In the shadows of survival

Award-winning Malayalam writer Benyamin who is known for his stark narratives on the themes of alienation and enslavement.

For a mechanical engineer by profession and one who never read books, let alone write them, until he moved to Bahrain in his early 20s, Benny Daniel, better known as Benyamin, has done remarkably well as a writer. Author of over a dozen books and five short story collections with Christianity, or the Middle East being the leitmotif, the Malayalam writer is best known for his award-winning works, Adujeevitham, (Goat Days) and Mullappoo Niramulla Pakalukal (Jasmine Days), the latter having won the inaugural JCB Prize for Literature in 2018, India’s richest literary prize. He has also been longlisted for the Dublin Literary Award.

Goat Days is considered one of the most important books of Malayalam literature, having won the Kerala Sahitya Academy prize and reprinted over a hundred times and translated into several languages. It is the heart-rending true story of Najeeb, a Muslim-Malayali, who migrates to Saudi Arabia and is unwittingly enslaved in a goat farm by his abusive employer. The story is typical of millions of south-Asian migrant workers who toil under inhuman conditions in the Gulf.

Jasmine Days is an equally powerful novel about the dilemmas of immigrant lives. The book tells the story of a young Pakistani woman, Sameera Parvin, who moves to an unnamed Middle Eastern city and finds herself amid a revolution. It revolves around the Jasmine Revolution that sprang up in December 2010 and was quelled soon after.

Benyamin’s first short story, about the psychology of mob lynching, was published in 1999 in the Malayalam Manorama to an outstanding reader response. Then came his debut novella, Abishag, an imaginary elaboration of the eponymous Biblical character’s life, winning critical appreciation. Currently he writes from his home in Kerala, having quit his job in Bahrain a few years ago. Excerpts from an interview.

What was the inspiration for Goat Days and did you expect it to become such a hit?

The inspiration for the novel is a real character I met who experienced similar torture as a labourer. The book was written and published when I was working in Bahrain. I was uncertain how it would be accepted, but it was well-received by readers and critics and even won awards. The English translation too was widely accepted and longlisted for the Man Asian Literature Prize. It became one of the most-read books in Malayalam and students took to it with great interest when it became a part of the curriculum. It changed their mindset about life in the Gulf and their attitude to life’s problems. Many parents read it after hearing about it from their children.

Do you play a role in the translation as some writers do?

When a book is translated, it must communicate with international readers and so the tone, style and descriptions change from the way it was written in the regional language. However, exact translations are not possible and nuances may get lost at times. Although I was not involved, the translators did a brilliant job. I was delighted and it certainly helped the book gain wider readership.

Your views on censorship in the light of the ban on your books in some Gulf countries?

Banning books is a wrong concept in this digital era. It may have been effective in the print era. Today, nobody can stop a book going viral. Still, some governments do it for their own satisfaction; but it helps to boost the popularity of the books. I was invited last year for the Berlin International Literature festival where I met many Europeans who reacted positively to the book. I have also received mails from Latin American readers. All this shows my book has reached far-off communities too.

Why are there so few books about life in the Gulf?

There are many reasons, mainly the strict censorship rules prevalent until the early 2000s that forced many to keep their experiences bottled up inside them. Besides, most are blue-collared workers who are not literate enough to write and prior to the social media era, publishing was not easy.

You have touched upon religion in your previous works. How religious are you?

I practice religion as a social gathering act with no interest in rituals and beliefs. I like the Bible and Christ for many reasons; the Bible for its historical and literary value and Christ for his way of life and teachings, not for his miracles. Today, many want us to love Christ for his miracles. I am totally against it and this is the central theme in some of my books.