4P's in marketing :Product, Positioning, Pricing and Promotion
Positioning is doing the right thing with precision
Story telling done with empathy can shift how people see the world
Vulnerability is a bridge and not weakness
Simplicity and sincerity have more staying power than polish and perfection
Give real stories and clear intent
Be real, grounded and generously share what most people hold back
Make content that speak to you and not at you.
Nandakishore Varma CBC writes on : *Memories of My Melancholy Whores*
*by Gabriel Garcia Marquez*
*spoiler alert*
> The year I turned ninety, I wanted to give myself the gift of a night of wild love with an adolescent virgin.
Thus begins this slim novel by the inimitable Gabo. The unnamed narrator is a man on the eve of his ninetieth birthday, a mediocre journalist by profession, who has spent his entire life imbibing the pleasures of the flesh but never loving anyone. Living in the aristocratic mansion bequeathed to him by his parents, he spends his days in the refined pursuit of music and literature, and his nights, in the not-so-refined pursuit of ladies of easy virtue.
> Sex is the consolation you have when you can’t have love.
Rosa Cabarcas, the madame of an illicit house, fulfills his birthday wish. She procures for him the services of a fourteen-year-old factory worker, whom the narrator names Delgadina. However, the only problem is that the girl sleeps through the night, and her lover has to satisfy himself by kissing and fondling her supine adolescent body - there is no consummation in real terms.
As the novel progresses, we are taken along with the narrator on a journey through his memories of loveless sex, reminisced during the current episodes of sexless love - until one fine day he realises that he is in love with his sleeping beauty. By that time, he has already become estranged from her. The old man is brought to his senses when one of his former whores tells him to go back to her.
> Don't let yourself die without knowing the wonder of fucking with love.
He does return, back to his love and back to life, as the novel ends on a strangely upbeat note for all its talk of melancholy.
---
This is not your typical Gabo tale. It's pretty straightforward: there is no magical realism or the rich symbolism of his acclaimed works, and his hardcore fans are likely to be disappointed. Also, this story is one male gaze, held without blinking - women readers are likely to be put off by a privileged man's objectification of the female body as a source of pleasure and pleasure alone.
But all said and done, I believe the unlikeable protagonist is purposefully created in such a way - a very old man who looks to sex to rejuvenate himself - to force us to look at the intertwined aspects of love, lust and sex. When does one turn into the other? Attraction between opposite sexes is an evolutionary trait, created by the selfish gene so that it can ensure its survival. Sex is the only biological requirement for the continuation of the species. The pleasure we derive from the act of copulation, and the emotional attachment we feel towards the object of our lust is a purely human trait.
Thoughts worth pondering on.
Nirmala Aravind: This is one reader who is totally put off by Marquez. A dirty old man is a dirty old man. Period
Harish CBC: From my review of Memories of My Melancholy Whores written in 2010:
Three themes that I feel recur in this novel are Love, Sex and Solitude. You can find it in the novels of Marquez in different proportions, providing varied interpretations. Sex for Marquez is a refuge from unrequited love. Like in other novels, the protagonist sleeps with countless prostitutes, but never falls in love. Sex is a way to vent the solitude out of life. And love that appears late in life is an escape from the clutches of solitude to reality (sanity) and its beauty.
Nandakishore Varma CBC : Well, I don't know anything personal about Marquez. Personally, I separate the art from the artist. And as a writer, I feel he is one of the greatest ever.
As for this book - the narrator is a dirty old man. Agreed. But so is the narrator of 'Lolita'. And as for John Fowles' 'The Collector', the most powerful novel about the objectification of women ever written, it's mainly narrated by Frederick Clegg, a man who kidnaps a young woman and keeps her prisoner just for the sake of "owning" her. He can't even have sex with her!
Unlikeable protagonists are there in many novels. That doesn't automatically make the book bad, IMO
All good literature has layers. Like M. T. says, the story on the unwritten pages. One has to look beyond what is literally written.
Steinbeck's masterpiece, "The Grapes of Wrath", was banned once because its final scene depicted a mother, whose newborn baby had just died, breastfeeding an old man on the verge of death. Actually, she is a metaphor for the fruitful "promised land" the travellers reach after a long journey. Jerusalem has been depicted as a feeding mother too.
But if one doesn't understand the metaphor, the picture would seem vulgar.
Also many books need a different kind of reading and not just the level of 'knowing the plot'. Sometimes the dirty old writer is not a dirty old writer, a young woman is not a young woman and gazing at a sleeping girl is not just that. In such books the plot is only a gateway to a different realm.
You are entitled to your opinions, so am I
If one wants to see male libido unleashed, one should read Padmarajan.
Sarah, the sex worker in "Udakappola", is a masterly creation. The epitome of every man's sexual fantasies. And played to perfection by Sumalatha in "Thoovanathumbikal".
But you started me thinking about the male gaze in literature. Now I can't stop
*Chasing the Monsoon* by Alexander Frater is a vivid travelogue that blends journalism, memoir, and meteorology, chronicling Frater’s journey across India as he follows the southwest monsoon. It’s beautifully written, humorous, and deeply reflective.
Frater's book is not just about chasing rain—it's about chasing life, culture, memory, and meaning in a country where the monsoon is both a hope and a disaster. His writing is immersive, sensitive, and often hilarious, capturing the madness and magic of India during the rains. It’s also deeply personal, tied to his childhood memories in Vanuatu and his fascination with weather.
>
> “I had long loved the monsoon, loved the way it came darkly, swelling the heart with its murky light and sound.”
**Chapter-wise Summary**
(Note: The book doesn’t have formal chapters with names, but here’s a breakdown by sections of the journey.)
**1. Prelude – Childhood and Obsession**
Frater reflects on his boyhood in Vanuatu and how his fascination with tropical storms and rain began. He introduces his dream of following the Indian monsoon from its very start.
**2. Kerala – Where the Monsoon is Born**
Frater begins in Thiruvananthapuram, awaiting the official arrival of the monsoon. He mingles with meteorologists, fishermen, and locals, absorbing the rituals and tension around the first rain.
> “In Kerala, they said, you don’t see the monsoon coming—you hear it.”
**3. Coastal Karnataka & Goa – Joyous Downpour**
As the rains travel north, Frater joins the celebration. There’s music, greenery, and a festive air. He travels by bus and train, soaking in the scenery and madness.
**4. Mumbai – Chaos and Romance**
The monsoon hits Mumbai hard. Streets flood, trains halt, but people adapt. Frater captures the city’s monsoon resilience and the intimacy of its rain-soaked life.
**5. Gujarat & Rajasthan – Drylands Meet the Deluge**
He travels into drier regions, where the arrival of rain is more dramatic. Farmers rejoice. There are also stories of superstition and climate myths.
**6. Delhi – Political Weather**
In Delhi, Frater meets scientists, bureaucrats, and weather experts. The capital's monsoon is less poetic—there’s cynicism, bureaucracy, and frustration.
**7. Cherrapunji – The Wettest Place on Earth**
His journey ends in Meghalaya’s Cherrapunji. It rains heavily, relentlessly. Frater reflects on memory, longing, and how the monsoon has shaped not just lands but minds.
> “Here, rain is not weather—it is a condition of existence.”
A Grain of Sand : Decoding Images, Rituals and Myt by Narendra Murty is again borrowed courtesy @CochinBookClub and @Harish. It is the tendency of human mind to remain enamoured by the symbols instead of breaking free from them.
This has been beautifully expressed by Sankara in this manner:
O Lord! Pardon my three sins. I have in contemplation clothed Thee in form. Thee that art formless; I have in praise described Thee; who are ineffable; and in visiting temples, I have often ignored Thy Omnipresence.
Santana Dharma, though it uses symbols profusely - in its images, in its Rituals and mythology - also urges us to go beyond them so that we obtain that heavenly Amrita to the Divine experience.
When we try to show a lost/invisible object to a seeker, we guide them through the known path/route. So are the objects used to explain a child in his journey. To cling to it even after ages is mere folly.
This book reminded me of one Achan had got years before titled 'Hindukal Areyendathu'.
Thanks, Gratitude and Salutation to Sri Aurobindi, Narendra Murthy, Cochin Book Club and Harish.
Here’s a quick chapter‑wise breakdown of A Grain of Sand based on its structure and known themes (plus the six‑section hint from the publisher):
Section A: Invitation to Symbolism
Chapter 1 introduces the language of sacred symbols—why the veil needs decoding and how image, ritual, and myth form one cohesive symbolic tapestry .
Section B: Images & Iconography
Chapters 2–3 explore key deity figures:
Nataraja: circle of flames, cosmic dance, Shiva as universal rhythm.
Kali: garland of heads, symbolism of destruction-renewal, her posture and attributes
Section C: Ritual Practices
Chapters 4–5 decode typical rituals:
Pradakshina (circumambulation): the spiritual geometry of walking around the divine.
Aarti, Visarjan, Yajna: how fire, offering, and immersion carry deeper metaphysical intentions .
Section D: Mythology as Internal Map
Chapters 6–7 reframe classic myths:
Samudra Manthan, Devas and Asuras, Pandava/Kaurava dilemmas: not just stories, but mirrors to inner transformation and cosmic balance .
Section E: Upanishadic & Vedic Foundations
Chapters 8–9 connect rituals and images to Om, Agni, Surya, and teachings from the Upanishads and Rig Veda—showing how ancient Sanskritic thought underpins visible forms .
Section F: Metaphysical Integration
Chapters 10–11 weave it all together:
How symbols across image, ritual, myth and scripture form an integrated path of self-realization.
Reading reality as divine narrative, and reclaiming spiritual depth in everyday worship
It’s a progressive journey—from seeing (images) to doing (rituals), to knowing (myths & scriptures), to ultimately being (symbolic integration). Each chapter layers new meaning as you move through the sections.
Lamplight on HeartLamp
Cover reminded me of 'Traveling with Pomegranates' by Sue Monk Kidd and Ann Kidd Taylor', looks like both are in a way, spiritual journeys. One through short, searing fiction rooted in Kannada women's experiences, and the other through memoir, where a mother and daughter explore identity, faith, and transformation while traveling.
Layered, bold, and rooted in rich cultural soil. Banu Mushtaq's stories are known for exploring identity, womanhood, and resistance with quiet fire, and Deepa Bhasthi’s translation likely preserves that depth and dignity beautifully.
The pomegranate becomes this shared metaphor across cultures and genres—a fruit of memory, fertility, hidden complexity, and resilience. One book holds it like a symbol of womanhood across generations, the other as a lamp of layered inner lives.
While it is a critique of patriarchy, gender dynamics, poverty and inequality, the stories are leavened with a generous sprinkling of humour. The quirky characters like the Arabic teacher who loves cauliflower manjuri, the drunken painter Nisar and the little boy who plies his grandmother with Pepsi in the guise of the drink of heaven........
Reminds me of my feelings about much of contemporary fiction, that characters are often unidimensional. Banu Mushtaq is in another league with exquisitely drawn characters.
Much has already been said about the masterly translation, the effortless use of Kannada/Urdu words without italics. Masterly.
The last story.....here I have to quote -
Ultimately, Be a Woman, Once, O Lord is not just a poem—it is a protest. It calls for the dismantling of systems that normalize female suffering and demands that both the divine and society confront the reality of what it means to be a woman. Through this bold appeal, Mushtaq asserts the need for empathy, equality, and divine justice.
"Some of us step on the cindering balls of coal and carve a space for ourselves. Some of us learn to exist too close to the fire. None of us are left unscarred."
With piercing insight and a storyteller’s grace, Banu Mushtaq lays bare the raw, unspoken truths of womanhood in this relatable collection. Her characters are not just fictional—they are reflections, echoes, and realities drawn from every corner of the world. Written in an intimate, colloquial style, these stories resonate deeply, making them feel less like tales and more like shared experiences.
I read the book in a single sitting, not because it was easy, but because it was impossible to look away. Mushtaq’s background as a journalist, lawyer, and activist pulses through each page, infusing her narratives with authenticity, empathy, and power. Her sharp observations on human nature and emotional resilience make this collection unforgettable—both in its pain and its quiet triumphs.
🌟 **Heart Lamp – Discussion Guide**
#### 📚 General Themes to Explore:
* **Identity & Belonging:** How do the characters grapple with gender, religion, caste, or class?
* **Resistance & Silence:** What does resistance look like in the world of these stories—loud or quiet? Internal or external?
* **Body & Desire:** How is the body portrayed—as sacred, political, trapped, or liberated?
* **Women’s Inner Lives:** Do you notice moments when the characters' inner worlds speak louder than the plot?
#### 💬 Conversation Starters:
1. **Which story struck you most so far—and why?**
2. **Do you feel the translation carries the emotion and context well?**
*(This is a good way to appreciate Deepa Bhasthi’s work too.)*
3. **Did any story remind you of someone you know—or yourself?**
*(Personal reflections often lead to great conversations.)*
4. **How does the author portray faith or religion—personal, cultural, or critical?**
5. **What emotions did the stories leave you with—anger, tenderness, guilt, hope?**
#### 🕯️ Symbolism Clues:
* **The Pomegranate (cover)** – Might stand for the heart, secrets, or seeds of many stories. .
* **“Heart Lamp”** – What does it mean? Is it about keeping love, memory, or identity.
Am lucky—discussing books sounds like a rare treat.
*CA S Srinivasa Raghavan*
Founder, HappyMentor.com
*This session is for educational and awareness purposes only. It does not constitute investment advice.*
Don't try to second guess the market.
Have an advisor. Like a driver.
Have three things:
Insure first, invest next.
Have 3 investment:
1. Life Insurance
2. Medical Insurance
3. SIP
Ditto Insurance advisors.
Work for something better,but be grateful for what you have.
Key to success:
ACR. Accept the Unchangable. Remove yourself from totally unacceptable situation.
Get out of people who can drain your energy. Somepeople can drain and you cannot avoid. Use mudras.
Happiness is in small things, Success is in big things, Meditation in nothing, God is in everything.
8 Pillar Approach he would take in next session.
In an industry that often shuts doors on women who don’t fit the mold,
Neena Gupta stood tall against society, judgement, and even loneliness.
In the 90s, she made a bold choice.
To raise her daughter Masaba as a single mother—without a husband, without validation, and without apology.It wasn’t just uncommon… it was unforgivable in the eyes of many.
She faced whispers.
She faced rejections from filmmakers who said:
“You’re too bold, too different, too much.”
Yet, behind those silences and slammed doors,
She was building a life full of truth, courage, and quiet love
Years later, she posted on Instagram:
“I live in Mumbai and work in good Hindi films. Looking for good parts to play.”
That one honest post opened a thousand hearts.
Today, she’s not just a star, she’s a symbol of second chances, of women rewriting their own stories 🌸
This isn’t just Neena Gupta’s journey.
It’s a message to every woman who chose herself, even when the world didn’t.
#NeenaGupta #SingleMotherStrong #RealLifeHeroine #WomenWhoInspire #MasabaMasaba
(Neena Gupta, struggle, single mother, bold choices, Masaba, rejection, strength, motherhood, Indian cinema, women empowerment, courage, second chances)
