Award-winning Malayalam author
S Hareesh created quite a stir two years back when his novel Meesha was being published in series in Mathrubhumi. The 2019 film Jallikattu, which was premiered at the Toronto Film Festival, is based on Hareesh’s short story Maoist.
Meesha, already translated in English by Jayasree Kalathil, is the story of a Dalit man. But the author says he did not choose to write about the Dalit community. In an email interview with
Sunday Shillong, Hareesh talks about Vavachan, the protagonist, Kerala and its caste system and the controversy.
Moustache is as real as he is unreal, he is a killer and a saviour, a human and a spirit. He is strong and weak at the same time. So who is Moustache?
It is a very good question. My response is that since human beings are the same, Moustache is also similar. Man is the one who has endless contradictions and need not name a few. Man is the only one who lives in three worlds. When he lives a social life, he wants to be alone. When he is limited to space and time, he wants to transcend but finally has to give up. Like crores of people, he embraces science but at the same time believes in God and rebirth. In the story, Moustache has the same characteristics. Man’s world is made of stories. This is also the world of Moustache.
When the character talks about stories and children as audience and compares children’s literature with complex philosophical writings, was it the author inside you speaking?
The literature which is meant for children is the product of great writing. That is why they are still existing and spreading all over though we don’t know their actual source. I believe that man tells stories basically because he likes to tell stories and people hear stories because they like to hear stories. And curious stories are important.
Moustache has a strong flavour of folklore as it is based on the songs of paddy field workers. It is as much a novel for the adults as it is a story to be told to Ponnu and those of his age. What did you have in mind while writing the book?
The structure of telling stories by targeting children gives more freedom to writers. With this, imagination is endless. I chose the structure so that I can go to endless imagination and at the same time convey serious things. I like the way folktales are told because it gives space for the listeners who make the stories bigger. Another way is to release the characters from their cages. Definitely, I followed the Kuttandan style of storytelling.
Casteism is a reality in today’s India too though the intensity has been enfeebled by time. Is telling the story of a Dalit man deliberate during trying times?
I did not choose to tell the story of a Dalit. It so happened that among the people of my land, the story of a Dalit attracted me. But the story telling changed my perception about religion and India. In Kerala, at this time too, people live a life based on religion. When I realised this, the focus shifted to religion.
What was the basis of the controversy involving the book? Was it necessary as your focus in the novel was on something else?
In chapter 2 of the novel, a character mentions about women going to temple. This has become controversial and the Sangh Parivar made only this portion viral on social media. They also took this as a means to target the magazine that published the novel and also the novelist. There was no logic in the controversy. They wanted to ensure unity of Hindus through this attempt and they succeeded to some extent. The editor who published the novel in the magazine resigned and the owner went to the office of a religious organisation and apologised.
Would you say the controversy over the book gave it more limelight?
It is true that controversy results in selling a book. But controversy only harms writer and books as there will not be any serious reading due to controversies.
At one point in the story, the father was in a dilemma over how much of the story to reveal to Ponnu. Did you face such inhibitions while telling the story of caste divide and penury in Kerala?
No. There was no worry as to what extent you can communicate. If you cannot express what you want to express, then better not to be a writer.
How long did you take to write the novel?
It took five years to complete the novel. But it was not a continuous writing. Last six months, I continuously wrote.
What amount of research was involved or is it based on the stories told by the elders of your village to you?
I did not do much research. Focus was on the stories which I heard in my childhood. Besides, I used to interact with the elders of several villages in Kuttanad. That was my hobby. I did make some queries to know the local names of birds and plants.
Has the translator done justice to your original work?
Certainly. Jayasree (Jayasree Kalathil) received the prestigious Crossword Book Award for translation last year. After translating each chapter, she used to cross-check with me. Since local dialect and words were used, it was a difficult task to translate the work. Jayasree treated it as a creative work.
Who are your favourite authors?
I read translations of many Bengali novels in my childhood. I like them even today. Among the Indian writers, UR Ananthamurthy and Sundara Ramaswamy are my favourites. I also like Italo Calvino and Mario Vargas Llosa among foreign writers.
Has anyone approached you to make a film based on the novel?
Some have but their focus was only on the controversy. So I did not commit. No plan now.
(Photo courtesy: S Hareesh)