Tamil author, critic and documentary filmmaker Sa. Kandasamy, who won the Sahitya Akademi award for his novel Visaranai Commission— the death of an innocent bus conductor in police custody– passed away here on Friday. He was 81 and is endured by his other half, a daughter and 2 boys.
His documentary on terracotta art– Kaaval Theivangal— won the first reward at the Angino Movie Celebration, Nicosia, Cyprus.
In the literary world, his name ended up being inseparable from his novel Chayavanam, depicting socio-economic change through the destruction of a thick forest area for the building and construction of a sugar factory. In Tamil Saivite bhakti literature Chayavanam, a village near Poompuhar, is referred to as Chaikkadu.
” I check out a report submitted by socialist leader Ashok Metha about the entry of sugarcane as a cash crop into India. My uncle, a resourceful man, had gone to Burma and I envisioned what he would do if he returned to my village. I wanted to compose 1,000 pages utilizing sugarcane as a sign of transformation in a town, I composed 15 pages per day for 20 days,” Kandasamy had stated in an interview to Prof. R. Rajagoplan, which is part of the book Kandasamyin Padaippulagam It was released by Vasagar Vattam run by the late Lakshmi Krishnamurthy. Kandasamy was 25- years-old when the book was published.
Born in Mayiladuthurai, Kandasamy was exposed to literature of the Communist and Dravidian movements at a very young age. Later on he came to Chennai where his bro worked as an engineer. He studied in Singaram Pillai school and worked in the Chennai Port Trust.
Kandasamy steered clear of “isms” in his composing and reiterated that it was for the critics to discover the “isms” in the works of an author.
His works were shorn of accessories and he associated the style to his deep knowing of Sangam literature. “Decor is an opponent of art. Just third and fourth-rate writers contribute to their works the elements that are in fact absolutely nothing to do with art,” he said in the interview.
Mr. Rajagopalan said the cultural history of individuals on the fringes of city and rural settings was emphasised in the works of Kandasamy. “He used a language that was suitable to the level of the character. A reader might miss the weight of the story in the very first reading due to the fact that of the easy language. But a discerning reader will quickly discover the achievement of the writer,” he said.
Kandasamy’s powerfully discusses the generation gap in his story, Oru Thakkaiyin Meethu Naanku Kankal ( 4 eyes on a float). The feelings of a grandfather bordering envy over his grand son’s fishing ability is the style of the story that was made into a movie by director Vasant.Kandasamy likewise directed documentaries on famous characters in literature and art, including those of S. Dhanapal, sculptor-painter, and Tamil authors Jayakanthan and Ashokamitran. He also shot a documentary on Prapanchan.
Deputy Chief Minister O. Panneerselvam condoled the distinguished writer’s death. Dravida Munnetra Kazhagam president M.K. Stalin, hailed Kandasamy for having actually highlighted that writing did not suggest decorative design of narration. PMK creator S. Ramadoss, CPI( M) State secretary K. Balakrishnan, Tamil Maanila Congress (Moopanar) primary G.K. Vasan, L. Murugan, president of the State unit of the BJP, Amma Makkal Munnetra Kazhgam general secretary T.T.V. Dhinakaran and members of the Tamil Nadu Progressive Writers and Artists Association were among those who condoled his death.
( With inputs from T. Ramakrishnan)