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IN CONVERSATION

Photo: Sandeep Saxena

The man from Mayyazhi M. Mukundan

A regional language writer in a globalised world, a Malayali whose heart is in Delhi, Mukundan embodies the inevitable contrast we are today. The Malayalam writer who can stroke to life a sleepy village in his hometown and yet capture the intricacies of European cities with élan, Mukundan is in the Capital for the release of his novel ‘Nritham’s’ translation – ‘Dance,’ published by Katha.

‘Identity’ as a concept dominates Mukundan’s life and works. A Delhiite for decades, he is back in Kerala as Chairman of the Kerala Sahitya Akademi.

“In some sense, I wanted to go back to Kerala and Delhi was holding me back. I could literally feel the pull between Kerala and Delhi and didn’t know where to go,” says the greying author of the novel ‘Delhi’ as he settles down to discuss ‘Dance.’

As a regional language writer, Mukundan is familiar with dichotomy, the pull and lure of different worlds. The man who created ripples as the storyteller of Mayyazhi, has attempted to go beyond the barriers of language and borders in ‘Dance.’ It brings together Kalaripayattu and contemporary dance, the lithe Malayali kalari specialist – Agni/Baleshanan, and the fascinated Westerner and exponent of modern dance Rudolf. It is also about the loss of Agni’s identity as he becomes a dancer of the world. It questions the concepts of authenticity and reality, identity and the loss of it as cyberspace reigns.

“The challenge for a regional language writer is whether to be culture-specific or universal,” says Mukundan. “People always want to read “their” stories. If I try to be universal, a certain section may like it, but people at my place may not. So, how can you write for both the worlds?” the author admits his dilemma, though he knows there should be a meeting ground to be successful.

Mukundan was taken aback when the original was published in 2001. “Many people told me the best character in the book is Raji, a relatively minor character. But then, she is the one Malayalis identify with. She is one of them,” he realises. However, with the English translation, chances are a range of readers across the world will identify with his characters.

‘Dance’ is Mukundan’s attempt to delve into a theme close to his heart. “I wanted to write something different and I love dance. People look at it as an aesthetic experience, but it is more than that. It is a medium that can express the complexity of life,” the author is eloquent. The play with one’s body, when movements reflect the mood of the soul, is central to ‘Dance.’

However, ‘Dance’ is not merely about dance. “It is multi-layered. It is about the borderless world. It speaks about the colonisation of bodies. The changing face of art and its commercialisation also finds mention,” Mukundan unravels the novella.

The veteran writer admits to being anxious about the translation as the novella dealt with contemporary concerns. “It is a new kind of novel, especially in terms of theme. A translation should capture the sensibility of the novel.” Mukundan confesses he was pleased to read the translation by D. Krishna Ayyar and K.G. Ramakrishnan.

With translations often the only window for writers to grow beyond boundaries, Mukundan believes the “translator should be as original as the writer. Marquez was lucky to have a translator as creative as him.” The author seems to be lucky too as his vision in ‘Dance’ has now spread across borders.

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