In the Tamil literary sphere, Sahitya Akademi Award winner Imayam’s work Koveru Kazhuthaigal landed as a tsunami, bringing him fame and criticism in equal measure. It was his first novel and he was just 27-years-old then. V Annamalai, whose pen name is Imayam, was conferred the Sahitya Akademi Award in 2021 for his work ‘Sellatha Panam’ (worthless money). Published in 1994, Koveru Kazhuthaigal, on the plight of Dalit ‘dhobis’ (washermen), was hailed as a work which has no parallel in Tamil in the last 100 years by acclaimed author and critic Sundara Ramasamy.
It has been translated into English as Beasts of Burden and into German, French and Malayalam. Born on 10 March 1964 in Kazhudur village, Imayam is the brother of Tamil Nadu Labour Minister C V Ganesan. But he finds no contradiction in this and asserts that he has never compromised his writing for political affiliation. Excerpts from his interview with M C Rajan of The Statesman:
Q: Is there not a contradiction in remaining a card holder of the ruling DMK in Tamil Nadu and being a writer?
A. Not at all. There is no writing or art sans politics. Writing itself is a political act. I consider myself as one who bears the legacy of the Justice Party, the precursor of the Dravidian movement and DMK. In my opinion, all Tamil writers are Dravidian writers. For, it was the Dravidian movement which opened up education and temples to all and provided them the space to write. Even when I was a student, I was attracted to the Dravida Munnetra Kazhagam (DMK), which provided me the opportunity to speak on the party stage. At least on stage, there was equality though it was not the same outside. When I was denied a hair cut in the salon, I hurled a stone shouting that I am in the DMK. The party gave dignity. Despite being a card holder, I have not compromised my writing for the sake of the party and never will. I have published critically acclaimed short stories, including ‘Katchikaran’ (party cadre) which was highly critical of the DMK. To my surprise, late DMK patriarch Karunanidhi had appreciated that. Take it from me, when I compromise, I will stop writing.
Q: Why are you opposed to being described as a Dalit writer?
Why do you oppose Dalit writing as a genre? There is Black Literature, African Literature, American Literature, Australian Literature and so on. A. It is absurd to categorize literature and identify it with caste. Such branding displays an entrenched casteist mindset and is hence unacceptable. I write in Tamil, which has a literary tradition spanning more than 2,000 years, and so are others. What is important is whether I write imbibing that tradition as its contemporary representative. What will you say when I claim that I am the grandson of Tholkappiyar (author of the ancient Tamil grammatical text ‘Tholkappiyam’)? I am the grandson of Kambar (who composed the Ramayana in Tamil), Bharathi and so on. I am a Tamil writer above caste and religion. If you brand writings, the works of Brahmins of Thanjavur and Kumbakonam should be classified not as Tamil literature but as Brahmin literature. Perumal Murugan’s writings should be called Goundar Literature (Goundars are the dominant OBCs of western Tamil Nadu). Similar is the case with writers like Nanjil Nadan from the Pillaimar community (a forward caste).
Q: Unlike in the American and European creative domain, contemporary issues and important events do not get reflected in the Tamil literary sphere. Why?
A: It is regrettable and unfortunate. Lack of courage to take a political stand and make it public is the reason. To whom it is beneficial is very clear to everyone. Do not trust a writer who trumpets that he has no political affiliation. It is a lie and they are most dangerous. It is shameful. For, it may not necessarily be affiliation with a party but there is politics. Writing is power and it questions authority – political, social and religious. While political power is confined to the present, the power of a writer goes beyond the present. Only when you have a commitment to society will you be angry at the prevailing injustice. Not to question and not taking a stand is abdication. Further, it is very important to see how a writer has presented the contemporary society and how his experiments in language, content and treatment are in tune with world literature – enriching and enhancing Tamil.
Q: Why are most of your works tragic and there is no celebration?
A: Because there is suffering in society. When there is so much pain and suffering around you, it is only natural. I am questioning the inequalities in society, the unjust structures and hierarchies. But there is aesthetics in presenting them through appropriate language.
Q: Do you have any regrets that you should have got the Sahitya Akademi award for Koveru Kazhuthaigal itself?
A: When it was published in 1994, some writers insisted that it should be given the award. Only then, I came to know that the Sahitya Akademi award exists. I have no regrets. In fact, I started writing it in 1987 and got it published only later. It was an era when Dalit writing was emerging and I was pilloried for betraying the Dalits by portraying them in a poor light and those who celebrated it were criticized as upper caste elites. An award sheds light on a work and the author, helping to have a wider reach. Apart from that, awards have no value. It is the work which is important. If it is read by posterity after say some 200 or 300 years that is real recognition. Once a work is published, I leave it to the readers, I abandon it. Say, it is ‘death of the author’.