JOIN USA return to defiance
Tamil contemporary writer Perumal Murugan’s first novel Eru Veyyil (Rising Heat) was published in 1991 when he was just 25, launching him into a brilliant literary career. Nearly three decades later, the English translation of the book (read accompanying review) was published in July, coincidentally at a time when issues such as migration have become a national topic in India. Interestingly, the English translation of another book of his, Kazhimugam (Estuary), was also released in July. All his 11 novels will be available in English when the remaining two translations are published next year.
In the last nearly three decades, the famed poet-author has penned 11 novels, five collections each of short stories and poems as well as several works of non-fiction.
A defiant voice in Tamil literature, Perumal grew up in a farmer’s family and his stories revolve largely around village life, its people, social practices such as caste oppression, economic subjugation, women, nature and animals. Estuary is his first novel with an urban setting.
Most of his books have been translated into English and some other languages, catapulting him to international acclaim. These include Seasons of the Palm, shortlisted for the Kiriyama Prize in 2005 and Madhorubagan (One Part Woman), his best-known work, which was shortlisted for the Crossword Award, won the prestigious ILF Samanvay Bhasha Samman in 2015 as well as the Sahitya Akademi’s Translation prize in 2017.
In 2015, his novel Madhorubagan, drew the ire of caste-based groups, even death threats, forcing him to tender an apology. He gave up his teaching job and declared his death as a writer through a Facebook post. He ended his 19-month self-imposed literary exile after the cases against him were thrown out by the courts.
The novel, set in his hometown, was about a childless woman who participated in a sex ritual during a temple festival in order to conceive, a traditional practice, based on historical facts, according to Perumal.
In 2018, he broke his silence with a comeback novel Poonachi (A Black Goat), a poignant human story of living in bondage told through the eyes of a goat. Next came Amma, a memoir of his mother and a collection of poems titled ‘A Coward’s Song’, followed by Kazhimugam. Excerpts from an interview:
How was it to be back into writing and publishing after your literary resurrection in 2017?
I am happy, it is like being back home after a long time. I see new mornings.
Did the controversy over ‘One Part Woman’ impact you or your writing?
I feel it has caused changes in my writing. I cannot define them, but I am curious to know from readers who can compare my current writing with my previous works. I am fearful of writing about humans, even more fearful of writing about gods. Cows and pigs are forbidden. Goats are problem free.
Poonachi, told through the eyes of a goat, has echoes of Orwell’s Animal Farm with critics saying it is an allegory about social oppression and authoritarianism?
My books have a unique meaning. It is natural for readers to come up with their own interpretations. It is the right of the reader and critics to look at it from their point of view. I can’t help it. My job was to write the story of Poonachi.
What are you working on currently?
I am writing short stories and poems. After this, I will think about books. These days I don’t plan much in advance.
Are you satisfied with the way regional literature translation is picking up? What about Tamil books?
It makes me happy to see translations happening, but more should be done. It is very important to translate literature of all regional Indian languages not only because there are good books but also to achieve ‘unity in diversity’. There are good books in most Indian languages and an exchange between Indian languages must take place. As for Tamil literature, since 2000, there’s been a lot of emphasis on translation.
How significant is the author’s role in translations?
It helps to engage with translators and have regular discussions so that they get the nuances right and capture the essence, imagery and lyricism of the original work. I also have my Tamil publisher to take care of translations.
Is Tamil Literature vibrant today as in the past?
Yes, it is functioning as well as ever. There’s a vibrancy not only in modern literature, but also in ancient Tamil literature with readings and conversations happening. We have plenty of writers and poets now.
You’re a victim of intolerance and harsh criticism. Your thoughts on freedom of expression?
A society without ideology or an open mind to different ideas cannot be a society of peace and happiness. In a democracy, banning books and using violence against writers will only make us worse off.
Any interest from filmmakers in your stories?
A short story is likely to be made into a film soon. There is interest; I don’t mind my stories being made into films.
Among your writings, which has been the most challenging?
Koolamadari (Seasons of the Palm), a book about the humiliations of untouchability and bondage, was a challenge. I sought to make the land a vessel and spent a few years on that.
You teach and you also write. Do you enjoy both?
Like writing, teaching is a passion. Writing is a bit extra special as it can penetrate the minds of others.