MEENA KANDASAMY
மீனா கந்தசாமி
The Gypsy Goddess, hardback cover: a hen and a red flag before a burning field
Hardback, UK and India
The Gypsy Goddess, UK paperback cover: a sickle on green
UK paperback
La Colère de Kurathi Amman, French cover: detail of a painted goddess statue
French, Plon

The Gypsy Goddess

Novel · 2014

“Kandasamy doesn’t just inherit a history of writing about the unspeakable and the forgotten — she rewrites the novel of violence.”

— Nilanjana Roy, Business Standard

The Independent’s Debut of the Year · Shortlisted, Tata Literature First Book Award · Longlisted, International Dylan Thomas Prize and DSC Prize for South Asian Literature

Tamil Nadu, 1968. Village landlords rule over a feudal system that forces peasants to break their backs in the fields or suffer beatings as punishment. The Communist Party begins to gain traction, a small spark of defiance spreading from villager to villager. As communities stand against the landlords, organisers suffer grisly deaths and the flow of food dries up — which only makes the resistance burn more fiercely. Finally the landlords descend on one village, Kilvenmani, to set an example to the others …

Brilliantly original, ferociously angry and at times laugh-out-loud funny, The Gypsy Goddess is both a novel about a true-life massacre and a novel about the impossibility of writing a novel about a true-life massacre.

Editions
UK — Atlantic Books, April 2014 · Buy
India — HarperCollins, April 2014 · Buy
Translations
French — La Colère de Kurathi Amman, tr. Carine Chichereau, Plon · Dutch — De Zigeunergodin, tr. Gerda Baardman, Atlas Contact · German — Reis und Asche, tr. Claudia Wenner, Wunderhorn · Tamil — Kurathiamman, tr. Prem, Anangu Pathippakam
Praise

“Dazzling, maddening, often hilarious … handled with sublime confidence.” — Kate Saunders, The Times

“Bold. Powerful. The Gypsy Goddess has a radical core, which offers bold perspectives on the relationship between poverty and power.” — Hirsh Sawhney, The Guardian

“A novel of self-conscious experimentalism and unmistakable fury, it throws down a gauntlet to conservative literary and political sensibilities.” — James Kidd, The Independent

“Clever, serious, witty, devastating, unusual and breathtakingly varied.” — Urvashi Butalia, Outlook