Genre: Short
stories – narratives
Age group: 16+
The author Perumal Murugan is no
stranger to controversy and before too long and considering his name
continually featuring in the news, one can’t help but be curious of his works.
The Goat Thief is a collection of ten short stories of Perumal Murugan in
Tamil, translated into English by N. Kalyan Raman.
The stories explore various kinds
of people whom we don’t normally read about – a night-watchman guarding a
haunted house, a bunch of youngsters who discuss and offer solutions for every
problem of the society but were unable to identify the problem in their own backyard,
a goat thief in a village who is chased by a violent mob, an old woman who has
forgotten nearly everyone in her life suddenly finds a meaning considering the
unexpected visit by her great-grandson, etc.
The author in the preface talks
about how the stories he picked up were featuring people who were exceptions in
the society rather than conformists. The author touches upon various human
qualities – for instance, the author brought out possessiveness and the need
for space in the story Musical Chairs where
there was only one chair in the house and the wife fights to get a second chair
and gets too attached to it. In The Night
the Owls Stopped Crying (my personal favourite), the author brings out how the night-watchman in his desperation
to interact with people, especially women, decides to engage in conversations
with a spirit of a rape victim in a haunted house he guards. The
Goat Thief brought out the intention to seek revenge of a mob, which over
the course of time becomes more of a matter of pride to attain the revenge than
to seek any gains. The Man Who Could Not
Sleep explore the jealousy and rage of an old man wherein his sons are
lacking a vision whereas the neighbour’s son is building a house with a tiled
roof at the age of 25.
I would not reveal the synopsis
of any of the other stories but I would comment in general that wherever the
stories had a rural setting, the author brought out the setting very well – a well,
muddy roads, a house with a pyol where people sit and gossip, etc. The way in
which the author brought life into non-living objects in some of the stories
was also done very well, such as the well in The Well and the chairs in Musical
Chairs.
What could pull down these books
are normally the translations, but then, the translator has done a good job in
bringing out the crux of the plot and even where he chose to retain the Tamil
words (usually in case of pronouns), he did add a line to what that meant. Only
translating proverbs was perhaps a grey area, wherein, some of them sounded
weird like – ‘even a neem oil bowl could
be of use someday’ – while the crux of the meaning is conveyed, a word for
word translation makes the proverb lose the charm.
I would say that I thoroughly
enjoyed nearly six of the stories and partially enjoyed two of them but then,
while abstract elements with a lot of metaphors are quintessential of a short
story, sometimes, it also renders the story incomplete leaving the author
without a proper conclusion. I would also say that in this collection, two of
the stories, The Well and Sanctuary was on very similar themes,
just that the latter was less macabre and I felt that this repetition could
have been avoided by placing some other short story of the author in the
anthology.
This book would certainly be
enjoyed by those who do enjoy short stories filled with imagery left to the
interpretation of the reader and I did enjoy most of the writing and on that
note, based on my above review, I award the book a rating of seven on ten.
Rating – 7/10
Have a nice day,
Andy
Andy