You should know how i feel- An offering of love!

Anu Lal is an emerging Indian English short story writer who made his debut by publishing the short story collection Wall of Colours and Other Stories. With this single work of fiction itself, he has proved himself as a foremost short story writer of the sub-continent. We, readers, have a problem all over the world: we can’t understand anything without categorizing the writing or the writer. We will identify the writings as Indian English, American, Black or Hispanic, and after that we will formulate theories and movements. Thus, we have post-colonial, black aesthetics, and so on. The proponents of this would say that there is nothing as ‘universal human art/ literature’. In other words, the readers can grasp the writing only through classification and categorization. However, here is a writer who discards all such categorizations, any attempt to limit the creative craft. Thus, the stories in the collection Wall of Colours can be consider as ‘universal’.

Anu Lal now comes up with a new collection titled You should know how i feel with another promising writer Dhanya Krishna. After reading it, I pondered over one question: Is Love Universal? The answer depends on how we define ‘love.’ The unique feeling one feels towards someone special is undoubtedly universal, but the situations and circumstances that one encounters while realizing it affect many socio-cultural and psychological conditions. As I mentioned above, Anu Lal’s writings in a way escape most of the theoretical categorizations, but here, if one wants to understand the particular work along such lines, we can have them, because the socio-cultural and psychological levels of the characters and situations can be grasped more fully if we know the cultural scenario of Kerala, especially, the story titled Rukhsana’s Husband. Being a multi-cultural society with many religious groups and religions, the conflicts and confusions between those very groups and the successful resolving are a common thing in Kerala. Here, the conflicts are because of the inter-religious marriage between the lovers, Rukhsana and Peter. In the story Like an Arabian Tale, the political situations can be seen, and political violence is so common in the Malabar Coast of Kerala. In the story I Am You, we can see the cultural conflicts, in which the consent of the family is of great importance in the relationship between the hero and the heroine. The story My World is Called You is about love-after-marriage. Here also, the cultural notions about family playing a crucial role.

The above observations are not for showing that the particular piece of work can be read as a typical Indian English writing; on the contrary, what I want to convey is that, for those who can read a work of fiction only through the socio-cultural scenario, they can read it in the same way, but on the whole, this is nothing but an offering of love, pure love. Analysing the underlying feature of the book, i.e., this offering of love, would kill the beauty of it, so I am not trying that. Read, enjoy, and live the fictional world of love yourself.

Vyasa and Vighneshwara

Vyaasanum Vighneswaranum by Anand

My rating: 5 of 5 stars


Reading Anand is always a different experience, as he is not discussing people and their everyday problems. He is more concerned with history and the formation of different discursive practices and episteme. Here also, the author is discussing the various features of knowledge formation. There are two parts for this work: krithy (work of art) and kalam (time). In the first part, he is discussing about Nishada Purana, a distinct work which is believed to have existed in the past. As to our knowledge, there is no such purana as Nishada Purana.. and it is not easy to guess whether the writer is talking about an imaginative idea, or a historic instance. The second part as well, he is talking about a work named 'Nagara vadhu' written by Vardhamana. Here also, it is not clear to understand, whether it is a fact or fiction.

In the first part, the author is talking about the story of Ekalavya, the story mentioned in Mahabharatha. The author is trying to make sense why Ekalavya denounced the knowledge he has acquired by cutting his forefinger. Here, there is a clear discussion on 'knowledge and freedom." The discussion has unthinkable dimensions as a dialogue happens between Ekalavya who denounced his knowledge for freedom and Abhimanyue who denounced his freedom to prove his knowledge.

In the second part, the author is discussing the political struggle between Vajji and Magadha; one is following monarchy and the other oligarchy (or even democracy). Magadha wanted to destroy Vajji as it is following a distinct form of government. At one instance, Buddha says to Magadhan diplomat, 'As long as assemblies and councils take decisions based on common will of the people and respect elders, depressed people and women, nobody can destroy Vajji.' Then, the king came to the conclusion that if they destroy Vajji from within, or in other words, if their ideals were discarded by their own people, then he can conquer the country (in fact Vajji is not even a in their own words). The decay leads to a situation where the members of the supreme council forced Ambapali, the heroine to accept prostitution in the name of "national interest." Is this not what is happening nowadays?





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Ummaachu- The Saga of a Brave Woman

Ummaachu by Uroob

My rating: 4 of 5 stars


Ummaachu (Beloved) is a novel written by famous Malayalam writer Uroob (P.C. Kuttikrishnan). Uroob (1915 – 1979) was considered as one of the most important among the progressive writers in Kerala, along with Vaikom Mohammed Basheer, Thakazhi Shivashankara Pillai, Karoor Neelakanta Pillai, S.K. Pottekkatt, and Keshava Dev. As most writers of the period, his writings portrayed the life of the people of Kerala during the time of Independent Struggle, including the social, political and cultural dimensions. We can see the Kerala during the early period of 1950s, especially in a novel like Ummaachu.
Ummaachu is predominently a love story, or stories covering generations. In the first generation, the protagonist Ummaachu is in love with Mayan, who has no social status, income, and he is an orphan. Due to family pressure, she is forced to marry Beeran, another childhood friend of Ummaachu. Beeran is the only son of a wealthy man, so Ummaachu’s family cannot think otherwise, except but to marry off her with the wealthy scion. However, her mind already accepted Beeran, but as she is a woman who has no voice in the family, she marries Beeran. Beeran leaves the village soon after the marriage and became a wealthy man in Wayanad, Malabar. He comes back after a few years and meets Ummaachu. He finds that he still has a place in her heart, which makes him in an ecstatic mindset, and as a result, he kills Beeran at night. Later, he gets married with Ummaachu, and accepts Abdu, son of Beeran in Ummaachu, as his own son. He with the help of his close associate Chaappunni Nair, manages to build a happy home there, and he has two boys in Ummaachu, Marakkar and Hydrose. In his later life, in old age, he feels guilty over the murder of Beeran and commits suicide.
Another love story that can be seen in the novel is between Abdu, elder son of Ummaachu and Chinnammu, daughter of Chaappunni Nair. This narration shows the bold stand of the author as having an affair between a Muslim man and a Hindu woman even in literature can create a hostile reaction from the readers in a sensitive place such as Kerala, where even now the issue of “love jihad” spurs controversy. However, as the predominant concern of the novelist is the importance of strong relationships among human beings irrespective of caste, creed and religion, this twist is unavoidable. This in a way shows the nationalist concerns of the author, that of an India where human relationship is built based on human feelings and concerns rather than religion. This idea is further developed as Abdu became an active participant of Congress party and in the assertion of Chinnammu that “we are not against people”.

The novel further explores the life of people in Kerala during the 1950s. The inequalities and superstitions in the life of both Hindus and Muslims are shown in the work. It is a Kerala where inequalities in the name of caste can be seen, where women were being out casted, where polygamy was prevalent.

Apart from the nationalist concerns of the author, powerful critique of social injustice, the novelist also narrated the intricate mental struggle each character has gone through. Ummaachu at first is forced to marry a man whom she doesn’t love, and later she gets married with the man who killed her husband. This situation puts her in a difficult situation as a struggle goes on between Abdu, her son in the first marriage and her husband, Mayan. She cannot leave Abdu or Mayan. The condition of Abdu is also filled with emotional turmoil. He has to live with the man who killed his father, a Hamlet like situation. The same ‘to be or not to be’ question can be seen here. Due to the emotional trauma, Mayan commits suicide. Again, Ummaachu has to see the ‘cold war’ between her sons, Abdu on the one hand and Marakkar and Abdu on the other.

The language used to narrate the novel is also of greater importance. Any writer who wants to narrate the story of Muslim community in Kerala will face this challenge, the challenge of selecting the language, as the dialect used by the Muslim community in Kerala is in contrast with other regions, or communities. I am of the opinion that the linguistic difference is based on the geographical difference rather than religious. Any native Hindu in the Malabar area can understand the language of Muslims. However, we cannot neglect the fact that a variant of Malayalam known as “Mappila Malayalam” was prevalent in Malabar. Vaikkom Muhammad Basheer was one of the rare creed of writers who got immortality by being able to record the features of this language variant. Though Uroob used this style in the novel, the determining style is that of Standard Malayalam.

Overall, we can say that Ummachu is a saga (a narrative telling the adventures of a hero or a family) of a woman who determined to change her destiny by questioning the dogmas of the society.



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Colossus by Kakkanadan- A novel which is still significant

Colossus by Kakkanadan

My rating: 3 of 5 stars


Colossus is a Malayalam novel written by the modernist writer George Varghese Kakkanadan.

"Known for ushering in a whiff of modernism in Malayalam novels in the 1960s, novelist George Varghese Kakkanadan .... was a great storyteller who charmed readers through challenging Malayalam writing styles of the time.

It all began 50 years ago in New Delhi where he was having a cushy job in Railways. But he saw his stint with Railways a part of the journey to his cherished destination: a novelist. And when he felt that he reached the destination after a 10-year journey, he disembarked from Railways.

He himself had once said that he found Railways uncertain and so sought a way out to take him to the tracks of writing. Though he had started writing much before the railway stint and even wrote the novel Vasoori, it was his second novel Sakshi that brought him laurels.

The book had a great impact on the younger generation of Malayalam readers and was credited with breaking new grounds in Malayalam literature. Though labelled by his readers as a ‘formidable ultramodern Malayalam writer,' Kakkanadan himself was of the view that modernism in literature has no convincing rationale.

Style of writing

During an interview with The Hindu several years ago, he said 'the writings of Shakespeare, Tolstoy, and even Kalidasan had all the ingredients which work to make a literary creation modern. It is just my style of writing which was interpreted by readers as modern.'

There were times when he completed a novel within two months. The first two were followed by Ushnamekhala, Ajnathayude Thazhvara, Parankimala, Ezham Mudra, Edavapathi, Barsaathi, Ee Naikaluday Lokam, and Orodha, which won him the 1984 Kerala Sahithya Akademi award. Then came Mazha Nizhal Pradesham, Colossus, and other short-story collections.

The compulsive writer began to experience ‘inertia' with the publication of Colossus. A cataract operation in 1998 and diabetes led to the disinclination though there was no dearth of ideas. During the interview, he said his magnum opus was yet to come and that he was working on two novels.

One of them he named as Kshatriyan, which he said would be his own story and his swan song. 'Its publication will take time since I do not want to compromise on quality'. But fate had it that Kakkanadan had to finish his journey without completing it.

Though he had the opportunity to closely know veteran Communist leaders and his house was a hideout for leaders such as M.N. Govindan Nair and T.V. Thomas during the days when communists were hounded, Kakkanadan had said that he was never impressed by Communism and that he never had any political leanings.

'I believe in God, but it confuses me when someone asks me to indentify the God I believe.' In his words, the members of all religions are fundamentalists, but it is when these fundamentalists get converted into fanatics that they thirst for each others blood.

Kakkanadan had admitted with pride that the Russian novelist Fyodor Dostoevsky had a tremendous influence on him and his works. But his source of inspiration was life itself. He was of the opinion that young Malayalam writers are writings and Malayalam literature as such would grow richer through them." (The Hindu, October 19, 2011
Updated: October 19, 2011 18:20 IST)

The noun 'Colossus' means "someone or something that is extremely big or extremely important"; it must be originated from the great statue 'Colossus of Rhodes' which was built in one of the Greek villages Greece in the past.

The name has this significance in the novel, though I have a confusion which character in the novel is 'Colossus'. Undoubtedly, the hero in the novel is Rudrabhairavan, the son of a notorious sorcerer Rudranandan. The title Colossus more accurately denotes the father rather than the son in my opinion. Though the character Rudranandan is negative, I don't think the Greek god Helios is negative, of course pagan for the Christians.

The story is that Rudrabhairavan was born as the son of Rudranandan and his mother was a 'devadasi'. During his birth time itself there were bad omen as in the time of Duryodhana's birth. The sorcerer predicted that the son will bring him fortune and trained the child all the ideas to acquire power. And at last, the son became the prime minister of India by practising what his father professed. However, during the journey, he understood the meaninglessness of the whole venture and tried to deviate from the path. At last, both the father and the son died during a blast which happened in the Ashram of his father, maybe as predicted by his father.

The novel is significant in the sense that it shows the decay of the political system of India. The historic time period of the novel is from the Gandhian struggle to Nehru's rule. Indirectly, the novelist mentions the struggle by Gandhi, his assassination, Netaji's case, Nehru's rule and his deviation from his professed path, and the unending struggle for power in which leaders started having illicit relations with concubines and anti-national powers.

Though the theme and the way he narrates the events are of greater importance, the criticism he made is not that much sharp as that of O.V. Vijayan as he did in his Dharmapuranam, or so I felt. Even then, the novelist was successful in capturing the decay in the system.



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