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Portrait of a poet in exile: Review of ‘The Bharathi I Knew’ by M.K. Yadhugiri Ammal

Published : Sep 21, 2023 11:00 IST - 7 MINS READ

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Subramania Bharathi with his wife Chellammal. | Photo Credit: By Special Arrangement

A biographical account of the visionary Tamil poet Subramania Bharathi during his exile in Puducherry.

The icon of a white-turbaned and moustachioed C. Subramania Bharathi (popularly known as “Bharathiyar” or “Mahakavi,” the supreme poet) stands for the beginning of modern Tamil poetry. Although there is a long tradition of Tamil scholarship on the writings of Bharathiyar (1882-1921), book-length works in English on this immensely popular poet-reformer have been scarce. Among the few, perhaps the best-known book is the historian A.R. Venkatachalapathy’s Who Owns That Song? (2018), a dramatic account of the copyright battles over the visionary poet’s legacy.

The Bharathi I Knew

Price: rs. 450.

In fact, Bharathiyar’s own journalistic writings in English were published as a collection titled The Coming Age by Penguin India only as recently as 2021, just ahead of his death centenary. It is in this context that the publication of The Bharathi I Knew, a brief biographical account by M.K. Yadhugiri Ammal, assumes significance. The Tamil original appeared in 1954, shortly after its author’s death and the English translation by Premila Paul and Subash Jeyan has now been published by Vitasta as part of an ambitious project of the Tamil Nadu Textbook Corporation to make a large corpus of important Tamil literary and historical texts available in other languages.

Rare insights

As the daughter of Bharathiyar’s close associate Mandayam Srinivasachariyar, Yadhugiri Ammal had the opportunity to observe the somewhat eccentric genius at close quarters both as a child and as a grown woman. These twin perspectives reveal how she idolises Bharathiyar as an intelligent young girl attracted to both his poetry and his lofty ideals; at the same time, as a woman of her time living in a conservative society, she keenly notes the distress he causes his family by his indifference to pragmatic concerns, his unorthodox beliefs, and, of course, his all-too-human frailties.

Between 1912 and 1918, the families of Bharathiyar and Srinivasachariyar practically lived together during their self-imposed exile in the French colony of Puducherry. With such unrestricted access to Bharathiyar’s domestic life, Yadhugiri writes familiarly about the celebrated poet, but the closeness never takes away for her the sheen of his extraordinary personality. In her account, we see how intimately intertwined their lives were—she treasures Bharathiyar’s presence at important moments of her life, as he offers her words of advice or consolation, just as she extends her support and understanding to his family during the turbulent phases of his life.

The long sermon Bharathiyar gives Yadhugiri just before her marriage, to uphold her honour and yet resist the pressure of tradition that imposes servitude on Indian women, is sure to leave a lasting impression on the reader; his advice to her on the need for hard work, freedom, frankness, non-interference, and a healthy enjoyment of all that life offers stands out for its practical wisdom. Such words must also be seen in the context of the obscurantism of his time: the women of Yadhugiri’s own extended family band together against her when her speech on women’s role in society is published.

MK Yadhugiri Ammal, circa 1954. | Photo Credit: By special arrangement

Yadhugiri provides rare insights into the curious mix of irreverence, wisdom, humility, restlessness, and an outgoing love for all God’s creatures that characterised Bharathiyar. His large-heartedness is seen in his gifting away his garment to a snake-charmer or feeding sparrows with the rice his wife had asked him to watch over, while his impatience with the hidebound Brahminical traditions is recorded in his decision to forgo his sacred thread and his suggestion that electric street lights render it unnecessary to light oil lamps to ritually welcome Goddess Lakshmi. He chides Yadhugiri when she blindly follows any ritual but explains the spiritual import of scriptural verses when she wants to know more; he is open to learning from children, mendicants, and members of the traditionally lower castes like fishermen and servant women pounding rice.

Also Read | M. Karunanidhi: A civilisational imagination to secure plurality

She documents the revolutionary side of the poet in his championing the dignity of labour, his vehement opposition to child marriage, and his arguments against the practice of untouchability. Bharathiyar’s commiseration with indentured labourers and trafficked women in Fiji and the efforts he takes along with other swadeshi friends to help in rescue and rehabilitation work after a devastating flood in Puducherry demonstrate his deep humanitarian concern. Here again, an old woman whose home had been washed away teaches him the eternal truth about the evanescence of all worldly possessions: “When maya vanishes, nothing remains.”

“Yadhugiri looks up to Bharathiyar as her mentor and yet she remains undaunted by his redoubtable image as a rebel and radical. She openly challenges him on the disparity between his professed beliefs in women’s liberation and his rather callous treatment of his wife Chellammal. ”

Having grown up around him, Yadhugiri looks up to Bharathiyar as her mentor and yet she remains undaunted by his redoubtable image as a rebel and radical. For instance, she openly challenges him on the disparity between his professed beliefs in women’s liberation and his rather callous treatment of his wife Chellammal. With a sensitive ear, she captures poignant moments like Chellammal’s complaint that she can only vent her heart to the inanimate doorway, and her anguish when Bharathiyar briefly disappears from home and roams about the British territory in disguise.

Tasked with making handwritten copies of Bharathiyar’s poems and songs, Yadhugiri is able to offer fascinating background details about the composition of some of his most famous works during a major phase of creative efflorescence in the poet’s life. For instance, we learn Bharathiyar wrote his celebrated song “Chinnanchiru Kiliye” when he saw Yadhugiri’s child playing at his house; his “Kaani Nilam Vendum” (“Give Me a Patch of Land”) was apparently inspired by his research on local land division based on a new Japanese law.

Although Bharathiyar himself was utterly secure in his belief that his poems would be appreciated some day, Yadhugiri makes no secret of her disappointment that the poet extraordinaire did not receive due recognition while he lived, plagued as he was by poverty and obscurity. She recalls with a note of bitter irony how the much-loved “Senthamizh Naadenum Podhinile” (“When You Sing of Tamil Nadu”) was originally written for a competition, in which it won only the third place! She presents a moving glimpse of the lengths Bharathiyar went to in his quest for immortality through his verse—be it his hermit-like withdrawal into a long vow of silence just to find new words or his experimentation with intoxicants, much to his wife’s chagrin.

The task the translators set for themselves—“to preserve in another language one woman’s love and admiration for Bharathi the poet and the person”—is certainly laudable. They succeed to an extent in their effort to reproduce the homely grace of the original Tamil and the conversational ease with which Yadhugiri Ammal writes, except when they are occasionally tripped up by the mid-20th century Tamil Brahmin dialect and cultural references—as when vaathiyar (priest) is translated as “teacher,” and the mel veshti garment is described as the “outer layer” of veshti. The generally serviceable prose makes for easy reading but the sparkle in the conversation of an enthralling orator like Bharathiyar does not fully come through in this rather wan English version. 

Also Read | Reclaiming the legacy of Tamil poet Subramania Bharati

Most chapter titles in the book are taken directly from Bharathiyar’s popular songs, but when “Sakthi Vilakkam” is rendered as “Sakthi Explained” or “Paarukkulle Nalla Naadu” as “India, One of the Best Countries in the World”, his charged phrases are unfortunately stripped of all poetry. As the eminent Tamil writer and critic Ka.Na. Subramaniam notes in his review (included as an appendix in the book), this “small book will go a long way in enabling us to know and understand the essential humanity of Bharathi, the poet”; in reading the translation, however, it remains hard to shake off the feeling that both Bharathiyar and Yadhugiri Ammal deserved better.

Iswarya V is a translator and critic. She teaches English at the Department of Liberal Arts, Humanities and Social Sciences, Manipal Academy of Higher Education.

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Soon, read your favourite Tamil classics in English

CHENNAI: Ever stumbled upon a good English translation of a foreign language book and wondered why no one ever did that to Tamil books that you grew up reading? The Tamil Nadu Textbook And Educational Services Corporation had exactly the same in mind, when it embarked on a project to promote Tamil literature translation into English.

As a part of the first phase of this initiative, translation and publication of six Tamil books have been completed. The list comprises a range of books; the oldest being a modern translation of Thiruvalluvar’s Thirukural, and the most recent being Rajam Krishnan’s Suzhalil Midhakkum Deepangal.

When asked why Thirukural when there are already so many translations available, Mini Krishnan, the coordinating editor of the project, said, while many of the translations were scholarly or poetic, the aim of picking this translation was to shine light on the creative translation of PS Sundaram. “It’s more than being skilled in two languages. He has a creative flair in English too,” she said, adding that each published translation was picked by a handful of advisors. 

Books picked based on social relevance, literary excellence

The other translated works include CS Chellappa’s Vaadivasal, T Janakiraman’s Sembaruththi, Neelapadmanabhan’s Thalaimuraikal and Ki Rajanaranan’s Karisal Kathaikal. “At a time when news is entertainment and literature has to compete with pulp fiction, two criteria guided our selections: Socially relevant themes for readers who might want to know things outside their experience and understanding, and literary excellence,” she said.

S Ramakrishnan, an influential Tamil writer who is part of the advisory committee, told Express that several books were pitched to the panel, and only some were picked. “We sift through discontinued single-edition books, important Tamil works that have not been translated, poorly-translated previous works, and translations with various editions, and pick the more relevant one,” he explained.

The aim is to create an international reach for Tamil books and increase its representation among globally-acclaimed translations, added TS Saravanan, deputy director (translation), Tamil Nadu Textbook And Educational Services Corporation. “We will publish nine books as part of the second phase in 2021. The government has allocated `5 crore for the project and we aspire to translate at least 100 Tamil books over five years,” he asserted. However, the government is not bearing the whole flag this time.

Instead, it has collaborated with several popular publishers including Oxford University Press, Penguin Random House and Harper Collins India. While the government will stay away from interfering from editorial choices on translation, it will oversee the project and procure 500 copies of each book at a discounted rate. These copies will be distributed to universities, public libraries and be awarded to dignitaries at government events.

This is among the very few initiatives of the corporation where it has joined hands with private publishers and has granted such autonomy. “The aim is to support both scholarly and popular literature,” said Saravanan. Nine books have been shortlisted for the second phase. This includes translations of essays of Uvesa, S Ramakrishnan’s Katha Vilasam, Silapaddikaram and other Sangam poetry, in the first quarter and many more to follow.

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Book Review: Ponniyin Selvan by Kalki

This write-up is a review on the book “Ponniyon Selvan” by Kalki Krishnamurthy that has been enthralling and voluminous historical fiction. This review provides a synopsis of the novel, characters of importance, history behind the fiction and interpretations from the author’s perspective.

About the book Ponniyin Selvan, an outstanding fiction inclusive of facts too by Kalki is suggestive of a nickname given to the Chozha Emperor Rajaraja Chozha I. He is entitled as the son of the River Ponni (Also known as Kaveri) since he was about to be drowned in the river and rescued by the Goddess Ponni in his childhood. Portraying almost original historic events and characters with a little fiction, Ponniyin Selvan is a series of Tamil novel scripted by Kalki Krishnamurthy , great novelist who has a few more historic fictions to his credit. The fiction portrays the story of Rajaraja Chozha, byname being Arulmozhivarman, one of the greatest Kings of the Chozha dynasty in Tamil history who reigned between 10-11th century AD. Ponniyin Selvan by Kalki is an absolute varied flux of bravery, friendship, romance, eternal (ideal) love, revenge, religious permissiveness, art and sculpture, smart and clumsy rulers and so on. This was originally published in the 1950s as a serial in the Tamil weekly magazine. The Tamil version consists of 500 chapters and 2400 pages. The novel, a collection of five volumes (the fifth volume consists of two parts) is available currently as English translations by C.V. Karthik Narayanan as well. 1. Ponniyin Selvan - Part 1 - The First Floods 2. Ponniyin Selvan - Part 2 - The Cyclone 3. Ponniyin Selvan - Part 3 - The Killer Sword 4. Ponniyin Selvan - Part 4 - The Crown 5. Ponniyin Selvan - Part 5 - The Pinnacle of Sacrifice - Volume 1 6. Ponniyin Selvan - Part 5 - The Pinnacle of Sacrifice - Volume 2 The translations in English by C.V. Karthik Narayanan can be purchased online such as India club.com, Indiaplaza.in, flipkart.com and at Amazon as well. These translated versions are published by Macmillan India Limited. The book stores that have shelved the masterpiece of Kalki are Landmark and Higginbothams book stores in Chennai. We can avail these books in the Chennai Book Fair too. Brief introduction of the author Popularly known as Kalki, Krishnamurthy is the narrator of Ponniyin Selvan that has been the widely read historical fiction from the date of its commencement and even now after 60 years its glory is still intact. It is Krishnamurthy's lucid and simple writing with Maniam's picturesque illustrations enthralling the readers. Almost the older generation in the 1950s to date virtually aged with the novels of Kalki in Tamil such as Ponniyin Selvan, Parthiban Kanavu, Sivakamiyin Sabatham, Alai Osai and so on. And these fictions became part and parcel of the life of the Tamilians who are vivid readers. Kalki possessed the knack of writing not only evergreen novels but short stories as well and is considered as one of the greatest writers in modern Tamil literature . He versifies his novels and stories in a simple, readable and discernible style that both ordinary people and educated groups could understand quite easily. As a fervent follower of Rajaji and a freedom fighter against the British rule at that time, he took part in freedom struggle and programs campaigning to alleviate poverty such as Khadi movement through Gandhi Ashram organized by Rajaji. Synopsis of the story The fiction leads off with introduction of the hero (from my perception), Vallavarayan Vandiyathevan. Vandiyathevan, a charming young warrior was supposed to be the prince of the earlier Banas in the Chozha dynasty and friend of Aditakarikalan, the crowned Prince of Chozha kingdom. He sets out as an entrusted messenger from the crowned Prince Aditakarikalan to convey a message to the Chozha Emperor, Sundarachozha and later on to the princess, Kundavai, sister of Aditakarikalan and Arulmozhivarman. The princess, Kundavai masterminds a host of attempts through Vandiyathevan to bring back Arulmozhivarman who is in Sri Lanka. Arulmozhivarman has been for expansion of dynasty and to maintain political serenity in the empire that apparently has besotted with some internal unrest due to indiscreet plots by small chieftains and lieges. The story begins with the setting of the emperor Sundarachozha being bedridden with acute illness, Aditakarikalan as the chief of the Northern Command troops residing in Kanchi, Arulmozhivarman in Sri Lanka for a battle and Kundavai at Pazhayarai. With the support of a boat woman named Poonkuzhali, Vandiyathevan meets Arulmozhivarman in Sri Lanka and both of them become good friends. Arulmozhivarman during his stay in Sri Lanka meets a deaf and dumb lady in an island nearby Sri Lanka. He realizes through her paintings that she and his father Sundarachozha had an affair in his father's young age. It is also known that she has had two children but the fact that father of the children is a mystery. Arulmozhivarman surmises whether those two children have the right to be enthroned to the Chozha dynasty. In between, while in Tanjore to meet the Emperor, Vandiyathevan happens to see Nandini, the queen of Pazhuvur and the Pandya conspirators taking a pledge inwardly to get a small boy to be throned to the Chozha Empire in Thirupurambayam forest. It is essential to note that Nandini is the wife of Periya Pazhavetturayar, the commanding officer of the Chozha dynasty. This time, Vandiyathevan suspects whether this little boy called as the prince of Pandiya dynasty has the right to be a prince of the empire. In responding to his sister Kundavai's gesture as above while returning from Sri Lanka, Arulmozhivarman goes blotted out in a cyclone (thought to be of Tsunami) for a while. No news of his whereabouts with the rumor dispersing that he perhaps is dead. However, he is alive, forced to stay at a Buddhist monastery in Nagapattinam due to the outbreak of virus illness at that time. After recovered from illness, he returns to Chozha land to meet his sister and father and to reveal the facts about the deaf and dumb lady. Meanwhile, the conspirators including Nandini and followers of Pandiya dynasty sorts out a knavish plot to get Sundarachozha, his two sons, Aditakarikalan and Arulmozhivarman assassinated. Do these conspirators attain success in the assassination and who finally gets crowned as the king? Around this plot the story shuttles. And with a dramatic climax in the final volume, the success of good over evil again has been showcased owing to lot of twists and turns throughout the fiction (like a good blend for a movie). History behind the fiction The masterpiece of Kalki, the Ponniyin Selvan though being fictitious the plot unfolds based on some historic facts and characters. Hence it is imperative to focus on the history behind the fiction. With the expansion of medieval Chozha kingdom founded by Vijayalaya Chozha, the Chozha empire spreads over by capturing the Pallavas and the Kongu kingdom. Later on, his successors (Parantaka I, Aditakarikala alias Aditya II and Rajarajachozha) do elaborate the dynasty with the victory over Banas, the Ganges, the Pandya, and the King of Ceylon. At the end of the rule of Parantaka I, the Chozha kingdom sets about for dooms of extinction because of Gandaraditya, who was a Shaivite not interested in ruling the kingdom. Hence Gandaraditya unwilling to be a king, his brothers Rajathitha and Arinjaya both unable to be crowned after him, Sundarachozha (Paranthaka II), Arinjaya's son has been enthroned as a Chozha Emperor. Sundarachozha who was extraordinarily handsome has ruled extremely well up until he became fatally ill and bedridden due to paralysis. Aditakarikala, Rajaraja and Kundavai are his children. Aditakarikala as the elder son and an apparent heir of the Chozha Empire is crowned as prince, but his life has ended in a mysterious death on account of the treachery at the sambuvarayar maaligai in Kadambur. Uttama Chozha (Madurantaka) son of Gandaraditya and Sembian Mahadevi ruled for a period of 12 years though he was unwilling to be crowned. Then Rajarajachozha enthroned after his death and his reign is a golden era for the Chozha Empire as it was witnessed with the greatest prosperity, glory and remarkable fame. The sources of historical information for PS have been through stone inscriptions, copper plates and a host of books. A stone slab in the Thanjavur Periya Koil, Tanjore with the following inscription stated as, "The revered elder sister of Rajarajachozha, the consort of Vandiyadevan Azwar Paranthakar Kundavaiyar" still exists. A book named, 'History of Later Chozhas' has referred about Vandiyathevan, who was a Bana prince indicating that his was a real historical character as unfolded in the magnum opus of Kalki. A stone inscription has mentioned the names of the conspirators such as Ravidasan and inscriptions also was found providing information about various other kings' rule. The copper plates at Anbil and Thiruvalangadu have been observed stating, "The Chola people were very keen that after Sundarachozha, Arulmozhivarman should ascend the throne and rule their country." But Arulmozhivarman gave up his rights to respect his uncle Uttama Chozha, the son of Gandaraditya and wisely made him to enthrone as a King of Chozha Empire. Characters of importance Vallavaraiyan Vandiyathevan The story begins with Vandiyathevan near Veeranarayana Lake and terminates at the same place with the hero of the story though Arulmozhivarman's character blended for perfection and Vandhiyathevan for being practical. Though the fiction is named after Arulmozhivarman, the charming prince of Chozha Empire, from my standpoint Vandiyadevan ranks as a hero of the novel with an adventurous entry. His character seems to be naughty at times while at the first meeting with Aazhvaarkadiyan, the vaishnavite spy of the chief minister and Manimekalai, innocent princess of Kadambur hidden behind the monkeys in the secret underground palace. However, his poetic romance and love with Kundavai, the princess is adorning the novel. His friendship with both princes especially with Arulmozhivarman is highlighted as a summer zephyr though hotheaded with Aditya Karikalan. I do have passion for this character and am wondering how he is invariably characterized as brave since this is a historic fiction and is explored in a fight with Aditya Karikalan at Kanchi and with Arulmozhivarman at Sri Lanka. Special applause goes to Maniam's unique Illustrations of Vandiyadevan riding a horse as a warrior. Despite a host of challenges and plots politically the character met with, the author superintends the role as an adroit personality to support the Princess Kundavai and the crowned head. Arulmozhivarman (Ponniyin Selvan) Historically known as Rajaraja Chozha I, Arulmozhivarman alias Ponniyin Selvan may be portrayed as munificent and virtuous to glorify the prince in the vision of the readers by the author. However, Vandiyathevan captures the readers' heart over his heroism. The Chozha people are very fond of Arulmozhivarman. The people are of craze that he should become the Chozha Emperor and rule their kingdom after Sundarachozha, but Arulmozhivarman only on compulsion by his sister accepts to throne. The author maintains the suspense of his throning as a king till the last moment. Pictured as a man of virtues to be a lovable prince by the people in all walks of life, the author hangs up the tempo up to the climax. His romance part is disregarded in an effort to be focused more on the character of Vandiyathevan with Kundavai and with Manimekalai though being one-sided is the limelight. As a prince and later on great emperor of Chozha kingdom, he needs to be envisioned as a warrior and a beloved prince/king alone, I believe. Kundavai Pirattiyar Despite all female roles in PS are highlighted equally in the novel, probably the most prominent character in the historic fiction is unquestionably the heroine Kundavai, sister of Rajarajachozha I alias Arulmozhivarman. In fact during the entire Chozha dynasty she was realized through the ancient inscriptions. Throughout the Chozha literature, she was extremely regarded as the most powerful lady out of three Kundavai Pirattiyars listed in the Chozha clan. As per the Thanjavur temple inscriptions, she was entitled as Vallavaraiyar Vandhiyathevar Pirattiyar Aazhvar Parantakan Kundavai Pirattiyar. By and large to differentiate from senior Kundavai Pirattiyar, Kundavai in PS may prefix as 'Paraantakan Kundavai' to her name as a token of fatherly affection to her beloved father, Paraantaka Sundarachozha king. Another essential point of relationship is about Kundavai and Rajarajachozha (RRC) kinship. Numerous historical inscriptions prove the great respect of RRC towards his sister, an ideal sister-brother affinity between the two though Aditakarikalan excluded in the picture. Regarding the love genre of the novel, the author was prudent to choose the best love pair, Vandhiyathevan and Kundavi that has been explored splendidly. Kalki, perhaps would have opted to keep the romance between Kundavai-Vandhiyadevan lively on track by portraying RRC more warrior-like and rugged to sustain the love story between these two, I do feel. Aditakarikalan (Veerapandiyan Thalai Konda Kopara Kesari) I feel down in the dumps that the role of Aditakarikalan in Kalki's PS has been rather sidetracked most likely as a hotheaded and sturdy hero just to make Vandiyathevan the one and only hero of the novel. However, Kalki acknowledges in the very beginning of the fiction citing Vanthiyathevan as 'namathu nayagan.' Aditakarikalan, the firstborn of Sundara Chozha king defeated Veerapandyan of Pandya dynasty at the Chevur battlefield at his young age claiming a title of Veerapandiyan Thalai Konda Kopara Kesari. Aditakarikalan was made the prince of the Empire after this success and plays a pathos role in PS as his death was mysterious of either murder or suicide. The writer depicts the scene of his death fairly enigmatic with a host of people present surrounding the spot of incidence making the readers guessing who might be the culprit. Kalki has tried to articulate that he committed suicide actually. And I do have thought that it might be so assuming Adithakarikalan's mindset at that point in time. He did feel guilty of stamping out Veerapandiyan who was Nandini's father and he likely would take the sword from Nandini and terminate his life by perpetrating a suicide. Aditakarikalan fell in love with Nandini earlier when he was young prior going in for a battle against Veerapandyan. He is unknown of the relationship. The portrayal of Aditakarikalan character in PS, from my perception, is pretty alike to Mario Puzo's fictional character, Sonny Corleone in the 'The Godfather' who has been brash and brave. Though Aditakarikalan was a brave warrior his life ends in a tragedy due to incongruous emotional deep feeling. I am perplexed why the author portrayed Aditakarikalan, a great warrior who won his first war in Chevur at his age of 16 ends his life with a tragic note. Rather his death would have been plotted as assassination than suicide. Nandini (Pazhuvur Queen) As a fictional character designed by Kalki in PS, Nandini's life history is full of mysteries as explored by the vivid novelist. One of the mystic stories has been who may be Veerapandiyan her father or lover. Is this, mystic Maya Mohini considered to be a villi or a character of unstable emotions and deeds? I am sure she is not. She images herself as a heroine emancipating, taking up responsibilities and revenges for the kingdom as a whole. I do feel at times that when she is with Vandiyathevan she seems to be out of control of her mind and situation. In fact, I thought she was in love with Vandiyathevan. Nonetheless, personally I feel she is the most beautiful but complex character narrated in this literature. Nandini is a twin baby (duplicate Maduranthagan being the brother) born to a mute lady Mandagini (Sundarachozha's girl in Sri Lanka) and Veerapandiyan (as of my assumption). She is a dupe of circumstances, her early life being manipulated almost by the royal people (teased by Kundavai at the royal palace during her childhood and unfortunate to be loved by Aditakarikalan at her teenage). She has to abide by the monarchic sufferings as she is grown up amidst those circumstances. As of this inferior complex nature, she emerges as a character of furious sociopath that just satisfies to be mayhem on those around her just for pursuit of affection and care. Perhaps, she would like to be a part of something royally substantive. Characters of less significance 1. Poonkuzhali also nicknamed as Samudhirakumari by Arulmozhivarman, who is brave, beautiful, outspoken, admirer of PS, a singer and turns out to be the queen of Chola Empire after wedlock with Utthamachozhar, cousin of Sundarachozha. 2. Vanathi, princess of Kodumbalur chieftain and wife of Arulmozhivarman 3. Aazhvaarkadiyan (Thirumalai Appan), an ardent devotee of God Vishnu and spy of the chief minister, Anirudha Brahmarayar. 4. Anirudha Brahmarayar, friend and chief minister of the king Sundarachozha. 5. Senthan Amudhan, Maduranthakar (Parakesari Uthama Cholan), original cousin of the king Sundarachozha, later on turned out to be the emperor for Chozha kingdom prior to Rajarajachozha I. 6. Periya Pazhuvettaraiyar & Chinna Pazhuvettaraiyar (Kaalandhaga Kandar) 7. Sundarachozhar, Chozha Emperor. 8. Mandhagini Devi (Oomai Rani) 9. Sembian Maadevi 10. Kandamaran, friend of Vandiyathevan and son of Sambuvaraiyar. 11. Manimekalai, Kandamaran's sister, whose love for Vandiyathevan being eternal. 12. Ravidasan (Mandhiravadhi) Interpretations from my perspective I did perceive I would pen down a little (Yes! Just a fiddling) about each volume I have read as I am sure I have had a lot to blab out. As for the first part, the story starts and revolves around the heroic young Banas warrior, Vandiyathevan. Through his characterization we come across the other major characters including the Ponniyin Selvan though the title denotes Arulmozhivarman and Vandhiyathevan is the hero we admire the most. With the crowned prince Aditakarikalan entrusting him on a mission to convey a message to his father and sister he encounters innumerable challenges along the mission. He happens to meet characters of valor and vengeance, love and hatred to say the least. Yet, the author brings home the bacon providing us an enthralling write-up to have read. With a swashbuckling and a rollicking heroism in addition to the wonderful narration of historical setting the tale is not messed up but entertaining with segments of suspense, romance, wit and adventure. On successful completion of the first mission, Vandiyathevan ventures out for the next relegation as a messenger to Arulmozhivarman who has been in Sri Lanka on a political crusade at the end of the first volume. The second volume mostly encircles around Arulmozhivarman, Vandiyathevan and Poonguzhali, the ocean princess (nickname given by Ponniyin Selvan) who provides tremendous support to these dual heroes staging in Sri Lanka. With the unraveled past of the Emperor Sundarachozha through this volume, most of the enigmas webbed in the first part has come to limelight and again suspense to the peak with more added to the plot. The second part ideates the spirit of friendship between Vandiyathevan and the young prince in Sri Lanka with paints coated to the character of the prince, Arulmozhivarma more generous and virtuous. Putting off all threats planned by the conspiracies to their lives, both of them befall to face up with natural threats of furious storm in the midway of the ocean. Luckily, escaped from the terror of storm but once to the shores of Chozha kingdom they need to deal with the brewing political Tsunami. How amazing the narrator seems to be efficacious sensing the Tsunami in the ancient era though not mentioned! Though the third part of the historical fiction dragging a bit with a plethora of superfluous scenes, however, the author has no other way to get the readers understand the characters and situations set for the fate of the dynasty. I completely get engulfed into the fiction that at times it's anomic to revert to the real world vagabonding from those ancestral towns and villages and fantasies of battles and hunts. It is impressive how the Chozha Kings and Princes are secularistic being supporters of Buddhism in addition to Sivaitism and Vaishnivites. With the third volume revealing the fanatic Pandiya conspiracies associated with internal throning issues to clean off the Chozha dynasty there is instability of governance of the kingdom. Getting matters worsened chiasm everywhere whether Arulmozhivarman has survived the storm. The civvies are being agitated to react vehemently since their lovable Prince is ousted. Shuttling between the royal King, the Princes and the Princess, our humorous hero Vandiyadevan manages to wiggle out of gluey circumstances designated by the conspirators and bewitching queen, Nandini to get Aditakarikala into a trap. The Empire gets wrapped up entirely with sinister gloom things going out of control. In an effort to atone for his vehement killing of Veerapandiyan, the crowned prince Aditakarikala sets out to go for a journey to Kadambur. In this state, the fourth volume begins to get paced. He is perplexed and in a state of utter confusion whom to trust or whom not to, haunted with past memories in his subconscious. And not even convinced with his entrusted friend cum ambassador Vandiyathevan unraveling all the mystics happened. The same situation prevails in Tanjore in case of the Emperor Sundarachozha. He fusses over his two sons as well, unable to get them assembled in the Capital city despite the amelioration by the prime minister, Anirtha Bramarayar and princess Kundavai. Indeed this volume is full of facts and fictions unveiling the real mental anguish of being born in the royal family especially of ruling king or crowned prince. The author points out the moral plights and queries that make the valorous warriors annoyed though conquests finally regardless how virtuous they may be. In addition to entanglements politically, the 'triangular love' amidst the characters seems to strike hazardous twists and turns. Divided as two parts, the fifth volume of the great historic saga explores that the conspirators finally stuck with the plot of attacking, get succeeded in taking revenge in Aditakarikala. Mishaps and attacks on Sundarachozha are prevented. Pandemonium breaks out. It is all up to the climax to get things warped up. Though it is realized who would be crowned there have been yet numerous concerns to be cleared out. Will the death of Aditakarikala be an unacceptable misfortune? Or a forfeiture as the title of the fifth part indicates? Admittedly, the whole series was woven around the historical incident that sprays up on us in this finale. It is great to observe that the grandeur, the magnanimity and the generosity of Arulmozhivarma (Rajaraja Chozha) crowns at last. Morals from the book It is of course, partly fictitious. Still it is inspiriting to have the plot about some firm filial attachments that were valued and preserved. It is really heartening to realize that the men in the Chozha dynasty stayed together and fought their common enemies. None of the Emperors seems to have had the covetousness and crave for throning at the sacrifice or suffering of their own family. No doubt the monarchs were ambitious for expansion of the kingdom but with morality again as a virtue. The novel explicates morals suchlike loyalty, friendship and love. Inherently, the women folks of Tamil culture glorify to the sky heights for sacrifice and chastity though some may be obviously insignificant. The supreme imperative beyond doubt is to serve humanity in all possible means. As and when the mind and the heart go together, tolerance and love embraced, and moral duty to serve the mankind remains upheld. Final thought The first time while I completed reading this fiction I made up my mind to get this series of book tucked away in my book shelf obviously. Ponniyin Selvan fantastically refurbished with literary merit and historical significance is affirmed to remain for ages in the literature, I perceive. It makes every fervid reader desired to be a part of that era of bravery, romance and culture to behold all occurrences happened those days. It is indeed a great privilege to get through all five volumes of this intricate fiction at one stretch. But to go through one script at a time would be the best to have a complete exploration of this literary piece. I have been craze of reading this voluminous fiction numerous times, yet I have been deep-rooted and simply getting hooked to the series. Since I have no words to express at this point I only need to reiterate my thought about this book that this novel definitely deserves the credit of being magnum opus in Tamil literature. I was addicted to this book of series since it was entertaining, engrossing and styled adeptly glamorizing a variety of suspense and mystery. It reflects the history lively with flavored romanticism and portraying the required virtues of the Chozha Emperors that are to be followed by the leaders of our land at present and in future as well.

Awesome write up. After reading Ponniyin Selvan, I too thought of giving a book review but I gave up thinking, it is too lengthy to talk about all the heroic characters of the novel. But I'm very much excited to see the neat and brief analysis from the author. From my point of view, the book is a milestone in Tamil literature. Though it is partially fictional, the book well explains the inside politics of Chola dynasty in that era. While reading and after a week of completion, only the story and the characters involved were in my mind. Author Kalki's writing takes the readers to that Chola period. I could say reading Ponniyin Selvan is not just reading but an experience that everyone should feel by themselves. People who have no time to read or are not interested to read can listen to Ponniyin Selvan Audiobook (Tamil) by Sri from San Francisco. The audiobook is available in Amazon. People in the US can listen to this audiobook in Spotify. Also, I suggest readers who finished reading Ponniyin Selvan to read Vengayin Maindhan by Agilan. It is also about the Chola dynasty ruled by Rajendra Chola, son of Raja Raja Chola(Ponniyin Selvan). The book is more like Ponniyin Selvan part II. Even here Vandhidevan plays a vital role.

An excellent review of the book by the author which will definitely inspire the readers to go to read the book series. Historical novels have great plots and due to the political scenario of that time the twist in the tale gets amusing and interesting. The whole credit, of course, goes to the learned authors who vividly present those happenings in their writings so that the reader finds himself in the same surroundings where suspense and mysteries are unfolding.

Good one! I enjoyed reading the review of the book 'Ponniyin Selvan'. The delineation brings in the vivid picture of the Chola dynasty.

Hi, I am trying to find a copy of the English translation of Ponniyin Selvan by C V Karthik Narayan (all 5 parts), paperback version. Can anyone help me with this?

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The writer’s voice: Review of Tamil author Imayam’s short story collection ‘If There is a God’

This collection of 10 stories highlighting women’s desire, rage, dreams and sorrows is an engaging way to read imayam.

Published - September 01, 2022 09:24 am IST

Imayam dismisses caste labels. He once said, “As an Adi Dravidar or the indigenous person of this land, call me a Tamil writer and not a Dalit writer.” A prominent figure in the Dravidian and Marxist literary circles, Imayam is emphatic that he does not write for “amusement” but to document for future generations the society he lives in.

Since 1984, when his work was first published, V. Annamalai has called himself Imayam, and tirelessly chronicled the lives and society of the marginalised. This has rightfully earned him literary honours and encomiums for his novels, short stories and novellas (14 and counting).

If There is a God

His latest,  If There is a God ,   is an ideal volume to introduce readers to Imayam’s world. Translated to English by the accomplished Prabha Sridevan, the collection of 10 short stories mirrors the world and people that Imayam talks about. These are predominantly headlined by women characters — who are broken, fallen, embittered, hopeful, clever, warm, and always holding themselves up despite the circumstances. Imayam’s style eschews description for disarming candour, a steely-eyed gaze, and sharp storytelling. Sridevan’s translation organically brings out the nuances of dialects and colloquialisms in conversations and dialogues.

Vasantha’s lament ‘If There is a God’   is a wretched cry when her little boy dies in an accident after being sexually abused, and the criminal is protected by an apathetic system and gruelling poverty. In ‘The Maniyakarar House’, Valliammai too asks, “Does a woman in this world have a home that belongs to her?” and decides at last to take matters into her own hands claiming real estate windfall. In ‘The Dubai Man’s Wife’, Padmavati is racked by guilt over her sexual lapse, while ‘Over in a Moment’ is about middle-aged Kamatchi’s unmet desire. ‘Santha’ tells the story of a poor woman who upholds her dignity by resisting the temptations of an affair — all these tales are way too real and soul-searing.

“The purpose of my writing is to represent men and women, family and community in the context of their beliefs and values and not judge them,” Imayam has said. It’s easy to appreciate that statement in the context of this book whose evocative stories reflect the writer’s powerful voice.

The Gurgaon-based journalist is also the author of  Temple Tales  and translator of  Hungry Humans .

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