More Days at the Morisaki Bookshop ~Satoshi Yagisawa (113 of 2024)

 

"More Days at the Morisaki Bookshop" is a heartwarming Japanese novel by Satoshi Yagisawa, a sequel to "Days at the Morisaki Bookshop." It continues the quiet yet transformative story set in the charming neighborhood of Jinbōchō, Tokyo, a haven for book lovers. The narrative delves deeper into the lives of its endearing characters, exploring themes of self-discovery, healing, and the power of books to bring people together.

The protagonist, Takako, who was introduced in the first book as a young woman struggling to find her place in the world, has grown more comfortable with her life amidst the eclectic charm of the Morisaki Bookshop. She now helps her quirky uncle, Satoru, run the shop, a hub for secondhand treasures and literary wisdom. Takako’s journey continues as she encounters a variety of customers, each with their own unique struggles and stories. These interactions help her reflect on her own life, prompting personal growth and a deeper understanding of herself and others.

The sequel emphasizes the Morisaki Bookshop's role as more than just a bookstore—it becomes a sanctuary where people come to reconnect with forgotten dreams, find solace in literature, and experience moments of profound connection. With its blend of nostalgia, humor, and gentle philosophical musings, More Days at the Morisaki Bookshop offers readers a touching exploration of life’s quiet but meaningful joys.

Each customer brings their own story to the bookstore, acting as a catalyst for Takako’s growth. For example:

A young woman seeking a book for her terminally ill mother reveals the depth of love and loss.

A struggling writer finds hope in discovering an out-of-print novel that reignites their passion.

These vignettes remind readers that everyone carries unseen burdens, and sometimes the right book—or a kind word—can make all the difference.

1. Days at the Morisaki Bookshop

Strengths:

A fresh and engaging introduction to the world of the Morisaki Bookshop and its characters.

Takako’s initial transformation from a brokenhearted, aimless young woman to someone who finds solace and purpose in literature is compelling and relatable.

The novel has a stronger sense of discovery as readers are introduced to Jinbōchō, the charm of secondhand bookstores, and the quirky yet endearing Uncle Satoru.

Its central theme of healing through books resonates deeply, especially for those seeking hope during challenging times.

Why You Might Prefer It:

If you love stories about personal growth with a focus on self-reinvention, or if you’re drawn to the magic of discovering a hidden world, the first book offers a more powerful emotional punch as it sets the stage.

2. More Days at the Morisaki Bookshop

Strengths:

A deeper dive into Takako’s life, showing her continued growth and maturity.

Greater focus on the lives and stories of the people connected to the bookshop, making it feel more like a community-centered tale.

Broader exploration of themes like the impact of literature on others, the importance of human connection, and finding peace in quiet spaces.

A slower, more reflective narrative style that emphasizes character depth over plot development.

Why You Might Prefer It:

If you enjoyed the first book’s setting and want to see Takako evolve further, or if you’re looking for a more meditative and community-focused experience, the sequel offers a richer tapestry of stories.

Which is “Better”?

Many readers find the first book more emotionally impactful because it introduces the charm and healing power of the bookshop in a fresh way. However, the second book is often praised for its maturity and exploration of broader themes.

If you enjoy character-driven stories and already feel attached to the world of Morisaki Bookshop, the second book will likely deepen your appreciation. If you prefer a tightly focused story with a strong arc of personal transformation, the first book might resonate more.

Both are gentle, heartwarming reads with distinct strengths, making them complementary rather than competitive. 

Kishkindha Kaandam

KishkindhaKandam, undoubtedly I can say this is an amazing Mollywood as it is not easy to convey this subject. Asif’s and vijayaraghavan’s dream role together with directors conceptualisation of this film has turned this to a different level. I would rather say this is rare and consider it as an opportunity and rush to the theatre’s to taste this classic in theatres.

Kishkindha Kaandam is a 2024 Indian Malayalam-language mystery thriller film directed by Dinjith Ayyathan and written by Bahul Ramesh. The film stars Asif Ali, Aparna Balamurali and VijayaraghavanThe story takes place in the monkey-inhabited Kallepathi reserve forest where ex-military officer Appu Pillai and his son Ajay Chandran, a forest officer, reside.

The movie begins with the wedding of Ajay, a dedicated forest officer, and Aparna. After their wedding, they move into Ajay’s family home, where he lives with his father, Appu Pilla, a retired army officer. The house is located near a dense forest reserve known for its population of wild monkeys, which frequently cause trouble for the local residents. Appu Pilla is portrayed as a strict and regimented man, possibly due to his past military career. Early on, it is revealed that Appu Pilla’s licensed pistol went missing two years ago, and ever since, he has been persistently searching for it, regularly inquiring with authorities about its whereabouts. Ajay, too, is burdened by a personal tragedy—his son with his deceased previous wife, Chachu, went missing three years ago under mysterious circumstances. Despite numerous efforts, Ajay has been unable to find any trace of his lost child. The emotional weight of this loss is evident, and Ajay still pursues every lead that might help him locate Chachu, even traveling to distant places in his quest. Aparna learns about this tragedy and even accompanies Ajay on journeys to search for his missing child.

As Aparna settles into her new life in Ajay’s home, she begins to notice strange and unsettling behaviors from her father-in-law, Appu Pilla. His mood swings, secretive nature, and obsession with the missing pistol raise her suspicions. When she shares these concerns with Ajay, he dismisses them, reassuring her that Appu Pilla’s behavior is merely a product of his old age issues. Later however, he explains that his father has been suffering from memory loss for years, but has developed his own coping mechanisms to function normally. However, Ajay warns Aparna that Appu Pilla becomes furious when questioned about his condition or urged to seek medical help, and it’s best not to confront him about it.

A man named Amrith Lal, who appears to have a long history with Appu Pilla, visits the house. Appu Pilla tries to recognize the visitor from the photographs on the wall, and secretly retrieves notes from his room before engaging in conversation with Amrith. Though the two were army colleagues, Appu Pilla grows suspicious of Amrith, recalling that his previous notes he prepared advised against trusting him. Their exchange turns tense when Appu Pilla accuses Amrith of lying about their past, to which Amrith offers no clear response. As they argue, Ajay and Aparna return home, and Amrith hastily departs, having secretly taken away some of Appu Pilla’s notes. Appu Pilla’s growing suspicion of Amrith only deepens the mystery surrounding him.

One day, a group of wildlife photographers in the nearby forest capture a shocking image of a monkey holding a pistol. The news spreads quickly, and it is suspected that this is the very same pistol that Appu Pilla lost two years ago. The local police become involved, and Appu Pilla confirms that the weapon seen with the monkey is indeed his. This odd incident only adds to the tension in the household. Not long after, a shocking discovery is made by the neighbors—during excavation work on their property, they uncover a skeleton. When the police and forensics team arrive, Ajay and Aparna rush to the site. Initially, it is thought that the remains might belong to Ajay’s missing son, as the land previously belonged to Appu Pilla. However, upon further investigation, the forensics team reveals that the skeleton is not of a human, but that of a large ape or monkey. Even more troubling, the ape was killed by a gunshot, and the bullet matches the size of the ammunition used in Appu Pilla’s missing pistol. This new twist complicates the investigation, as killing wild animals is a serious offense in India. Appu Pilla is brought in for questioning, but due to his memory loss, he is unable to provide any coherent answers, breaking down in frustration. Ajay steps in to explain his father’s condition, and the visitor Amrith was not an army colleague, but a doctor whom Ajay secretly hired to treat his father’s memory loss without Appu Pilla’s knowledge and shows the police documentation confirming that Appu Pilla had been fired from the army due to his memory problems. The police, now realizing that they issued a gun license to someone with such a condition, become concerned about their own accountability and releases Appu Pilla from their custody.

As the mystery deepens, Aparna spots Appu Pilla burning a box of papers outside the house the next day. She attempts to salvage some of the documents, leading to a physical altercation between the two. Ajay intervenes, but once again, Appu Pilla's memory fails, and he forgets the entire incident. Aparna grows more determined to uncover the truth, and secretly investigates Appu Pilla’s room and discovers a hidden collection of notes and evidence he has been compiling in his personal investigation into the missing gun, 2 missing bullets and the disappearance of Chachu. To her shock, she also finds the missing pistol locked away in Appu Pilla's secret compartment . Appu Pilla, meanwhile, returns home and realizes someone has been in his room, becoming enraged and accusing Ajay and Aparna of invading his privacy. In the aftermath, Aparna confronts Ajay, demanding to know the truth and if he hids anything from her.

Ajay finally reveals the dark secret he has been hiding: Three years ago, Chachu while still alive, discovers Appu Pilla’s memory loss and snuck into his room, finding the pistol. Despite being warned by his grandfather, the child continues to frequently play with the pistol and one day shot and killed a monkey. Appu Pilla, along with his old friend Sumadathan, secretly buried the monkey’s body, which was the skeleton recently discovered by the neighbor. Shortly after, tragedy struck again—Ajay returned home one day to find Chachu dead, accidentally shot by the pistol while his mother, Pravina was trying to take the gun away from him. In her grief and guilt, Pravina who was also a cancer patient, overdosed on her prescription medicines and attempted suicide . Though Ajay rushed her to the hospital, when he returned home to get her chemotherapy documents, he found that Chachu’s body had disappeared. Appu Pilla, in a shocking act of self-preservation, is assumed to have removed the body and later forgotten where he has buried the body. He insisted that no one should ever know the truth, claiming it was for the family’s own good. Since then, they have maintained the story that Chachu went missing.

Due to his worsening memory loss, Appu Pilla now constantly forgets about the hidden gun and Chachu's death, reliving the investigation in endless cycles only to rediscover the truth. Each time he reaches the end, he destroys the findings and forgets everything, only to start all over again. The film ends with Ajay and Aparna on a train, following yet another lead that claims their missing son was spotted in a distant city, a tragic reflection of Ajay’s never-ending hope and the unresolved guilt hanging over the family.

The Whistleblower

The Whistleblower revolves around Sanket, a spoilt but brilliant intern doctor, who gets tempted to become a part of a massive education racket that has been running for years. The situation, however, backfires after Sanket loses his father, and his fiance leaves him upon uncovering the truth. In a desperate attempt to identify his father's murderer, Sanket becomes a whistleblower to dig out the dark realities of the deep rot, which he once was a part of.

The Whistleblower is an Indian Hindi-language thriller web series on SonyLIV, directed by Manoj Pillai and produced by Indranil Chakraborty, Anujeet Ghatak, Priyesh Kaushik, Kartik R. Iyer, and Rohit Phale. Based on M.P Vyapam scam. It was released on 16 December, exclusively on SonyLIV. It consisted of nine episodes.

Ritwik plays Sanket with shrewd crookedness. Director Ritesh's greatest accomplishment here is taking the audience inside the mind of Sanket through a voiceover that explains how he perceives every situation. Ravi Kishan channels a corrupt, deceitful and uncompassionate politician with utmost dedication.

Each Episode is as below:

1 The First Sin Dr. Sanket finds an illegal route to secure a medical seat and is fascinated by the whole process. He then befriends kingpin Jairaj Jatav, who heads this dangerous education racket, and unknowingly invites some irreparable troubles into his perfect life. 16 December 2021

2 Early Warning Astonished to find his friend Dinesh swinging between the clutches of two powerful rivals, Dr. Sanket leaves no stone unturned in saving his life. However, this is just the beginning for Dr. Sanket. 16 December 2021

3 Bystander Sanket's father, Dr. Ashwin speaking against corruption and fake medical certificates, rattles many. Clueless of its consequences, Sanket continues to get deeply entrenched into this dangerous world. 16 December 2021

4 Meritocracy Ki Maa…. Sanket's involvement in the racket affects his relationship with his girlfriend Dr. Pragya, and his father. However, he promises to get back on the right path. 16 December 2021

5 The Child Dies With Father’s Death Jairaj brainwashes Sanket about his father's involvement in a student's suicide, for whom he had written the exam. After blaming his father, Sanket takes an overdose of drugs and wakes up to the harrowing news of Dr. Ashwin's demise. 16 December 2021

6 Face The Mirror A mourning Sanket loses hope after finding that all the potential witnesses, who can prove Dr. Ashwin was murdered, die one after another. He soon discovers that Jairaj is responsible for all the atrocities in his life, including his father's death. 16 December 2021

7 Blowing The Whistle Upon uncovering the truth, Sanket smartly lays a trap for all those involved in the vicious racket by teaming up with Pragya, Anup, and Zainab. 16 December 2021

8 Payback The final plan is put to action, and even one setback can cost many lives. Sanket and Pragya, along with their team, give it all to disclose the deadly racket and those involved in it. 16 December 2021

9 Karma Is The Ultimate Bitch All the wrongdoers, including Jairaj, are tracked. However, Sanket goes missing only to be found where it all began. This time, as a whistleblower. 16 December 2021

Freedom at Midnight

A fairly faithful adaptation of Dominique Lapierre and Larry Collins’ non-fiction book Freedom at Midnight. The  book with around 774 pages and 20 chapters is a fascinating and deeply moving account of one of the seminal events in world history, the emergence of India and Pakistan as sovereign nations.

Could not resist myself from watching it this weekend. A fair justice is done to the book, though it does not cover all the chapters. The Series stops with granting of freedom. Well directed,  some actors have done a commendable job, few could be better, will leave that upto the viewers. 

Like the book I would like to say, this is a 'must' wach for all fans of India, history, the book and authors.  

How we love reading history now....and conjecturing about how things might have been different...both fiction and non fiction...Sadly we were taught history in such a dull way in our school days.

1. India was still under British rule

2. Sardar Vallabhai Patel was the first Prime Minister

3. Subash Chandra Bose was still alive. 

4. There was no partition and Jinna was made the first prime minister

A Wonderland of Words ~ Shashi Tharoor (94 of 2024)

 

A Wonderland of Words: Around the Word in 101 Essays by Shashi Tharoor is a collection of 101 essays that delve into various aspects of the English language. 

I cannot recommend this book highly enough. Open at any page and partake of the sheer pleasure that words can give you. A book which is meticulously researched and meant for all who love ,study and treasure the English language in all its diverse forms. 

Here is a gem from the first chapter

"Dear Sir:

I like words. I like fat buttery words, such as ooze, turpitude, glutinous, toady. I like solemn, angular, creaky words, such as straitlaced, cantankerous, pecunious, valedictory. I like spurious, black-is-white words, such as mortician, liquidate, tonsorial, demi-monde. I like suave "v" words, such as Svengali, svelte, bravura, verve. I like crunchy, brittle, crackly words, such as splinter, grapple, jostle, crusty. I like sullen, crabbed, scowling words, such as skulk, glower, scabby, churl. I like Oh-Heavens, my-gracious, land's-sake words, such as tricksy, tucker, genteel, horrid. I like elegant, flowery words, such as estivate, peregrinate, elysium, halcyon. I like wormy, squirmy, mealy words, such as crawl, blubber, squeal, drip. I like sniggly, chuckling words, such as cowlick, gurgle, bubble and burp.

I like the word screenwriter better than copywriter, so I decided to quit my job in a New York advertising agency and try my luck in Hollywood, but before taking the plunge I went to Europe for a year of study, contemplation and horsing around.

I have just returned and I still like words. May I have a few with you?

Robert Pirosh

1934

A New York copywriter by the name of Robert Pirosh quit his well-paid job and headed for Hollywood in 1934, determined to begin the career of his dreams as a screenwriter. When he arrived, he gathered the names and addresses of as many directors, producers and studio executives as he could find and sent them what is surely one of the greatest, most effective cover letters ever to be written; a letter which secured him three interviews, one of which led to his job as a junior writer at MGM. Fifteen years later, Pirosh won an Oscar for best original screenplay for his work on the war film Battleground. A few months after that, he also won a Golden Globe.

The book covers a wide array of topics, including:

Punctuation: Demystifying the rules and nuances of punctuation marks.

Spelling and Grammar: Exploring the complexities and peculiarities of English spelling and grammar.

Linguistic Devices: Discussing elements such as acronyms, backronyms, contronyms, oxymorons, kennings, metaphors, similes, idioms, euphemisms, and palindromes.

Tharoor also delves into the history and evolution of English, its geographical variants, and provides humorous examples of its misuse around the world. The essays aim to entertain and educate readers about the richness and intricacies of the English language.

Tharoor is known for his witty commentary on linguistic quirks, such as malapropisms—humorous errors where similar-sounding words are mistakenly used, leading to amusing misstatements. For instance, he might highlight a statement like "He is the pineapple of politeness," where "pineapple" is mistakenly used instead of "pinnacle." These examples showcase the playful and often confusing nature of English, illustrating how minor errors can lead to significant changes in meaning. 

He quotes Abraham Lincoln saying why Fish can be spelled as  'Ghoti' and yet pronounced as Fish. 

'Gh' as in rough

'O' as in Women

'ti' as in Motion!

How I wish I had known all these as a child.

In 13 sections, the book covers words borrowed from other languages, punctuations, spelling bugs, errors, inappropriate words and cardinal guidelines, literary tools, acrobatics, quirks, lexical evolution, inclusions, books and meanings, new and famous words and many more. 

Some chapters are so funny, it has become by stress busters. 

Wanderers, Kings, Merchants ~ Peggy Mohan 112 of 2024

 A 300 pages book having 8 chapters was the BOTM by CBC.. As the first and the last chapters are comparatively short, we can plan our milestones to be easy for anyone who starts late or lags in their reading to catch up. And we also have 5 weeks to finish our book this time. So we can keep the below milestones for Wanderers, Kings, Merchants:

Chapter 1 : 16/11

Chapters 2 & 3 : 23/11

Chapters 4 & 5:  30/12

Chapters 6 & 7: 7/12

Chapter 8 : 14/12.

On 11th Nov. loved Chapter 1 and very tempting. I think I will continue reading and not wait for next week

12th finished chapter 2 giving so much of clarity to the open questions I had in my mind. On the evolution,  growth and death of languages in parallel to the chapter title. 🙏

Finished 3rd chapter on 14th Nov. amidst the story of loosing the book in the morning. It's a human story as much as the story of language. Story of how culture and civilisation change over a period of time. How two rivers meet to form a new one and flow ahead in a new avatar.

Wanderers, Kings, Merchants: The Story of India through Its Languages by Peggy Mohan is an exploration of India's history through the lens of its many languages. Mohan, a linguist, traces the evolution of Indian society by examining how language influences—and is influenced by—migrations, social changes, and cultural exchanges over thousands of years.

The book is structured around the journeys of languages as they enter, adapt, and sometimes fade from the subcontinent. Mohan connects the linguistic threads of Sanskrit, Persian, Dravidian languages, and the influence of English, creating a narrative that spans ancient civilizations, the medieval period, colonial rule, and modern India. She explores how language functions as a marker of power, identity, and migration, and explains how social dynamics—such as caste, trade, and colonization—have shaped the way people speak and communicate.

One of the book’s strengths is its accessibility. Although the subject could be dense, Mohan writes in a conversational style, making complex linguistic theories understandable. She also includes historical anecdotes and stories that bring to life the abstract concepts of language development. The book invites readers to think about how language influences cultural identity and personal connections across generations.

Moreover, Wanderers, Kings, Merchants draws attention to the fluidity and resilience of languages, emphasizing that no language is static or pure, but rather a constantly evolving entity shaped by the lives of its speakers. This perspective is especially relevant in India, where multilingualism is common, and language is a key part of both personal and regional identity.

The book is suitable for readers interested in linguistics, history, and South Asian studies. Its unique perspective makes it an engaging read for anyone curious about how the languages we speak connect us to a shared, complex past. Mohan’s narrative is not just a story of languages, but of the people who speak them, making Wanderers, Kings, Merchants a fascinating journey through the cultural and linguistic landscape of India.

The chapters in the book:

The book delves into several key themes:

The book begin with a note on Diacritics and Symbols. Chapter 1 is on the Tiramisu Bear, and how it was formed.  Peggy Mohan introduces the concept of the "Tiramisu bear" to illustrate the layered and hybrid nature of India's linguistic evolution. She describes this rare creature as having cream-colored fur and coffee-brown paws, embodying features of both a polar bear and a grizzly bear—a result of a male grizzly bear migrating and mating with a female polar bear. Mohan uses this metaphor to explain how Indian languages have developed through layers of influences, much like the dessert tiramisu, which consists of multiple layers of flavors and textures. This analogy underscores the complex interplay of migrations, cultural exchanges, and environmental changes that have shaped the linguistic landscape of India over time.

She speaks about her journey as well. Formation of Creole languages and the impact.  The pidgin phase. 

Chapter 2 The Hidden story of Sanskrit

Origins of Sanskrit: Exploring the beginnings and evolution of Sanskrit in the Indian subcontinent.

It also speaks about the Influence of Dravidian Languages: Discussing the impact of Dravidian languages on the linguistic landscape of India.

Chapter 3 is on how the  Namboodiri Brahmin's arrival shaped Malayalam. 

focusing on the significant influence of Sanskrit on this Dravidian language. She explores how the Namboodiri Brahmins, upon settling in Kerala, integrated Sanskrit vocabulary into the existing Dravidian linguistic framework, thereby enriching and transforming Malayalam. This process illustrates the broader theme of linguistic amalgamation resulting from cultural and social interactions.

Malayalam took in tatsama Sanskrit words in Manipravalam. 

Chapter 4 is on Development of Indo-Aryan Languages: 

Marathi within the broader context of Indo-Aryan languages. She highlights that while Marathi, along with other northern languages like Hindi, has incorporated vocabulary from Prakrits and Sanskrit, its grammatical structures and syntax reveal influences from pre-existing local languages. This suggests a complex linguistic evolution shaped by interactions between incoming and indigenous linguistic traditions. 

Languages came up as slow pickled food. There were local scripts for writing like Kaithi in the north and Mahajani and Modiya in Rajasthan, Gujarat and Maharastra, all of which looked almost like Prakrit forms of Devanagari.  Devanagair came into use during the British time. Braj and Awadi were older, and had important literature, but the newcommer privailed. Bhojpuri is closer to Bengali than Hindi. Marwari and Gujrathi looks like cousins and are closer. 

Grammars of the creole language, similar from one to another but different from European language like Latin,  Roman, German, had come from a non European source: Africa. 

All words trace back the origin to a local Prakrit and ultimately Sanskrit. Indo-Aryan, Romance and Caribbean languages are all creoles. 

Chapter 5 delves into Urdu and Hindi via Turki - Very young Dehlavi dialect influenced by migrants from Central Asia. 

Chapter 6  named 'Nagamese and the Magadhans' covers language Formation in the Northeast: Analyzing the unique linguistic developments in India's northeastern regions.

Chapter 7 is on rise of English Post-Independence: Investigating how English gained prominence after India's independence and its effects on native languages.

Chapter 8 on Confluence speaks about the book's central themes, emphasizing the intricate interplay between migration, cultural exchange, and language evolution in India. She underscores how historical movements of people—be they wanderers, kings, or merchants—have continually shaped and reshaped the linguistic landscape of the subcontinent. Mohan also reflects on the dynamic nature of languages, highlighting their capacity to adapt and transform through contact and convergence. This chapter serves as a comprehensive summary, encapsulating the complex processes that have contributed to India's rich linguistic heritage. 

These themes are interwoven to present a comprehensive narrative of India's linguistic history, highlighting the interplay between migration, culture, and language evolution.

The book makes fascinating reading.  The history of India is dissected from the evolution of its languages. The book puts forth theories which are well elucidated . 

Speaking of Malayalam and Kerala, apart from the well researched and presented theories of this author, another opinion is worth mentioning for the interest of readers. There is a writer by the name of Manjula Wariyam. She has written a bunch of articles arguing the case that Keralites are descendants of ancient Egyptians. May seem outlandish at first, but it's worth knowing about.

And then say in instagram, 'Mala' is mountain, from which comes Malayalam and malayalee...

Written by Peggy Mohan,  born in Trinidad, West Indies she has taught linguistics, been an expert witness in terrorism trials, and made television programmes for children, besides creating animated calligraphs, painting, writing songs and doing stone mosaics. She is married and has a daughter, and teaches music at the Vasant Valley School, New Delhi. Peggy has also authored the novels Jahajin and The Youngest Suspect and Wanderers, Kings, Merchants. Peggy Mohan was born in Trinidad, West Indies. Her father was an Indian from Trinidad, her mother was from Corner Brook, Newfoundland. She studied linguistics at the University of the West Indies, Trinidad, and at the University of Michigan, Ann Arbor, where she wrote her PhD dissertation on Trinidad Bhojpuri, the ancestral language of most Trinidad Indians, based on her recordings of the speech of old Indo-Trinidadians during the 1970s.In 1979 she moved on to India, following her husband, first to teach linguistics at Jawaharlal Nehru University, then to teach Mass Communications, then to produce a television series in Hindi for pre-school children, after which she did cartoon animation, oil painting, served as an expert witness assessing confessions in terrorism trials, trained as a (soprano) opera singer, to end up spending her days teaching Western music in Vasant Valley School (voice and orchestra).

Book : Lost and found

 

Has it ever happened you sleep off reading a book, wake up to find the book is missing?

At hindsight and for others it sound funny, for a book lover this is very traumatic.

unable to find my kindle since I woke up this morning 🤔

Swept the floor, changed bedsheets, looked inside pillow

I had slept off reading,  then I remember,  in between I woke up and switched off the light

First thing I looked for it in the morning

Fir kisine chupa Diya hai 😈 Was it some black magic or after effect of the previous day discussion on how we manage book reading time?

Amma said Rajesh would have. I asked him he said he and Krishna has not taken So I sleep on time

 Looks like I kept up horizontal and it slid down to vertical position,  it was inside another book.Obviously would not keep like that

 It was on the bed side dressing table

Yes last night just finished reading Namboodiris arrival in Kerala for our BOTM read and zoom am unable to find my kindle today morning.  Got it just now

Have read a story in Malayalam where the protagonist is reading the book 'Small is Beautiful' which later goes missing by the time he wakes up or so. From then on, other things go missing one by one, bigger and bigger things. At one point, he finds his one eye missing 😀 The story doesn't end there.

I remember it was a story collection by V R Sudheesh.   To be honest, I didn't like the story much. And not sure, maybe I would like it if I read again.

 

I was in 7th grade. I had borrowed this Scholastic Book called Gooseberry Park from the Library. On the return train journey to Kochi, I was re-reading the story. Woke up in the morning to realise the book I had kept in the pouch near the birth was missing.

 

I must have cried so much. Ended up paying fine in the library as well.

 

Years later, during my final year of graduation, I spent a lot of time trying to remember this book's name. In a stroke of absolute luck, my friend had this copy with her. She gifted it to me. I still cherish it. ❤️

Thandu Varavu

*Irinjalakuda Kudalmanikum Temple: 'Thandu Varavu' – A Devotional Journey*

The 'Thandu Varavu' is an event filled with deep devotion, observed at the Kudalmanikum Temple in Irinjalakuda. During the Malayalam month of Thulam (which falls at the end of October or beginning of November), devotees embark on a 15-kilometer journey from Potta in Chalakudy to the Kudalmanikum Temple. This journey is undertaken on the day of Utradam.

Devotees leave Potta in the afternoon, carrying eight bamboo poles laden with eight full bunches (kulla) of Nendra Pazham (big yellow bananas) and two poles (Thandu) of Kadli Pazham (a variety of small yellow bananas), along with rice, oil, sandalwood, cloth, and ornaments for the idol. This procession is called Thandiga Varavu and starts with the auspicious 'Arpu Villi'.

തണ്ടിക വരവു ചാലക്കുടി അടുത്തുള്ള potta യിൽ നിന്ന് Inrajalakuda kudalmanika Temple ലേക്ക്....കാഴ്ച്ച കുല കൾ സമ്്പിക്കുക..

Carrying agricultural produce and other offerings to the temple is an annual ritual and a way for devotees to express gratitude for the blessings they received in the past, a practice known as 'Kshetram Vaga Pravarthi Kacheri'. In the days before motor vehicles, devotees had to walk the entire distance, and the tradition continues to this day.

After walking for 3 to 4 hours, they reach Althara, near Danav, where they take a brief rest before proceeding to the temple for the evening pooja. Temple members welcome with traditional Panchavadyam and Nathaswara. Local devotees donate offerings to prepare a Sadhya (feast) for the next three days, with devotees from Potta given first preference in receiving the meal.

 

Diwali

YOU BE THE LIGHT! 🪔🪔🪔🪔🪔🪔

(Composed by Roshani Malandkar)

If life seems dark, probe deeper;

You need to clear the blight. 

If the morn seems far away;

You be the light! 🪔

Millions tred the wrong path;

There's tempting evil in sight. 

Try illuminating just 1 mind;

You be the light! 🪔

Everyone wants love & hope;

Ask them to hang on tight. 

You spread love & kindness;

You be the light! 🪔

Many will put you down;

Blame falsely and fight. 

To these darkened but naive souls, 

You be the light! 🪔

Happy Diwali 2024! 

🪔🪔🪔🪔🪔🪔

This Diwali was different. No crackers. Got to know as you star everything fresh, you even keep broom for Pooja.

 “Do not try to save

the whole world

or do anything grandiose.

Instead, create

a clearing

in the dense forest

of your life

and wait there

patiently,

until the song

that is your life

falls into your own cupped hands

and you recognize and greet it.

Only then will you know

how to give yourself

to this world

so worth of rescue.”

~Martha Postlewaite

ARM

Jithin Laal makes his directorial debut with "Ajayante Randaam Moshanam" ("ARM"), a fantasy movie, toplining Tovino Thomas, that released in theaters few weeks back, is still continuing in theatres and seems to have amassed 100 CR+ in theatrical collections. A very promising story idea that could have been a great fantasy at the hands of Vijayendra Prasad - S S Rajamouli is reduced to a whimper at the inexperienced hands of Sujith Nambiar (Writing) and Jithin Laal (Direction). Spanning multiple generations and timelines, ARM oscillates between the lives of Kunjikkelu, a warrior, Maniyan, a thief who could be related to Kunjikkelu (not that we care...) and Ajayan, an electrician and Maniyan's grandson (All 3 characters played by Tovino Thomas who tries to make them as different from each other as possible with different looks, body language, voice modulation etc. but the script fails him...). In the now, Ajayan is ridiculed in his village for being a thief's grandson. It does not help that he is born into a lower caste. He has a permanently weepy mother (Rohini) for company and is romancing Lakshmi (Kriti Shetty showing off 2.5 expressions in a finite cycle), the daughter of Chathutti Nambiar (Nisthar Sait, always flaring his nostrils), an aristocrat in the village. Ajayan has a dimwitted friend in Suresh (Basil Joseph) whose loyalties keep shifting faster than the timelines in the narrative. 

Together they need to hunt for the idol of the local deity based on the instructions of Sudev, a descendant of the Edakkal royal family (played by a lackluster Harish Uthaman who does not bring even an iota of terror to his villainous act). Whether they succeed or not is what the rest of the narrative is all about. 

The premise is innovative. A sacred lamp called Chothivilakku  made from the "star stuff" from an asteroid, and is the property of the Edakkal Kingdom, is gifted by the king to the great warrior Kunjikkelu in recognition for his services in rescuing his nephew, the heir apparent, from brigands. Kelu is progressive, and wants the lamp to be installed in a temple in his village, which is accessible to everyone irrespective of caste, creed or colour. However, he dies from smallpox contracted from his Dalit lady love who leaves the country, possibly carrying his child in her womb.

The lamp is installed in a temple, but the "lower" castes are not allowed inside. Years later, a robber named Maniyan appears in the village. This guy, it is hinted, is the son of Kelu. He is a mix of Arsene Lupin, Robin Hood and Superman: virtually undefeatable, he carries out daring robberies. He steals the lamp one day and apparently meets his end, diving into a waterfall to escape his pursuers.

Now we come to the present. Maniyan's grandson Ajayan is trying to live a peaceful life, but he is branded a thief by heredity. To complicate matters, he is in love with Lakshmi, a girl from Kelu's family. But things take a real dark turn when Sudev, a member of the Edakkal Royal family comes to the village, ostensibly to make a documentary but with more sinister designs in mind...

Cinematography by Jomon T John is good and the night shots have been imaginatively lit and captured. Art department does a good job with creating authentic backdrop for the multiple periods depicted in the narrative and CGI is quite good. 

There are some sequences where the fantasy element works top class - Ajayan getting into the cave, Maniyan and the ironsmith (Jagadeesh) trying to get the lamp - are examples. The action sequences too are well choreographed - right from the introductory sequence featuring Kunjikkelu to the climatic kalari sequence featuring Ajayan. Dhibu Ninan Thomas works up a good soundtrack and the songs "Angu Vaana Konilu" (Vaikom Vijayalakshmi) and "Kooriruttile Kaalakulambadi" (Charu Hariharan) are impressive. Manu Manjith does a good job with the song lyrics and most of the dialogues in the North Kerala dialect retain the authenticity.

One thing I noticed about the movie was its extreme political correctness. The good guys are all Dalits and the bad guys, Savarnas. Kshatriyas are the worst, followed by Nairs, and so on, the evilness decreasing proportionately along with the caste pedigree. The central theme is the entry of the Dalits to the temple, which the hero achieves. The scripwriter has taken extra pains to show us that he is writing one progressive movie, leaving nothing to the imagination. It's all black and white. (I am sort of surprised that he did not bung in a wily Brahmin too, for good measure!)

But ultimately, the Chothivilakku made from Star Stuff is sacrosanct and above caste considerations - we all know that the evils of caste are man-made, don't we? Especially when God speaks with Mohanlal's voice!

'What we seek is what we get.'

Vettaiyan

 T J Gnanavel directs the Superstar in his latest release “Vettaiyan” that is different from the regular Rajni potboilers for 3 reasons – It has a strong, relevant, relatable social message; For the first time in many years, the character played by Rajni makes a mistake and admits it; For the first time ever, the character played by Rajni changes his ideology that he has been following all these years to a thunderous applause from the audience. 

T J Gnanavel (also credited as cowriter with B Kiruthika) has thus done the unthinkable. He cleverly marries the standard Rajni potboiler template f with a storyline that is plausible thereby making his politics very clear. At 163 minutes, “Vettaiyan” is entertaining and does not feel overlong. Most importantly, despite thematically being very similar to Prithviraj Sukumaran’s 2022 outing – “Jana Gana Mana” – there is absolutely no sermonizing or cringe inducing courtroom dialogue baazi here like that one!

The movie starts with retired justice Satyadev (Amitabh Bachchan) addressing a batch of fresh IPS officers explaining why encounter killing and cop vigilantism should not be encouraged, and why justice can be served only through the proper channel. Cut to Kanniyakumari district, and we see SP Athiyan (Rajanikanth) killing Kumaresan (Sabumon Abdusamad) in an encounter for supplying narcotics to school children and using government schools as godowns for storing the same. School teacher Saranya (Dushara Vijayan) is his informer here and he gets most of the evidence collection done through Patrick aka Battery (Fahadh Faazil) who is a thief turned police informer. Saranya gets transferred to Chennai as per her wishes and within a few days, she is brutally raped and murdered in the school itself. The investigation is being handled by SP Harish Kumar (Kishore) and his assistant, Roopa Kiran IPS (Ritika Singh) but when they are unable to track the culprit, they call Athiyan for help who shoots down the culprit in an encounter. 

The sensational matter is discussed by the media and judiciary and Satyadev steps in to check if any human rights violation has taken place. Satyadev finds out something that the investigation team had missed and Athiyan realizes that he was being played by his own department. Is Athiyan able to identify the real culprit? Why did Saranya have to die? Is justice finally delivered? You have to watch “Vettaiyan” in theaters to obtain answers to these questions. 

“Vettaiyan” has a brisk first half (though I must admit, the “Manassilaayo” song was unnecessary, out of place and out of character) with the lead characters being introduced firmly, Rajni being given a mass introduction scene, a couple of excellent fight sequences and Anirudh’s throbbing background score to top it all. The narrative slows down a little post interval but picks up steam with the introduction of Natraj Shanmugham (Rana Daggubati). The last half hour is a celebration of Rajni, the superstar and a typical culmination as is expected from the superstar movie with logic flying out of the window and Rajni appearing anywhere as he pleases. 

Despite all of that, I was thoroughly entertained and never lost track of the narrative – largely because of the perfect casting and an ensemble cast that delivers – Fahadh helps in keeping the narrative light and takes you back to his “Njan Prakashan” days with his cool, casual performance; Rana Daggubati is menacing enough and has a sparkling screen presence in spite of playing an underwritten character; Ritika Singh looks her part and plays it well; Rohini is dignity personified; Abhirami Gopakumar is deliciously evil; Kishore is adequate; Dushara Vijayan is impressive and Manju Warrier (playing another underwritten character) gets one mass moment she makes a meal out of. 

Anirudh Ravichander proves that he is the best of the current lot when it comes to composing the OST for crowd pullers – After Jawan, Jailer and Leo, this is another winner from the talented composer. Kathir’s cinematography is good and Philomin Raj keeps the narrative racy enough. Though this is in a completely different zone from his last outing “Jai Bhim”, T J Gnanavel keeps a firm grip on the narrative and delivers a product that is worth celebrating in spite of giving enough to think about and take home. 

What works the most for the film though is the coming together of the 2 legendary superstars after three decades and half – Amitabh Bachchan at 83 and Rajinikanth at 73 can still give all the 30/40/50 somethings in the country a run for their collective money and the applause they generate from the audience is proof enough. The legends have a good time playing off each other and the fun they are having on screen translates to the movie watching audience. “Vettaiyan” is worth your time and money just for the pleasure of watching the 2 of them on the big screen – I am going with 3.5 stars out of 5.

P.S. why take the effort to rewrite,  when we have the copy paste option and you find a review as exact as your thoughts written by you ex-colleague Sreeram. A great reviewer that he is.