant Manohar, Arjun Hang, Daya Pawar, and Shankarrao Karat. Indian Dalit authors, who were referred to as the "voice of the people," were significantly encouraged by uprisings of this kind.

Women who identify as Dalits and have written books exist in addition to the authors on this list. These writers were likewise dynamic players in the development of composing and have explored different avenues regarding various scholarly configurations. Collections of sonnets, short stories, and memoirs brought to light the circumstances that had been hidden for hundreds of years. The writing that was presented by women in the state of Maharashtra was known as "Sri Dalit Sahitya." A number of journalists, including Baby Kamble, Kumud Pawde, Urmila Pawar, and Sumitra Bhave, wrote about or portrayed their personal experiences as a direct result of the event. Moreover, the Bengali creators Manju Bala and Kalyani Thakur Charal made critical commitments to the group of Dalit writing.

During that time, a number of women from various parts of India, particularly the southern part, became well-known painters. Campaigners like Swathy Margaret and Ruth Manorama are among these artists, as are academics like Bama, Sivakami, Sukirtharani, and Meena Kandasamy—all of whom hail from the state of Tamil Nadu—GoguSyamala, Challapalli Swaroopa Rani—all of whom hail from the state of Andhra Pradesh—and Du Saraswathi—all of whom hail from Karnataka—all of whom hail from Additionally, the number of abstract publications promoting Dalit compositions like Hans has significantly increased. In the latest few years, there has been an ascent in the quantity of understandings of creations that have a Dalit point of view. Treasurys with contributions from a wide range of authors and formats are among these, as are examinations of specific texts written by Dalit academics. In more recent editions that have been published in print, one of the earliest interpretations of Marathi Poisoned Bread (1994) has been included. 

The feminist movement in India was concerned about the problems that women from upper-middle class and upper-caste backgrounds faced from the beginning. Their occurrence was believed to be "female's proof." Gopal Guru asks the question, "Dalit Female Talk in a Different Way," whether the hegemonic ambition of Brahminical Feminism should speak for the "Indian Female." In traditional women's activist talk, the issues looked by Dalit ladies were either totally disregarded or given simply a representative voice. The Dalit woman has often been misrepresented as a result of this trivial portrayal. "Communal place that demonstrates the understanding of reality is a key feature that makes the representation of Dalit female's concerns by non-Dalit female less acceptable and less authentic," as Guru put it, refers to the discussion. While critics of feminism in India have examined the relationship between class and gender, the issue of how caste relates to gender remains unanswered at this time. "Class, caste, and gender are intimately interwoven," says Uma Chakravarti. they affect each other and interact with one another." The plan of marriage, sexuality, and generation shapes the underpinning of the rank framework. Due to the fabric demonstrations of these categories, it is impossible to investigate the socio-cultural categories of caste and gender separately within the context of specific Indian history. The revered practices that evaded issues of rank and orientation have previously been researched. In her article, Anupama Rao makes the observation that an investigation into the shared histories and educational foundations of Dalit Bahujan feminists and theoreticians is required in light of the recent progress they have made. Understanding how procreation is established and who is in charge of it according to social caste is just as important as understanding how building is planned and who is responsible for shifting it based on social class. Through restrictions on sexual activity and marriage, the concept of caste legitimizes and facilitates female control. The social system known as caste was developed in India. In order to preserve the distinctiveness of a woman's caste, it is necessary to restrict her sexual freedom. As a means of safeguarding the "purity" of the caste system—considered to be the root cause of its rigidity and inequality—a ban on marriages between members of other castes is currently in the works [8].

Therefore, discussions of caste are avoided by women's movements. The view held by women's activists is that all ladies are dependent upon similar persecution because of the man controlled society, and that variables, for example, class and standing are immaterial. Even when there is no such feeling, this is done to instill a sense of solidarity among women. It is in this way a confusion that the disposal of male controlled society would bring about the goal of all issues relating to ladies. Despite the fact that capitalism is the driving force behind both patriarchy and caste, they are firmly of the opinion that if patriarchy is addressed, caste would also disappear. This argument is based on the idea that people of lower castes are also subjected to subjugation in a similar way that women are. Women's movements did not make much of an effort to address Dalit women's issues in India [9].

The oppression of Dalit ladies can't be set in similar classification as those connecting with different classes. However, in order to comprehend it, one must construct their own conceptual framework. Women are subjected to oppression regardless of social class or caste; rather, each and every woman who has experienced oppression has a distinct story to tell. It largely depends on the kind of situation they're in. It is fair to say that violence against women does not just happen in some parts of the world; However, societal and economic factors do contribute significantly to the problem. There have been a number of cases of dowry-related murder, torture, and other forms of violence in India, most of which have targeted middle- and upper-class women. When it comes to incidents of violence against middle-class and upper-class women, it is significantly more structured; However, when it comes to the oppression of Dalit women, this is not the case. Compared to Dalit women, upper-class women are more likely to encounter patriarchal issues. The idea of patriarchy is based on Hindu mythological characters like Sita, Savitri, Draupadi, and others. These ladies are displayed as making a definitive penance for their spouses and kids. Because Dalit women are not as affected by patriarchy as upper-caste women are, they do not worship their husbands. Subsequently, upper-position ladies love their spouses. Locally of Dalits, ladies are not alluded to by the name of their better half; rather, they have their own identity and work independently, up to a point, without considering gender bias. Dalit activist Ilaiah maintains that the culture of her society gives women in her society more social and economic autonomy.

Dalit feminism is at the top of the list when compared to other groups. The women are exploited not only because they are women but also because they are Dalits. Bama was the first dalit woman to break out of the shadows. Sangati is her autobiography written in Tamil and told from the dalit people's point of view. Female characters are depicted as depressed and hopeless in the book's beginning. However, near the book's conclusion, these same characters are shown to be brave and fearless despite everything that goes wrong. The best way to avoid these problems is to talk to other people and have a good time. They relish their newly acquired notoriety and power. In order to work and live on her own, the book's narrator breaks free from the shackles the community has imposed on her. She was able to become independent, but she had to give up the name that was associated with her caste in order to do so. It is important to keep this in mind. because she was still worried that she would be treated differently. Despite their higher rates of education and independence than other women, Dalit women are still abused. By putting their frail selves in the past, picking up a pen and paper, and moving forward, they can get rid of the terrible bias and protest against the prejudice by speaking out [10].

Dalit laborers do the same things and don't read standard books. The traditional way of thinking emphasizes the literature's Satya (fact), Shivam (goodness), and Sundaram (superiority), all of which must be flipped. Working as a Dalit, contrary to popular belief, requires being reliant on and able to move around in the real world. Individuals, rather than God or a country, are more fit to do this undertaking.

Dalit works deny current speculations, for example, Jacques Derrida's deconstruction hypothesis, Roland Barthe's structuralism, and Sigmund Freud's therapy. Dalit literature also rejects Indian theories like rasa and Dhawni. C. B. Bharti examines the Dalit writing style in his article titled "The Feel of Dalit Literature." As indicated by him, the reason for Dalit work is to condemn the current framework that depends on unfairness and to uncover the brutality and trickiness of the greater classes. The Dalit labor movement wants this to happen. The development of a poetry aesthetic that is distinctly Dalit and is based on actual life events and observations is of the utmost importance. Concerns about the difficulties faced by women from upper-middle class and upper-caste families were voiced almost from the beginning of the feminist movement in India. They have been referred to as "the proof of the female" ever since they occurred. Gopal Guru challenged the dominant tendency of Brahminical feminism to speak on behalf of the "Indian Female" in his article "Dalit Female Talk in a Different Way." Dalit women's challenges were either completely ignored or only given a symbolic voice in traditional feminist discourse. The Dalit people have always been associated with this tiny image.

She was successful in achieving independence, which is a significant achievement; However, she was required to give up her caste name in order to do so. because she never stopped worrying about being treated differently. Despite the fact that Dalit women now have more opportunities for independence and education than ever before, they are still victims of violence. By putting their fragile selves in the past and moving forward while holding a pen and paper, the individual can speak out against prejudice and discrimination in response to this injustice.

The Dalit literary community has made significant literary progress since Ambedkar's time, developing into a significant literary sector. A Dalit population that is open to a wide range of social and economic shifts has developed a number of revolutionary concerns as a result. The task of restoring the shattered state of consciousness caused by identity theft has been accomplished successfully. Although it began with Marathi in the 1960s, the journey has since included a wider variety of languages and locations. This has now grown into its own branch in Indian literature, which is rich in literary, social, religious, political, historical, and economic aspects.

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