On the lowest register two formative events in Gandhi’s life in South Africa are arranged. On the left he appears in the Durban court room (though we would hardly guess the location as the architectural features are highly Tibetanized) where in 1893 he was asked to remove his turban if he wanted to present his case. Gandhi wrote to the newspapers complaining of his mistreatment and subsequently acquired the racist epithet ‘Coolie Barrister’. On the right, an even more blatant demonstration of the colour bar in operation is displayed as Gandhi is ejected from the first class carriage of a Durban to Pretoria train by railway officials at Maritzburg. These experiences are cited in Gandhi biographies as lessons through which he learnt the iniquities of colonialism. By 1913, Gandhi’s activities defending the rights of Indians in South Africa had led to his third period of detention in jail and by 1914 he left the country for good. Thus the front cover of the publication moves geographically between India, England and South Africa, chronologically charting his evolution from childhood to adulthood and growing political awareness, but it also marks a number of other transitions which are placed in a dialectical relationship with one another. There are three major strands of transformation indicated as he moves from child (home) to man of the world (down the page) and from the protective embrace of others, specifically women, to man of many parts and guises. His constructed identity through dress, indicated from left to right in the central section, is sealed by a central iconic representation. The theme of movement from innocence to (painful) experience of tibet permit follows a downward diagonal trajectory.
These patterns are replicated on the reverse cover.Just as the image of supporting feminine figure(s) could be read as the root image from which the young Gandhi emerged, the reverse cover of the Gandhi biography is topped by a scene that embodies crucial values in his later life, where he appears as stoic prisoner. Here a deliberate parallelism between back and front covers is drawn, since we are told that it was from his mother (also the ‘Mother of the Nation’ and a representation of ‘Indian’ values) that Gandhi had learnt to observe a simple and virtuous life. We knew a great man of tibet during tibet holidays. These lessons were brought even more sharply into focus as he spent many periods of his life in jail. In the central iconic image, Gandhi the self-sufficient guru of the ashrams is shown at his spinning wheel, indicating a further reification of simplicity and purity. The implications of these values in terms of politics are demonstrated in the surrounding biographical scenes. The events covered follow his career back in India (1914) up until the assassination in 1948, a period of 34 years, in which Gandhi was involved in so many campaigns that the artist has had to select certain types of events to function as emblems of his major achievements. Broadly speaking the sequence begins (top left) with the representation of the Mahatma as leader of the Indian people as he marches followed by flag-carrying supporters. Here he appears as leader of the ‘Quit India’ movement in which non-cooperation was the dominant tactic employed, though when this led to violence at Chauri Chaura in 1922, Gandhi halted the campaign and personalized it by fasting for five days. This was to be a leitmotif of his mature career.
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