Who is Afraid of Crime Fiction? : An overview of Malayalam Crime Fiction

Dr. Sajid A Latheef

 Some proponents of literature, particularly fiction, express concerns that Crime Fiction may have a detrimental influence on literature as a whole. Is this assertion valid? This line of inquiry is not new in the annals of literary discourse; rather, it echoes historical prejudices against pulp fiction dating back to the inception of fiction itself. The debate surrounding this issue is as old as the history of fiction. Given that crime fiction constitutes a significant portion of pulp literature, the biases against the latter have inevitably spilled over into the former. However, with a growing recognition of pulp fiction's cultural significance and the emergence of new literary analytical frameworks, the traditional dichotomy between popular literature and 'serious' literature has gradually eroded. Nevertheless, in certain contexts, such as in Kerala, discussions persist regarding whether the portrayal of crime in fiction should be deemed objectionable, despite the acknowledged literary contributions of figures such as Dostoyevsky, Maupassant, Dickens and others. This enduring debate underscores the lingering prejudices against crime fiction. Consequently, it warrants thorough scrutiny and critical examination.

In an era when education was confined to the elite echelons of society, poetry reigned as the paramount literary form. However, the advent of the Printing Press, the proliferation of print media, and the dissemination of democratic ideals precipitated a surge in reading habits, thereby catalyzing the emergence of a new literary medium: the novel. This transition elicited a shift in the literary landscape, prompting disdain from proponents of poetry who viewed the burgeoning popularity of fiction with apprehension. Perhaps stemming from the apprehension of the elite class that the domain of literature, once exclusively theirs, was now shared with the masses, the ascendancy of the novel was met with skepticism. Yet, as the novel garnered its own acclaim through notable works and attracted esteemed writers and critics, the popular works  in fiction found themselves relegated to the category of 'low' literature. This relegation mirrored a literary manifestation of moral prejudice, echoing the notion that anything providing pleasure was inherently suspect and to be eschewed. Viewing the novel as a literary byproduct of democracy, one may discern that the prejudice against popular fiction served as a literary manifestation of the aristocracy's disdain for democratic ideals.

In this context, we endeavor to scrutinize the position of crime fiction within Malayalam literature. Although the evolution of crime fiction in Malayalam was not meticulously orchestrated, the genre reached a century in 1981 and 2004 with the publication of the first crime story, "Vasanavikruti," in 1881, and the inaugural detective novel, "Bhaskara Menon," in 1904.  However, despite the contributions of several talented writers to the genre, a comprehensive academic or critical examination of crime fiction was conspicuously absent.

For our purposes, crime fiction is understood as narratives with a crime at their core. Detective fiction, a subset of crime fiction, focuses on the investigative process aimed at uncovering the perpetrator, whereas crime fiction proper seeks to evoke suspense through the depiction of the crime or analyze the societal factors that precipitate criminal behavior. Notably, the majority of Malayalam crime fiction predominantly falls within the domain of detective fiction. Conversely, the presence of crime fiction proper, as exemplified by the works of Dostoyevsky, Dickens, Simenon, Patricia Highsmith, or James Hadley Chase, remains minimal within the Malayalam literary landscape.

In the international arena, the contribution of mainstream writers to the crime fiction genre often conferred a sense of respectability upon it. However, in the Malayalam literary milieu, only a handful of mainstream authors ventured into crime fiction, resulting in a significant gap between popular and literary fiction. Writers such as Malayattoor Ramakrishnan, Mohanachandran, and PV Thampi endeavored to maintain both literary quality and popular appeal, achieving a modest readership to some extent. Meanwhile, Neelakantan Paramara and Kottayam Pushpanath emerged as prominent figures in Malayalam crime fiction, garnering a sizable following. The proliferation of translated works, particularly Sherlock Holmes stories and Bram Stoker's "Dracula," exerted a considerable influence on this period of Malayalam crime fiction. Many of these narratives were set against European or American backdrops, with even those situated in Kerala portraying characters clad in long overcoats, hats, and smoking pipes. Notable works within this genre during this era include "Vilayattam" by Sethu, a parody of detective fiction, and a series of detective novels authored by Vaikkom Chandrasekharan Nair under the pseudonym Colonel Prasad.

The substantial disparity between literary and popular fiction precipitated a peculiar trajectory within the Malayalam crime fiction landscape. Whenever a crime novel endeavored to maintain artistic integrity while adhering to popular crime and detection themes, it faced rejection from both 'serious' and popular readers alike. The themes, though popular, were often disregarded by serious readers, while the popular audience, lacking in artistic discernment, failed to appreciate the literary merits of such works. An example of artistically sound crime fiction is found in the works of Anvar Abdulla, who emerged onto the scene in the 2000s. Anvar’s “Onnam Sakshi Sethuramayyar” was a literary spin-off inspired by the immensely popular CBI film series in Malayalam. However, despite their artistic merit, Abdulla's contributions struggled to garner recognition due to this dichotomy.

Another significant addition to Malayalam crime fiction in the 2000s was TP Rajeevan's "Paleri Manikyam: Oru Paathira Kolapathakathinte Kadha," which, while functioning as a detective fiction by unraveling a murder mystery, simultaneously sought to explore the historical and social context underlying the crime. Additionally, this decade witnessed the inception of Anvar Abdulla's series of detective novels featuring the character Sivsankar Perumal.

The 2010s witnessed a resurgence in Malayalam crime writing, marked by notable contributions from various authors. Notably, GR Indugopan, already acclaimed for his literary prowess, embarked on the Prabhakaran Series, featuring a rural, uneducated protagonist with a penchant for crime and detection. This series of three novels sought to deconstruct prevailing conventions within Malayalam detective fiction. Indugopan's prominence as a mainstream writer drew renewed attention to the genre, revitalizing interest among readers.

Furthermore, the publication of Dr. Umadathan's autobiography, "Oru Police Surgeonte Ormakkurippukal," constituted another significant work within the crime writing domain during this period. Dr. Umadathan, a distinguished forensic surgeon, had been intimately involved in investigating several notorious crimes in Kerala over several decades. His factual yet suspenseful narratives of the cases he encountered rivaled the engagement found in crime fiction from any corner of the world. Subsequently, Dr. Umadathan penned "Crime Kerala," a book exploring similar themes, and "Kapalam," a collection of crime stories, further enriching the genre's landscape.

The publication of Lajo Jose's "Coffee House" in 2019 reinvigorated interest in crime fiction within the market. This book, hailed as a runaway success, narrates a series of murders unfolding within a Coffee House, investigated by the character of Esther, a vulnerable young investigative journalist. Embracing the vibrant local ambiance of Kottayam city, the novel intricately depicts the milieu of Kottayam cafes and cuisine, capturing readers' imaginations. Its success led to the creation of a sequel, "Hydragea," which continued the narrative momentum. Lajo Jose further expanded his literary repertoire with works such as "Ruthinte Lokam," "Rest in Peace," "Kanya-Maria," and "Orange Thottathile Athidhi," all of which garnered widespread readership across Kerala. The success of Jose's endeavors catalyzed an influx of aspiring writers into the genre, with publishers actively encouraging new voices to contribute to the field.

Several emerging talents made their debut in crime fiction through mainstream publishers, including Sree Parvathy ("Mystic Mountain," "Poetry Killer," "Lilly Bernad," "Violet Pookkalude Maranam"), Ranju Kilimanoor ("Alexey Kadhakal," "Sherlock Homesum Murinja Viralukalum"), Sivan Edamana ("Neuro Area"), Maya Kiran ("Brain Game," "Incision"), Rijo George ("Havana Club"), and Rajad R ("Body Lab"). Additionally, Anvar Abdulla's "Perumal Series," previously met with lukewarm reception, experienced a revival amidst this resurgence of interest.

Noteworthy among critical works in the genre is PK Rajasekharan's "Irul Sandarshanangal: Crime Fiction Vaayanakal," which offers a comprehensive examination of the world of crime fiction, both past and present. Well-suited to the contemporary literary climate, Rajasekharan's work provides valuable insights into the evolution and significance of crime fiction within the broader literary landscape.

In conclusion, it is pertinent to question how the guardians of Malayalam literature, who once harbored concerns that crime fiction might tarnish the literary landscape, respond to the recent resurgence within the genre.  Whenever a popular novel captures the public's imagination, apprehensions are raised regarding the potential degradation of literary taste. However, what these readers and critics fail to acknowledge is the inherent propensity for crime within human nature. The exploration of this theme in art is as natural as any other in literature. Indeed, the internal dynamics of a society are often more vividly reflected in its depictions of crime than in portrayals of its charitable endeavors.

 

It is hoped that with the current resurgence in crime fiction, the longstanding dichotomy between 'real' fiction and popular fiction will gradually dissipate within the Malayalam literary landscape. Furthermore, it is envisioned that contemporary crime writers will draw inspiration from the works of their illustrious predecessors and talented contemporaries, enriching their narratives with both form and content. In doing so, they may create works that defy facile classification and contribute to the ongoing evolution of the genre.

 

Reference

Scaggs, John. Crime Fiction. Routledge, 2005.

Hameed. Apasarpaka Kadhakal: Charithra Vazhiyiloode. Kerala Bhasha Institute, 2015.

Hameed. Apasarpaka Cherukadhakal. National Book Stall. 2015.