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India's'dead' writer Perumal Murugan comes back with a burning novel

In 2015, Perumal Murugan, a prominent Tamil writer, pronounced his writings "dead" after being molested and assaulted by right-wing groups. However, he broke his self-imposed silences in a book that is an allegory of repression and supervision of the weaker, Sudha G. Tilak p..

Protesters protested against the book and said that the "fictitious" illegitimate sexual rite at the heart of the story offended the city, its temples and its people. Murugan's cry caused him to give up lecturing at a college, go into banishment and admonish his readership to burning his work.

On his Facebook page: "The writer Perumal Murugan is dead." "My children's time of concealment and exiles was harder and it was my wife's pure indulgence and protection that led me through this dark time," Murugan said to the BBC. As Murugan says: "In this time of trauma, I realized that my valve and the instrument for expressing myself at the lowest possible levels is writing".

"With his fight against the censure he has been subjected to, Murugan has re-defined literature resistance," says the acclaimed classic and Ramon Magsaysay prizewinner TM Krishna, who exiled Murugan's verton. "Most of his writings are centred around his experience of the villages, and this book makes the most of this wealth.

It is not surprising this year that Murugan has populated his novel with unnamed peasants and ascuras (mythological demons) as well as a threatening "regime" that tries to control animals and humans equally. Their struggles for life, the deaths of their beloved Poovan, the bitch, and the bereavement of their babies by the terrible starvation are circumstances that Murugan knows only too well from his experiences.

Surugan is writing with sympathy and caution about the needs of nanny goesats and it is simple to understand why. When he was six years old, his first domestic animal was a he called Karupayi or Blackie. They were born and their rhythm grew as my own because, unlike the Aries, they were let into our homes," Murugan remembers.

Murugan's fiction is not a pasoral romance, but one of violent, greedy, jealousy and bloody experiences in the inland.

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