‘Dalits have finally learnt to fight back’
Tamil author PERUMAL MURUGAN is back after a two-year hiatus with his book Poonachi or The Story of a Black Goat. He spoke to Sneha Bhattacharjee on the status of Dalits and artists in India, his exile and writing.
What do you have to say about the current attacks on Dalits?
I definitely think any attempt to dilute the Prevention of Atrocities Act is wrong. There may be specific tangles in the way the Act is implemented which can be worked out. But the solution is not to weaken it. I think the protests by Dalits against this are justified. The violence perpetrated against these protestors is, I think, the result of a mindset that wants to take away the protection the Act offers to Dalits. People with this kind of mindset are angry that they can’t oppress Dalits in the way they used to. So they take any opportunity that comes their way to weaken laws such as this Act.
Do you worry about the attacks both at the physical as well as intellectual level? Does it show that our society is becoming more caste conscious?
To a certain extent. But the good thing is, post the 1990s, there has been a surge in the number of Dalit groups - groups that are ready to fight for their rights; groups that are ready to stand for their community. Dalits have finally found a voice and learnt to fight back. That, I feel, is very important. And it is in the news because they are now raising their voice against the atrocities meted out to them, fighting back with patience and perseverance. If they had not done this, they would never have been in the limelight. Dalit atrocities in themselves rarely make news, unfortunately. But such powerful resistance does draw attention to what is happening to them.
Recently, supporters of BR Ambedkar said that Artificial Intelligence can help eliminate caste system. Do you think industry/technology in a capitalist environment can erase social divisions?
Capitalism driven by urbanisation has made a huge difference in the lives of Dalits. In the rural space, they are always under surveillance. Their roles are predefined and almost limited. However, in the urban setting, there are more job prospects. Most importantly, demarcation is less, as spaces are broader. For example, earlier people would never share the same space with a Dalit when together in a single environment. However, with the advent of buses, theatres, that space has broadened and almost diminished the visible lines.
Coming back to writing after two years, especially after the controversy over your first book One Part
Woman, what has been your experience during the two exiled years? Is there any learning or change?
Prior to the controversy, I was always either working or writing. As a result, I couldn’t spend as much time with my family as I should or could have. I did exactly that during this two-year long sabbatical. Sometime in 1992-93 and then in 97-98, I had taken a break from writing but that wasn’t a self-imposed exile like the one I took in 2015. During the 2015-17 period, I pondered over my thoughts and observations about life. My observation of the human nature, of life — were they truly what I believed them to be. Were they valid? I took time out to study my own observations and tried understanding what I might have missed earlier. I’m not as confident in those observations as I used to be and I sometimes wonder about their validity.
Didn’t you feel doubly rejected? By society and then by readers?
No, never. Honestly, my readers were my biggest supporters. Scattered all around the country, as well as in other parts of the world, there was a sense of bonhomie for the decision I took. In Tiruchengode, there was also a counter-protest planned by around 20-25 of my readers; but I told them not to resort to that. I was worried about their safety, as their numbers were far fewer than those protesting against the book. I didn’t want to put themselves in danger. That there was support for my writing in itself was a big thing for the writer in me.
You went into exile out of your choice. You are now back in the limelight and can be seen at various literary events. What made you change course?
I am a teacher. Though I am shy and introverted, I have to speak in front of a large audience almost daily. I still feel nervous at times during public events. Through these events, I thank my readers, who have been at the forefront in supporting me. These events and gatherings are like an opportunity for me, where I meet those who love me as a writer, and those who may not have read my books, but want to show support for me. During most events, I come across readers who come to me and say how they organised protests for me, how they liked my book etc. It makes me exhilarated.
Were you ever uncomfortable with the media attention that you got during the One Part Woman controversy? You think you are better prepared now?
(Smiling) I am still scared of the media. Regardless of the coverage, be it north or south, positive or negative, I get panicky whenever I see news around me or my book. I am more comfortable when there’s no spotlight on me. Any day without being in the news seems like a good day to me.
Do you think that freedom of expression is curtailed due to the current situation prevalent in the country? Is art or artists under threat?
There has always been an undercurrent in terms of threat. It is simply that you can feel it more tangibly now. It is more visible. How well a democracy functions is dependent on how free artists are. When artists come under attack, it is like an advisory to people that their democracy is not functioning the way it should.
In the book, Poonachi or The Story of a black goat, why did you go for dual title? Is there something you want to convey through the title itself?
This is more of a tradition in Tamil writing since the early 20th century when there were two titles for literary work. The Tamil version of the book too has two titles
What’s next? Do you see yourself writing books more frequently?
I am currently working on a Tamil book — Kazhimugam meaning face of clay or clay face. But in the book, the title refers to where the river meets the sea. Aside from that, the English translations of the two sequels to One Part Woman are in the pipeline.