Book Review: On the Isle of Antioch by Amin Maalouf

 Behind all our human progress—inventions, technological advances, comforts, and medical breakthroughs—that have made our lives better, longer, and more pleasant are stories of toil, struggle, and hard work. But even when we are in the middle of all these advancements, we realise that we are facing challenges of unprecedented magnitude. We are arming ourselves with deadlier weapons, researching and producing dangerous viruses artificially, eroding and destroying natural resources and the flora and fauna, oppressing the downtrodden, and generally making mistakes that can threaten our own existence on earth.

What if there is a different branch of humans who seperated themselves from us in a distant past, who refused to participate in the rat race and single-mindedly strived to achieve a utopia, made unimaginable strides in technological innovation, and even challenged the notion of death? What if they are observing our lacklustre and unfocused efforts to get ourselves out of the ditch, like a modern man observing a hunter-gatherer tribe? How would we react if they decided to interfere in our lives? Will we trust them to help us ascend, or will we be threatened by their superiority? Will we deify them as our saviours, or will we demonise them for their interference?

In his novel On the Isle of Antioch, the French-Lebanese writer Amin Maalouf depicts a situation in which a technologically advanced set of humans decide to interfere in our affairs and our varied responses to it. This is speculative fiction, with undertones of existential philosophy. The story has the potential to make its reader contemplate our own past and our interferences with each other and with nature in a critical manner. The novel was originally written in French, and its upcoming English edition is translated by Natasha Lehrer. I received an advance copy of the book by the publisher, World Editions, through netgalley.com in exchange for my honest feedback.

Alec Zander, a cartoonist who leads a lonely life on the barren island of Antioch, wakes up one morning to find his power and all communication with the outside world cut off. When he realises that this is a worldwide phenomenon, he fears the worst—the nuclear standoff between the US government and a rebel group has been ended by one of them. He decides to contact his lone neighbour, Ève, a disillusioned, alcoholic writer who has written a cult novel and couldn't repeat the feat once again. Once the connection is reset, his friend in White House reveals to him the contact from an advanced human race that was separated from the main stream centuries before and has decided to support humanity. The novel further explores the ramifications of this information and how different people react to a better class of humans deciding to interfere.

The novel is narrated in the form of daily notebook entries written by the protagonist as the situation evolves. Narrated in the first person, this format gives a very personal feel to the plot. It also builds the suspense and tension of the plot, as readers are on the same page as the protagonist. We are as clueless about the situation as he is and are only privy to any information that he has. This helped to build a rapport with the character and feel the ambivalence of the plot with more intensity. It also helped that the protagonist is a largely impartial person who hears everyone with equal importance and decides to just chronicle the events instead of passing a judgement. He is wavered by emotions, temptations, and different narratives, but largely we find someone who is inquisitive enough to see things without an agenda clouding his intellect.

The novel works as a philosophical reflection on our past, present, and future as a human race. It makes us aware of our past, which built an empire through trial and error and by spending blood and sacrifice. But the past has led to the present, which makes us rely on an egoistic leadership that never thinks of us as a whole and a community that is ready to follow like sheep when someone offers a quick fix solution. As individuals, each of us has an eventual certainty of the future, but as a collective, we are anxious and unsure of it. The novel indicates a trail that may eventually lead us to a better place than our presence—a trail that's marked by increased empathy and cooperation between us.

Book Review: River East, River West by Aube Rey Lescure

Alva is a Chinese American girl born to a failed American actress who grew up poor in Shanghai in 2005. She is unable to accept her mother Sloan marrying Lu Fang, a rich international businessman, as it destroys her plan to someday go to America, a country that she has never visited but is obsessed with. Little does she realise that there is a past that connects Sloan and Lu Fang, an ambitious soul whose academic dreams are cut short by the Cultural Revolution. This starts a story that spans two entwined generations of multiple cultural identities.

River East, River West is the upcoming debut novel by Aube Rey Lescure. The novel, which is set in China, deals with cultural identity and explores how a change in the political and economic situation of a country can create a crisis in personal relationships and one's sense of self. I received an advance copy of this novel from its publisher, Duckworth Books, through Netgalley in exchange for my honest feedback.

The title River East, River West denotes two districts of Shanghai that are divided by the Huangpu River. River West is the old colonial zone of Shanghai, and River East is the Chinese suburb. The plot of the novel is essentially a tug of war between two cultures—Chinese and American—and its effect on the characters. Alva is the main casualty, having belonged to both sides. When Alva has to choose between two campuses of an American school, she chooses the one in River West, indicating her interest in being an American. Her mother, Sloan, has abandoned America because she feels that being an expatriate in China will give her the respect that America never gave her. But her life in China was not a walk on roses either.

The academic pursuit of Lu Fang was culled by the Cultural Revolution. He had to contend with being a pen pusher, but later, when the economic policies changed, he struggled and became a wealthy businessman. He wanted his son, from his first wife, to pursue studies and a career in America. But his son, who never had to face the adversities that Lu Fang faced, never felt the need. Thus, we find that all the major characters are in a state of dilemma, and their ambitions and desires are contradictory to each other's.

Chinese policies and reforms play a major role in determining the motives of the characters. Sloan's satiation of her need for respect and privilege, Lu Fang's desparation to move away from China and his decision to prepare his son to pursue it when he realises it's impossible for him to do it, and Alva's desparation to identify herself as an American and her resultant descent into the rabbit hole all stemmed basically from societal conditions that arose from them.

Except for Sloan, who has experienced it firsthand and knows the reality, America is a dream world for all others. All of them have preconceived notions about life there, which are shaped by the American symbols they see around them in a newly liberalised China. We see several American brands and pop culture references popping up frequently in the narrative. At one point, Alva even asks a person who did a barbaric act if he would dare to do it if he were in America.

The novel follows a non-linear narration from the alternating points of view of Alva and Lu Fang. Alva's sections span a time period from 2007 to 2008 and Lu Fang's from 1985 to 2005. The novelist uses this format successfully to frequently topple the reader's expectations. We form conclusions from the information that is available to us, but in the next chapter, a new twist or turn shifts the narrative to a different angle.

The generational gap is a frequent motif that reappears in the novel. Sloan and Lu Fang have expectations from their children, and they enforce these without considering the reactions of their kids. They have good intentions in mind, but the rigidity of the parents' behaviour only serves to drive the kids away. Another example is the plight of Alva's friend Gao, who is also a victim of an over-disciplinary father. Another interesting element that the writer uses repeatedly is the fall from heights, both literally and metaphorically. We find this used to contrast the characters. Some of them fall and survive, while others don't. The final act begins the biggest fall of them all, the fall of the Lehman Brothers.

River East, River West by Aube Rey Lescure is a devastating story of human beings who are essentially pawns of the bigger machinery that runs the system—local and global econopolitics. But reading it, we realise that they still have the power to adapt if they are ready to stand together as a unit, accepting each other.

Book Review: Orbital by Samantha Harvey

A derelict international space station that is moving around the earth at a distance of 250 kilometres at a speed of seventeen thousand miles. Six astronauts and cosmonauts of different nationalities are living inside this metal globe. In every twenty-four hours, they see sixteen sunrises and sunsets. Their job is to observe the earth, do experiments, maintain the station, coexist with one another, and survive their tenure inside it.

Orbital, the upcoming novel by Samantha Harvey, exhibits twenty-four hours of the existence of these six inhabitants. We find them observing their mother planet for sixteen earth days. We get to know about them, their pasts, their regrets and ambitions, their loneliness up there, their relationships with others in the team, and their struggles to maintain their physical and mental balance. I received an advance copy of Orbital from its publisher, Grove Atlantic, through Netgalley in exchange for my feedback.

The author uses a very interesting narrational style in this novel. The third-person narrative never anchors on any of its characters for most of the time, and even when it does, it shifts very quickly from one member to the next. Like a relay running team, each of the characters comes into focus for a short time, and in that time we get to know them personally. We find who they left behind on earth, the messages they receive, the experiments they have to do, and how they adapt (or not) to the situation of living inside a rapidly travelling vehicle far out in space with strangers and the constant change of scenery. Even when the characters are sleeping, the narrational voice never stops or cuts to the next scene. It goes on to describe the ever-changing geographic visuals of the earth that are visible from the station, maintaining a reporting style throughout the novel.

This kind of narration worked for the novel in two ways. First, the quickly shifting focus works as a disruptive force that constantly breaks the attention of readers. As a result of this rollercoaster style, they get the feel of travelling at high speed and being in an orbit themselves. There is no plot development as such in the novel, and most of the plot deals with the loneliness and internal struggle that the astronauts have to deal with. But the narration gives the novel its pace and urgency.

The second achievement of this unique kind of storytelling is that the reader is always kept at a distance from the plot. We understand the pain and loneliness, and we empathise with the characters, but eventually we are observers. We observe the six of them going on through their routine; we observe what's inside the station; and we also see the earth through the screens of the vehicle. The astronauts are observing the earth intently and communicating with their control on the earth. The earth control, in turn, continuously monitors the progress of the travellers. We realise that, essentially, we are also becoming a part of the chain.

We find that one of the characters has brought a postcard depicting La Meninas, the famous painting by Diego Velázquez, which also connects to the relationship between the chain of observers established by the plot. The painting, which is much debated and studied, poses philosophical questions about the existence of different points of view and the relationship of the viewer with art. It shows all its characters, including the painter himself, observing each other and makes the viewer not certain what exactly is the focus of the painting.

A few other artefacts described in the novel also make the reader debate this conundrum, like the moon landing photo by Michael Collins, which makes one character of the novel wonder if Collins is the lone living man who isn't included in it as it shows moon landers with earth in its background. This reflects the astronauts of the novel observing the earth, which they see as barren from up there, the only signs of life being illuminations whenever it's night, all the while it is teeming with life, invisible to them. Another photo of a character's mother taken on the day of the moonlanding that features the moon, of course without the astronauts who were on it while the photo was being taken, is another clue that reveals the intention of the novel.

Orbital by Samantha Harvey is a slender, though profound, novel that uses the tale of six astronauts inside a claustrophobic spacecraft to explore themes like relations, perspectives, points of view, and the temporal and spatial effects that different points of view exert on a viewer.

Book Review: Feedback by Nicholas R. Golledge

 When we stand where we are and look as far back into the past as we can, we sense something astounding. We find that our way to the present, in which we humans, the intelligent beings capable of manipulating nature according to will, stand on this blue planet, can be totally attributed to pure luck. There were billions of variables affecting this evolutionary tale at various points in time, and even if one of them was slightly altered, intelligent life would not exist today. This realisation makes us consider the possibility of the existence of an invisible hand that worked miracles and 'conspired' to bring us here. Or is it a rare accident that has a chance in billions, in which the dice always fell in our favour for millions of years? 

In his book Feedback, expert climate scientist Nicholas R. Golledge tries to solve this conundrum by uncovering the hidden connections that bind every cyclic system on earth, from plate tectonics to our social lives. He comes to the conclusion that every system that is cyclic is pushed away from an equilibrium state through multiple feedbacks, and these feedbacks ensure that the system is progressively pushed away until it reaches a point at which it breaks down. After the breakdown, the system adapts, reorganises, and rebuilds again to start a new cycle. The feedback ensures that the new cycle is more optimised and more ordered than the previous ones. I received an advance copy of this book from its publisher, Globe Pequot, through Netgalley. 

The book elaborates its concept in eight chapters, each one focusing on a 'living' system that has evolved using feedback and demonstrating an asymmetrical, sawtooth kind of cycle in which it moves forward slowly and steadily and then suddenly breaks down. Golledge demonstrates this pattern repeating in different systems like plate tectonics, the climate system, biodiversity, the evolution of humanity, human societies, and even the working of the human self. He then goes on to claim that knowledge about this concept of the self-evolving and organising nature of systems can be used to improve the prediction of future trends in most human endeavours.

The book, though comprising a little more than 250 pages, is crammed with information from varied disciplines. It is narrated very passionately, and some of the chapters ended up being page-turners, like a thriller story. It also shed light on several scientific facts. For example, I never knew there was a time period in the history of Earth where the duration of a day was just six hours! I agree that it takes its sweet time to make its actual point, and most of the conclusions felt speculative at the end. But ultimately, Feedback excels in equipping its reader with great insights into the path that we—our planet, all the different species that inhabit it, and us humans—had to take on our way up to here and now.

I am also linking a YouTube video in which the writer explains some of the fundamental concepts that formed this book. 

വിഗതാക്ഷരങ്ങൾ വിപ്ലവാക്ഷരങ്ങൾ

 ദിവസം ഓരോ പേജുള്ള ഒരു കഥ വെച്ച് മുന്നൂറ്ററുപത്തഞ്ചു ദിവസം കൊണ്ട് മുന്നൂറ്ററുപത്തഞ്ചു കഥകൾ എഴുതാൻ, ശ്രമിച്ചു നോക്കിയാൽ സാധിച്ചേക്കാം. എന്നാൽ, വ്യത്യസ്തമായ പ്രമേയങ്ങൾ കൈകാര്യം ചെയ്യുന്ന, ആദിമധ്യാന്ത്യപ്പൊരുത്തത്തോടെയുള്ള, സാമൂഹിക പ്രസക്തിയുള്ള, മികച്ച രചനാശൈലിയിലുള്ള മുന്നൂറ്ററുപത്തഞ്ചു കഥകൾ സൃഷ്ടിച്ചെടുക്കാൻ, ഭാവനയും പ്രതിഭയും വേണം എന്ന് തെളിയിച്ചു തന്ന ഒരു മലയാള നുറുങ്ങു കഥാസമാഹാരം ആണ് നന്ദകിഷോർ രചിച്ച വിഗതാക്ഷരങ്ങൾ. കഥാകാരന്റെ വാക്കുകളിൽ, 'വഴിവിട്ട് സഞ്ചരിച്ച' ഈ കഥകൾ ജീവിതത്തെ, സമൂഹത്തെ, അതിൽ അടങ്ങിയ പൊരുത്തക്കേടുകളെ, ഒന്നു വഴിമാറി നിന്ന് വീക്ഷിക്കാൻ വായനക്കാരനെ നിർബന്ധിപ്പിച്ചേക്കാം. 

കാവൽ എന്ന ആദ്യ കഥ കോവിഡ് ലോക്ഡൌൺ കാലത്തുണ്ടായ അനിശ്ചിതത്വത്തിന്റെ, ഏകാന്തതയുടെ, പശ്ചാത്തലത്തിൽ എഴുതപ്പെട്ടതാണ്. ആഗോളതാപനം, വാർദ്ധക്യം, പ്രതീക്ഷ, മറവി എന്നിങ്ങനെ പല വിഷയങ്ങൾ ഈ കൊച്ചു കഥയിലൂടെ മിന്നി മറയുന്നു. തുടർന്ന് വായിക്കുമ്പോൾ കഥകളിൽ കാണുന്ന പൊതു സ്വഭാവം മിതമായ വാക്കുകളിൽ പ്രകടമാകുന്ന ആശയധാരകളുടെ ധാരാളിത്തമാണ്. പല കഥകളും വായനക്കാരന് വ്യാഖ്യാന സാധ്യതകൾ സമ്മാനിക്കുന്നതാണ്. ഒരു നല്ല കഥ, അതിന്റെ വായനക്കാരനെ, കഥാകാരൻ പറയുന്നതിനേക്കാൾ പറയാതെ വിടുന്നതെന്ത് എന്ന ചോദ്യം ചോദിക്കാൻ പ്രേരിപ്പിക്കണം.

ഉദാഹരണത്തിന് തിരസ്കൃതർ എന്ന കഥയെടുത്തു നോക്കൂ. ശുഭ്രവസ്ത്രധാരികളായ വിധവകളുടെ കൂടെ ക്ഷേത്രത്തിൽ ഭിക്ഷയ്ക്കായി എത്തിയ വർണ്ണ വസ്ത്രധാരിണികൾ ഒരു മുരളീരവത്തിനായി കാതോർക്കുന്നു. ഭർത്താക്കളാൽ ഉപേക്ഷിക്കപ്പെട്ട അവർ വിധവകളല്ല. എന്നാൽ സമൂഹം അവരെ ബഹിഷ്കരിച്ചതിനാൽ അവർക്ക് അക്കൂട്ടത്തിൽ കൂടാതെ വഴിയില്ല. തുടക്കത്തിൽ കാട്ടുന്ന വസ്ത്രധാരണത്തിലെ കോൺട്രാസ്റ്റ്, കഥയുടെ അവസാനം സമൂഹ മനസ്സാക്ഷിക്ക് പുറത്തു നിന്നുള്ള ഓടക്കുഴൽ നാദത്തിലുള്ള അവരുടെ പ്രതീക്ഷയിലേക്ക് കഥാകാരൻ വിളക്കിച്ചേർക്കുന്നു. കൂട്ടത്തിൽ കൂടേണ്ടി വരുമ്പോഴും, നിരർത്ഥകമെന്ന് ഉറപ്പുള്ള പ്രവർത്തികൾ ചെയ്യുമ്പോഴും വിദൂരതയിൽ നിന്നുള്ള ആ വിളി നമ്മളെല്ലാം കാത്തിരിക്കുന്നില്ലേ? 

കഥകളിലെ പ്രമേയ വൈവിധ്യം എടുത്തുപറയേണ്ട മികവാണ്. രാജാവും മന്ത്രിയും കൊട്ടാരവും നാലുകെട്ടും പ്രേതവും പ്രേമവും രാഷ്ട്രീയ നേതാവും വിപ്ലവകാരിയും കവിയും കള്ളനും പോലീസും രോഗിയും വൈദ്യനും നിർമ്മിത ബുദ്ധിയും സമൂഹമാധ്യമവും സാദാ മാധ്യമവും എല്ലാം ചേരുന്ന കഥാപ്രപഞ്ചമാണ് വിഗതാക്ഷരങ്ങൾ. പരിസ്ഥിതി വാദവും ഫെമിനിസവും ലിബറലിസവും മാർക്സിസവും നാഷ്ണലിസവും ഹിന്ദുത്വയും ടെക്നോളജിയും എല്ലാം ഇതിൽ വിഷയങ്ങളാകുന്നു. നർമ്മവും ആക്ഷേപഹാസ്യവും ഹൊററും സസ്പെൻസും പ്രണയവും പ്രതികാരവും സയൻസും രാഷ്ട്രീയവും കലയും ഇതിവൃത്തങ്ങളാകുന്നു. 

ഈ പ്രമേയബാഹുല്യത്തിലും കഥകളെ ബന്ധിപ്പിച്ചു വെക്കുന്ന ഒരു ചരട് കാണാം- സാമാന്യ മനുഷ്യരെ മാനിക്കാത്ത, അവരെ ചൊൽപ്പടിയിലാക്കാൻ വെമ്പുന്ന, സ്വതന്ത്രചിന്തയെ ഭയക്കുകയും എതിർക്കുകയും ചെയ്യുന്ന വ്യവസ്ഥിതിയോടുള്ള കലഹം. എല്ലാ എസ്റ്റാബ്ലിഷ്മെന്റുകളും കാലാന്തരത്തിൽ അപഭ്രംശത്തിനിരയാകും. അത് തടുക്കാനുള്ള ഒരേ മാർഗ്ഗം, എപ്പോഴെല്ലാം അത് വഴി തെറ്റുമോ, അപ്പോഴൊക്കെ പ്രതികരിക്കുക എന്നതാണ്. അല്ലെങ്കിൽ, ഒരു ഘട്ടം കഴിഞ്ഞാൽ നമ്മുക്ക് അതിനുള്ള ശേഷി കൈമോശം വന്നു പോകും. വിഗതാക്ഷരങ്ങളിൽ ഓരോ നുറുങ്ങുകളും ഈയൊരു കടമ നിർവഹിക്കുന്നു, അതിന്റെ വായനക്കാരനെ പ്രകോപിപ്പിക്കുന്നു, പ്രാപ്തനാക്കാൻ ശ്രമിക്കുന്നു. 

സമാഹാരത്തിലെ അവസാനത്തെ രണ്ടു കഥകൾ- കഥാശിഷ്ടം, ഭരതവാക്യം- വായനയ്ക്ക് മികച്ച പരിസമാപ്തി നൽകി. ഒരു കഥാകാരന്റെ ദൌത്യം വ്യക്തമാക്കുന്ന രചനകൾ. അവന് കഥയെഴുത്തില്ലാത്ത, കലഹങ്ങളില്ലാത്ത, സമൂഹം കൽപ്പിച്ചു തന്ന അതിർവരമ്പിനുള്ളിൽ നിന്നുള്ള സാധാരണ ജീവിതം സാധ്യമല്ല എന്ന കഥാശിഷ്ടം വ്യക്തമാക്കുന്നു. താനില്ലാത്ത ഒരു കാലത്തും കഥകൾ അനുസ്യൂതം തുടരാനുള്ള പ്രചോദനം അടുത്തവർക്ക് പകരുന്ന നിതാന്ത സഞ്ചാരിയെ ഭരതവാക്യം പരിചയപ്പെടുത്തുന്നു. 

Book Review: Mind Burn by Rhett C. Bruno and T. E. Bakutis

Cowan Soto, a rookie detective in the Cybercrimes Investigation Department, is assigned to help Jeb Forrester investigate the first mass shooting in years. In a future world where a mega corporation makes the rules and enforces them using PBAs installed inside human brains, in the purported utopia devoid of crimes and wars, where every imaginable pleasure is just a log in away, Cowan has to track an invader who corrupts systems to his advantage, who is capable of breaking inside human minds, turning them into puppets, and making them commit any crime. But Soto has another agenda—a secret from his past—that makes this mission personal.

Mind Burn is the latest science fiction novel written by Rhett C. Bruno and T. E. Bakutis that introduces us to an utopian future that uses mind control to establish balance. Anyone who tries to topple it will have their mind burned, making them forget their past and become a totally new person. I received an advance copy from the publisher, Blackstone Publishing, through Netgalley for feedback.

The writers have painstakingly constructed an utopian future in this novel that is seemingly plausible, though alien enough due to technological advances. The novel does a great job of describing the advanced ways in which its world works. Contrary to many other utopian novels, this is not a perfect world. It still reels from the violent ways of its past, tries hard to be perfect, but contains many imperfections and loopholes in it, thereby offering enough leeway for the protagonist and the antagonist to brawl against each other.

Most of the action happens at different levels, through which the characters glide in and out. Meatspace is our normal, physical plane. A PBA that is installed inside the brain can filter out any bad sensations, like smell or any gruesome sights, and also modify the emotional responses. It prohibits acts of violence above an acceptable level. But there is a grey market where corrupted PBA can be bought and installed by grey doctors. Sim is a simulation plane equivalent to our metaverse that can be accessed with avatars. There is an alternate Dark Sim that is equivalent to the Dark Net, where illegal activities happen.

Along with narrating an intense thriller, the novel also poses several pertinent questions concerning free will, balance, individuality, the accumulation of power, and unregulated consumption. Every character fears the punishment of mind burn, where you forget your past and your personality is entirely changed, thereby making you a totally different person. It is a paradoxical thought when you consider that instead of being punished with bodily harm, you are given a second chance for your crimes, and why should someone fear that?

The writers use a third-person narrative style from several characters' points of view. It served the fast-paced story very well and made me well aware of the complex plot from different angles. But my personal choice would have been a first-person narrative from Cowan's perspective, which could elevate the plot as he is a complex protagonist with several internal conflicts and alternating loyalties. Most of the other characters were well situated in the narrative but eventually single-noted and existed only for plot convenience.

Overall, I loved Mind Burn, a detailed science fictional novel with a complex protagonist and a racy plot that introduces its readers to a scarily plausible utopian future and makes them ponder some germane existential conundrums.

The Japanese Myths by Joshua Frydman: An Overview

The Japanese Myths: A Guide to Gods, Heroes, and Spirits by Joshua Frydman, an expert in Japanese literature and culture, is a book that examines the evolution of mythology in the Japanese archipelago. It is a nimble volume, considering the enormous breadth and depth of the subject matter. But the writer packs the book with a lot of relevant information, presented sequentially and in a concise and comprehensive manner, even finding space to include a lot of text boxes for easy reference.

The book is not simply a retelling of mythological tales but a study about the inception of several myths in Japanese culture at different periods of its history. But it contains several enjoyable sample stories that also help the reader comprehend the cultural context of mythical figures. The book, which starts with a chapter about the Japanese identity from historical, geographical, and cultural perspectives during its most significant periods, goes on to explore the tales about gods and heroes that are imbibed through various religions, records by court historians, phenomena of popular culture, and even certain political strategies.

It introduces readers to two books written around the 8th and 9th centuries, Kojiki and Nihon Shuki, that were written as genealogical records of the empire and were, in fact, propaganda to establish that the emperors were descendants of divinity. These are the oldest written mythological records available and form the basis of outsiders' knowledge on the subject. These books introduce the concept of kami, the divine beings of Shintoism, the indigenous religion of Japan, which includes gods, local deities, forces of nature, deified historical persons, geographic formations like mountains, and even antique or valuable objects. Then the books also mention many tales of brave warriors and emperors who, with the support of different kami, performed superheroic endeavours.

The book then describes the myths that were assimilated from Buddhism, which originated in India and was imported from China. Buddhist legends got many makeovers when they reached Japan and interacted with Shintoism. But we can find the influence of Chinese legends and Indian dieties in the worship systems and mythological tales of Japanese Buddhism. Several Indian gods, like Lakshmi and Saraswati, are worshipped in Japan in their altered Buddhist versions.

We don't have any records of the belief system of common Japanese folks until the 15th century. All the available literature was written by the aristocracy and was centred on the Japanese empire and their faith system. With the advent of printing and the penetration of literacy among the common class of Japan by the 15th century, they also started writing about their beliefs, and very soon mythological fantasies and horror stories became popular all over. It is from these that we get acquainted with the belief in yokai, or spirits. Every locality in Japan has its own story of spirits that interact with and affect human life. Different kinds of yokai, like oni and tempu, roamed around the Japanese countryside, wreaking havoc.

Consumers of Japanese popular culture all over the world may be familiar with several aspects of its rich mythology, as these have permeated into movies, literature, and most importantly, manga. But it is interesting to know that the tale doesn't end here, as every generation of Japanese alters, adds to,  or removes from the myths and generates a different version that mirrors the culture and existential problems of the era. New myths like kaiju (monsters like Godzilla) and mecha (robotic beings) were generated and perpetrated in the last century, and even they are being reinterpreted as per the times.

Many of us discard mythology as silly grandmother stories. But myths are essentially coded messages from the past, and decoding them will reveal countless new pieces of knowledge about history, culture, and geography. The Japanese Myths by Joshua Frydman is a perfect key for a beginner to unlock the dynamic mythical world of Japan.

Book Review: So Late In The Day— Stories of Women and Men by Claire Keegan

 So Late in the Day is a new short story collection containing three stories previously published separately, written by the Irish writer Claire Keegan. Keegan's preceding work, Small Things Like These, was shortlisted for the Booker Prize last year, and I am quite elated to have received an advance copy of this collection from the publisher Grove Atlantic through Netgalley in exchange for feedback. As the title suggests, all three stories in the book deal with the relationship between women and men (note the order) and address the gap that exists in them due to preconceived and prejudiced expectations.

The first story, So Late in the Day, begins with its protagonist, Cathal, desperate in his office on a Friday. We get the notion of how deeply in trouble he is when his boss offers him the rest of the day off. Then we see him go back to his lonely house to do lonely things and pet a cat, all the while remembering his ex-fiancee and his life with her. We find out how he lost her due to his clueless behaviour and the mysogenistic strain that is ingrained from his childhood and how he chooses to continue to remain so.

In the second story of the collection, The Long and Painful Death, a female writer takes up residency for two weeks in the famous Heinrich Böll cottage to write her next book. When she has to suffer from an intrusive German professor, she decides to take revenge in a way that only a writer can. The story brilliantly portrays the sense of privilege that is automatically assumed by a man while meeting a woman, even when she's a stranger.

The final story, titled Antarctica, features a married woman who decides to spend a night with a stranger. What begins as a joyful experimentation soon turns into a horrible experience of possessive might. The author uses the image of Antarctica, a strange, snow-filled, and unforgiving landmass that tries to possess and encapture the explorers who dare to conquer it, as a metaphor that captures the plight of our protagonist.

All three stories explore the relationship between women and men and try to decipher the corruption of the interchanges between them from a feminist perspective. Each story examines a specific aspect of it. In the first one, we find that the man expects her to play a certain role that is dictated by a misogynist familial system, which even he isn't aware of. In the second story, it is patriarchal privilege that shows itself in the interaction between the writer and the German professor. The third story captures the element of possession when a man decides that the woman is his belonging without any consideration of her wishes.

The power of Keegan's stories remains in their subtlety. Her concentrated and compact prose makes the reader aware of even the most subtle discontent in the psychology of her characters. Though she is economic in her language and uses no melodrama to augment her conflicts, her stories are sharp and insightful character studies that result in a lasting impact on her readers' minds.

Book Review: All The Little Truths by Debra Webb

 Evidence that could be a breakthrough in the unsolved murder of Lucy Cagle, which happened thirteen years ago, falls into the hands of police. The latest client of the legal investigator Finley O'Sullivan is Ray Johnson, the scion of the shady Johnson family, who wants her to solve the case and absolve him of suspicion. When she digs up in search of the truth, she finds out about more deaths and disappearances. She has to confront an intricate web of lies and half-truths that try to prevent her progress. What could she do when she realises that everyone involved is feeding her lies, even her beloved father?

All The Little Truths is the upcoming third installment of the crime series featuring investigator Finley O'Sullivan, written by Debra Webb. I haven't yet read any of the books in the series or any books by Debra Webb, though I noticed that she has written more than 150 novels. I received an advance copy of All The Little Truths from the publisher, Thomas & Mercer, through Netgalley in exchange for honest feedback.

Even though I haven't read any of the previous books in the series, and many incidents from them have important ramifications in the plot of this book, the author took enough care that the new reader wasn't left in a lurch. The author has left enough clues and hints in the novel without going overboard or compromising the pace, so that the readers can easily connect the dots themselves. We realise that the past of the protagonist is a tragic one and appreciate her attempts to better herself and her situation without reading the previous ones.

The author is successful in convincingly creating a maze of half-lies and fabrications that blocks Finley's progress on her journey to uncover the truth behind the gruesome murder. Every person whom she meets and interviews seems to withhold some crucial information regarding the truth. The title of the novel is very effective in this aspect. Finley has to rely on bits of little truths that are obtained by sifting through loads of lies, red herrings, misinformation, and disinformation.

The tone of the novel is very gritty. Though, for most of its length, it has the pace and style of an elaborate procedural, it never attempts to pull back the punches and gets reckless when needed. With enough grey in her shades, the protagonist, Finley O'Sullivan, turned out to be a very interesting character. Others too are portrayed pretty convincingly, especially her boyfriend Matt and Houser, the sidekick cop. The writer focuses on her plot and characters, never trying to insert unwanted subplots as an attempt at virtue signalling, which is a distracting trend that I noticed in several recent novels.

Through a loose clue hidden in plain sight, I was able to decipher one important climatic revelation before I read one-fourth of the book. It didn't hamper the suspense, though, as there were many other puzzles to be solved and many lies to be uncovered by the end. Overall, All The Little Truths by Debra Webb turned out to be a decent whodunit for me.

മലയാളസിനിമായണം: ആരണ്യകാണ്ഡം

 

മലയാള സിനിമ ഇപ്പോൾ ഒരു വലിയ പ്രതിസന്ധി നേരിട്ടുകൊണ്ടിരിക്കുകയാണ്. നിരവധി ചിത്രങ്ങൾ നിർമ്മിക്കപ്പെടുന്നു, ഓരോ ആഴ്ചയും അഞ്ചും ആറും ചിത്രങ്ങൾ റിലീസ് ചെയ്യപ്പെടുന്നു. എന്നാൽ ഇവയുടെ വിജയശതമാനം ഏതൊരു മുൻവർഷത്തേക്കാളും കുറഞ്ഞു കൊണ്ടിരിക്കുന്നു. പുതിയ നിർമാതാക്കളും, നടന്മാരും, സാങ്കേതിക മേഖലയിൽ പ്രവർത്തിക്കുന്നവരും, വൻതോതിൽ മലയാള സിനിമയിലേക്ക് വന്നുകൊണ്ടിരിക്കുന്നു. എന്നാൽ മിക്കവർക്കും പരാജയത്തിന്റെ കൈപ്പുനീർ തുടർച്ചയായി കുടിക്കേണ്ടിയും വരുന്നു.

എന്തായിരിക്കും കാരണം? സിനിമാക്കാർ പറയുന്നത് റിവ്യൂ ബോംബിംഗ് നടക്കുന്നു എന്നാണ്. അതായത് ഒരു പടം ഇറങ്ങുമ്പോൾ നിരവധി ആൾക്കാർ നെഗറ്റീവ് അഭിപ്രായം വിവിധ സോഷ്യൽ മീഡിയ ഔട്ട്ലെറ്റുകളിലൂടെ പുറത്തുവിടുന്നു. ഇത് ചിത്രങ്ങളെക്കുറിച്ച് മോശമായ ഒരു അഭിപ്രായം പൊതുജനങ്ങൾക്കിടയിൽ ഉണ്ടാക്കുകയും, ചിത്രങ്ങളുടെ സാമ്പത്തിക സാധ്യതയെ തകർക്കുകയും ചെയ്യുന്നു. പലരും ആരോപിക്കുന്നത്, ചില റിവ്യൂവേഴ്സ് എങ്കിലും, നെഗറ്റീവ് റിവ്യൂ ഇടുമെന്ന് പറഞ്ഞ് ബ്ലാക്ക് മെയിൽ ചെയ്യുന്നു, എന്നാണ്. അതേപോലെ, പലപ്പോഴും ചിത്രങ്ങൾ ഇറങ്ങുന്നതിനു മുന്നേ തന്നെ മോശം റിവ്യൂ പോസ്റ്റ് ചെയ്യപ്പെടുന്നു, എന്നും പറയുന്നുണ്ട്. 

റിവ്യൂവേഴ്സ് പറയുന്നത്, തങ്ങൾ കാശുകൊടുത്ത് അനുഭവിച്ച ഒരു എക്സ്പീരിയൻസിനെ കുറിച്ച് അഭിപ്രായം പറയാൻ എല്ലാ അവകാശവും ഉണ്ട് എന്നാണ്. സിനിമ ഒരു പ്രോഡക്റ്റ് ആണെന്നും, ഒരു ഹോട്ടലിൽ പോയി ഭക്ഷണം കഴിച്ച് അത് മോശമാണെങ്കിൽ പുറത്തു പറയുന്നതുപോലെ, ഒരു സിനിമ ഇഷ്ടമായില്ലെങ്കിൽ അതിനെക്കുറിച്ചും അഭിപ്രായം പറയുന്നതിൽ തെറ്റില്ല എന്നുമാണ്. തികച്ചും ന്യായമായ ഒരു അവകാശവാദം ആണെന്ന് കേട്ടാൽ തന്നെ തോന്നും. ഇതിനെ സിനിമാക്കാർ എതിർക്കുന്നത് റിവ്യൂവേഴ്സിന് സിനിമയുടെ സാങ്കേതികതയെ കുറിച്ച് ഒരറിവും ഇല്ലെന്നും, ഇവർ ഒരു അടിസ്ഥാനവുമില്ലാതെയാണ് തങ്ങളുടെ ചിത്രങ്ങളെ കുറിച്ച് നിരൂപണം നടത്തുന്നത് എന്നുമാണ്. 

ആദ്യം നമുക്ക് മലയാള സിനിമയിലെ ചില ഫോൾട്ട് ലൈൻസ് നോക്കാം. ഒരു 15 വർഷം മുന്നേയുള്ള നിർമ്മാണ രീതിയിൽ നിന്ന് സിനിമ മുന്നോട്ടു പോയിരിക്കുകയാണ്. ഇന്ന് സിനിമ എടുക്കുന്നത് ഡിജിറ്റൽ ആയിട്ടാണ്, വിതരണം ഡിജിറ്റൽ ആയിട്ടാണ്, അതിൻറെ മാർക്കറ്റിംഗ് ഏറെക്കുറെ ഡിജിറ്റൽ ആയിട്ട് തന്നെയാണ്. ഇതിൻറെ ഒരു ഗുണം വളരെ എളുപ്പത്തിൽ, ചിലവ് കുറച്ച്, സിനിമ എടുക്കാം എന്നതാണ്. പണ്ടത്തെ സാങ്കേതിക വിദഗ്ധരുടെ അത്ര പരിചയമോ കൈവഴക്കമോ ഇല്ലെങ്കിൽ കൂടെ സിനിമ എടുക്കാൻ സാധിക്കും. മറ്റൊരു വ്യത്യാസം ഈ ഡിജിറ്റൽ മേഖല കാരണം ഉണ്ടായിട്ടുള്ളത് റിലീസിംഗിലാണ്. ഒരേ ദിവസം തന്നെ 3000മോ 4000മോ സ്ക്രീനിൽ, അതും ലോകത്തിൻറെ വിവിധ ഭാഗങ്ങളിൽ, സിനിമ പ്രദർശിപ്പിക്കാൻ സാധിക്കും. പണ്ട് നൂറോ ഇരുനൂറോ ദിവസം കൊണ്ട് നേടിയെടുത്ത കളക്ഷൻ ഒരു സിനിമയ്ക്ക് ഒന്നോ രണ്ടോ ആഴ്ചകൾക്കുള്ളിൽ നേടിയെടുക്കാം. കൂടാതെ ഇന്ന് തിയറ്റർ മാത്രമല്ല, ടെലിവിഷൻ ചാനലുകൾ, യൂട്യൂബ്, ഓ ടി ടി പ്ലാറ്റ്ഫോമുകൾ, എന്നിങ്ങനെ വിവിധ മാധ്യമങ്ങളിലൂടെ സിനിമ പ്രദർശിപ്പിക്കാം.

ഇതെല്ലാം നല്ല കാര്യമാണെങ്കിൽ, എന്തുകൊണ്ടാണ് സിനിമയുടെ നിലവാരം കുറയുന്നത്? സിനിമയുടെ ചിലവ് കുറയുമ്പോൾ കൂടുതൽ ആളുകൾ സിനിമ പിടിക്കാൻ ഇറങ്ങും. ഡിമാൻഡ് എത്രയുണ്ട് എന്നതിന് ഒരു അവലോകനവും ആരും ചെയ്യില്ല. പ്രേക്ഷകർക്ക് ആവശ്യമില്ലാത്ത സിനിമകൾ എന്തിനു ഇറങ്ങണം? എന്നാൽ പെട്ടെന്ന് തട്ടിക്കൂട്ടാം എന്ന് മോഹവുമായി പലരും ഈ മേഖലയിലേക്ക് ഇറങ്ങുന്നു. ഓ ടി ടി പ്ലാറ്റ്ഫോമുകൾ ഇതിനെ പ്രോത്സാഹിപ്പിക്കുകയും ചെയ്യുന്നു. ചെറിയ കാശിൽ സിനിമയെടുത്ത് ഓ ടി ടി ക്ക് വിറ്റാൽ ലാഭം കിട്ടും എന്ന അതിമോഹം. ഡിമാന്റിന് അപ്പുറത്തേക്ക് ഉൽപ്പന്നങ്ങൾ വിപണിയിൽ വരുകയും, പൊതുവേയുള്ള ഒരു ക്വാളിറ്റിയിൽ കുറവ് വരികയും ചെയ്യുമ്പോൾ സംഭവിക്കുന്ന സ്വാഭാവിക പ്രതിഭാസം തന്നെയല്ലേ മോശം ചിത്രങ്ങളുടെ അതിപ്രസരം? 

ഇനി റിവ്യൂസിനെ കുറിച്ച് പറയുകയാണെങ്കിൽ, ഇന്ന് ഒരു ചിത്രം ലാഭം ഉണ്ടാക്കേണ്ടത് ഒരു രണ്ടാഴ്ചത്തെ ബിസിനസ് കൊണ്ടാണ്. അപ്പോൾ ആദ്യ ദിവസം തന്നെ പടം മോശം അഭിപ്രായമാണ് സ്വരൂപിക്കുന്നതെങ്കിൽ, തീർച്ചയായും നഷ്ടമായിരിക്കും ഫലം. ഈ നഷ്ടം എന്നത് അതിദയനീയമായ നഷ്ടം ആയിരിക്കുകയും ചെയ്യും. കാരണം മുൻപേയുള്ള പോലെ നൂറും ഇരുന്നൂറും ദിവസം ഓടുന്ന ചിത്രങ്ങളുള്ള കാലഘട്ടത്തിൽ, പൊളിയുന്ന സിനിമകൾ പോലും ചെറിയൊരു കളക്ഷൻ എങ്കിലും നേടുമായിരുന്നു. നിർമാതാവിന് നഷ്ടം ഉണ്ടെങ്കിലും പൊതുവേ നഷ്ടത്തിന്റെ അളവ് ഇപ്പോഴുള്ളതിനേക്കാൾ ഇത്തിരിയെങ്കിലും കുറവായിരിക്കും. എ സെന്ററുകളിൽ നഷ്ടം വന്നാലും കുറച്ചൊക്കെ ബി സി സെൻററുകളിൽ ചെറിയ ബിസിനസുകൾ നടക്കും. 

ഇന്ന് അങ്ങനെ ഒരു സാധ്യത തന്നെ ഇല്ല. നഷ്ടമാണെങ്കിൽ തീർത്തും നഷ്ടം, ലാഭം ആണെങ്കിൽ ഒരു മാസത്തിനുള്ളിൽ കയ്യിൽ കിട്ടും. ഇതാണ് അവസ്ഥ. അപ്പോൾ ആദ്യ ദിവസം തന്നെ നാല് റിവ്യൂസ് മോശം വന്നാൽ, പിന്നീട് ആരും കാശ് കൊടുത്ത് പടം കാണാൻ കയറില്ല. ആവറേജ് റിവ്യൂ ആണെങ്കിൽ തന്നെ ഓ ടി ടി യിൽ വരുമ്പോൾ കാണാം എന്ന് തീരുമാനിക്കുകയും ചെയ്യും. അതായത് റിവ്യൂ സിനിമയെ കനത്ത രീതിയിൽ തന്നെ ബാധിക്കും. അപ്പോൾ റിവ്യൂ നിരോധനം നടപ്പിലാക്കിയാൽ സിനിമാ വ്യവസായം പുഷ്ടിപ്പെടുമോ? ഒരിക്കലുമില്ല. പല സിനിമകളും ഇറങ്ങിയിട്ടുണ്ടെന്ന് നാട്ടുകാർ അറിയുന്നതു തന്നെ റിവ്യൂ ചെയ്യുന്നവർ മോശം എന്ന് പറയുമ്പോഴാണ്. 

അപ്പോൾ സിനിമാക്കാർ ഇനി എന്തു ചെയ്യണം? കൃത്യമായി മാർക്കറ്റ് പഠിക്കണം. ഇവിടെ പ്രേക്ഷകർക്ക് ആഴ്ച തോറും എത്ര സിനിമകൾ സപ്ലൈ ചെയ്യണം എന്ന് മനസ്സിലാക്കണം. കൂടാതെ എങ്ങനെയുള്ള ചിത്രങ്ങളാണ് അവർക്ക് വേണ്ടത് എന്നും മനസ്സിലാക്കണം. ചവറു പോലെ ആറും ഏഴും പടങ്ങൾ എല്ലാ ആഴ്ചയും നിരന്തരമായി പ്രേക്ഷകന്റെ മുന്നിലേക്ക് ഇട്ടുകൊടുത്ത്, ഇതെല്ലാം കൺസ്യൂം ചെയ്യണം, അതും അവൻറെ സമയവും, കാശും മുടക്കി, തിയേറ്ററിൽ തന്നെ പോയി വേണം ചെയ്യാൻ, എന്ന് പറയാൻ ആർക്കും ഒരു അധികാരവും ഇല്ല എന്ന് മനസ്സിലാക്കണം.

ആഴ്ചയിൽ ഒന്നോ രണ്ടോ സിനിമ റിലീസ് മാത്രം നടന്നാൽ തന്നെ കുറച്ച് കാര്യങ്ങൾ സ്ഥിരമാവും. ഈ ചിത്രങ്ങൾ മാത്രം ഇറങ്ങുമ്പോൾ, ഇവയുടെ മാർക്കറ്റിംഗ് കൂടുതൽ കാര്യക്ഷമമാകുകയും, ജനങ്ങൾ ഇവയെക്കുറിച്ചു അറിയുകയും ചെയ്യും. ചലച്ചിത്രങ്ങൾ ആത്യന്തികമായി കലാസൃഷ്ടികളാണ്. അതിനാൽ തന്നെ അവയുടെ ഗുണമേന്മ അളക്കുക എന്നത് ബുദ്ധിമുട്ടാണ്. എന്നാൽ, ഒരു മിനിമം ഗുണമേന്മ തങ്ങളുടെ ചിത്രങ്ങൾക്ക് വേണമെന്ന് നിർമ്മാതാക്കൾക്ക് വാശിപിടിക്കാമല്ലോ? ഇതിലും നിർമ്മാതാക്കളുടെ സംഘടനയ്ക്ക് ചില കാര്യങ്ങൾ ചെയ്യാനാകും. ഒരു കമ്മിറ്റി പോലെ ഉണ്ടാക്കി സ്ക്രിപ്റ്റുകൾ അവരെക്കൊണ്ട് വേണമെങ്കിൽ ഒന്ന് അവലോകനം ചെയ്യുക. അപ്പോൾ തന്നെ തീർത്തും മോശം തിരക്കഥകൾ പുറത്താകും. കൂടാതെ പുതുതായി സിനിമയെടുക്കാൻ ഇറങ്ങുന്നവർക്ക് പ്രൊഡക്ഷനിലും, പ്രമോഷനിലും മറ്റും ആശയപരമായ സഹായങ്ങൾ ചെയ്തു കൊടുക്കാനും സാധിക്കും. 

മറ്റൊരു ഐഡിയ എനിക്കുള്ളത്, ഈ പ്രൊഡ്യൂസേഴ്സ് അസോസിയേഷന് സ്വന്തമായി ഒരു ഓ ടി ടി പ്ലാറ്റ്ഫോം വികസിപ്പിച്ചെടുത്തു കൂടെ എന്നതാണ്. മിതമായ നിരക്കിൽ പരാജയ ചിത്രങ്ങളെല്ലാം വീട്ടിൽ നിന്നും കാണാനുള്ള ഒരു സംവിധാനം ഉണ്ടാക്കിയെടുക്കുകയാണെങ്കിൽ, കുത്തുപാളയെടുത്ത നിർമാതാക്കൾക്ക്, അതുപോലെ തന്റെ ചിത്രം തിരസ്കരിക്കപ്പെട്ടു എന്ന് വിഷമിക്കുന്ന സംവിധായകർക്ക് ആശ്വാസമായിരിക്കും.

ഇനി പുതിയകാല സിനിമാ നിരൂപണത്തിന്റെ കാര്യം. സോഷ്യൽ മീഡിയയുടെ ഏറ്റവും വലിയ പ്രശ്നം, അത് ഇൻസ്റ്റന്റേനിയസ് ആയതിനെയും നെഗറ്റീവ് ആയതിനെയും കൂടുതൽ മുന്നോട്ടുകൊണ്ടു വരുമെന്നതാണ്. ഉദാഹരണത്തിന്, ഞാൻ നല്ല ഒരു പാട്ട് അതിഗംഭീരമായി ആലപിച്ച്, ഒരു വീഡിയോ ഉണ്ടാക്കി യൂട്യൂബിൽ ഇട്ടാൽ, പത്തു പേര് അത് കാണും, മൂന്നു പേര് നന്നായി എന്ന് പറയും. എന്നാൽ ഇതേ പാട്ട് തീർത്തും വൃത്തികേടായി പാടി നോക്കിയാൽ അതിന്റെ റീച്ച് അപാരം ആയിരിക്കും. അതുപോലെ, ഒരു സിനിമയെക്കുറിച്ച് ഗഹനമായുള്ള ഒരു നിരൂപണം, വൃത്തിയായി നല്ല ഭാഷയിൽ ചെയ്താൽ അത് ഒരു 15 മിനിറ്റ് ഇരുന്ന് കേൾക്കാൻ ആളുകൾ തയ്യാറാവില്ല. അതേസമയം തന്നെ തീർത്തും ഉപരിപ്ലവമായും തീർത്തും നെഗറ്റീവ് ആയും പറഞ്ഞാൽ കൂടുതൽ റീച്ച് കിട്ടും. ഇത് ലോകമെമ്പാടുമുള്ള ഒരു സോഷ്യൽ മീഡിയ ഫിനോമിനൻ ആണ്. 

റിവ്യൂ ചെയ്യുന്നവർ തങ്ങളുടെ അവലോകന മികവിനേ അപ്ഡേറ്റ് ചെയ്തുകൊണ്ടിരിക്കുകയാണെങ്കിൽ നന്നായിരിക്കും. സിനിമയെക്കുറിച്ചും, നിരൂപണത്തേക്കുറിച്ചും ഇറങ്ങുന്ന പുസ്തകങ്ങളും വീഡിയോകളും കാണുകയും, അന്താരാഷ്ട്ര തലത്തിൽ ഇറങ്ങുന്ന റിവ്യൂകൾ വായിക്കുകയും ചെയ്യുക. എന്നാൽ അത് നടക്കും എന്ന് എനിക്ക് യാതൊരു ഉറപ്പുമില്ല. ഇവിടുത്തെ ഒരു പ്രമുഖ യൂട്യൂബ് റിവ്യൂവർ പറഞ്ഞത്, അയാൾക്ക് റോജർ ഇബർട്ടിനെ അറിയില്ല, അങ്ങനെ ഒരാളെ കുറിച്ച് കേട്ടിട്ട് പോലുമില്ല, എന്നാണ്. അതിൽ ഒരു കുഴപ്പവും ഞാൻ കാണുന്നില്ല. എന്നാൽ, തുടർന്ന് അദ്ദേഹം പറയുന്നത്, തനിക്ക് അതിൻറെ ആവശ്യമില്ല, എന്നാണ്. അപ്പോൾ ഒരു പ്രൊഫഷണൽ ചെയ്യുന്നതുപോലെ, തൻറെ സ്കിൽസെറ്റിനെ തേച്ചു മിനുക്കാൻ യാതൊരു ഉദ്ദേശവും ഇല്ല, എന്ന് തന്നെ. ഇത് ആശാവഹമായ ഒരു കാര്യമാണോ എന്ന് റിവ്യൂ കാണുന്നവരാണ് തീരുമാനിക്കേണ്ടത്. എന്നെ സംബന്ധിച്ചിടത്തോളം, വ്യക്തിഹത്യ ചെയ്യാതെയും, സ്പോയ്ലറുകൾ ഇല്ലാതെയും, എന്തുപറഞ്ഞാലും വലിയ പ്രശ്നമുള്ളതായി തോന്നുന്നില്ല. 

Letters to a Young Novelist by Mario Vargas Llosa: Direct From the Horse's Mouth

Decades ago, while on a phase of hunting down Marquez novels from the public library in Dharwad and reading them, I read about another great novelist from Latin America named Mario Vargas Llosa in a magazine article. To my astonishment, I wasn't able to find a single novel of his in the expansive library. Years later, I found one of his books in another small private library in Bangalore, and that book, The Feast of the Goat, turned out to be the kind that altered you profoundly. I read a few more of his classics later, but nothing could beat the first one, in scope or scale, in style or substance, or in impact, though each of them was awesome in its own manner.

In his book Letters to a Young Novelist, Llosa delves deep into the art of writing novels and imparts the trade secrets of his craft in the form of letters written to an aspirant. The book evolves in a mentoring, conversational tone but never strays off the path. In twelve chapters, the book dissects the art form of fiction writing and, with the help of numerous examples from several known and not-so-known novels, details several aspects of structuring a novel.

If you're looking for a collection of literary essays that delves into creativity or tips and tricks of writing, it is better to stay away. Letters to a Young Novelist works more as a text book, though written in a fascinating style, which can be useful if you intend to create stories or are interested in understanding a novel better while reading one. In his opening chapter, Llosa describes the intention of writers as this:

The literary vocation is not a hobby, a sport, a pleasant leisure-time activity. It is an all-encompassing, all-excluding occupation, an urgent priority, a freely chosen servitude that turns its victims (its lucky victims) into slaves.

He equates being a writer with possessing a tapeworm inside you. Your entire life, with its myriad experiences, acquaintances, joy, sorrow, anger, revolt, and surrender,  becomes food for the worm, i.e., what you intend to write. In his second chapter, he compares the process of writing a novel to striptease in reverse.

In constructing the novel, he goes through the motions of getting dressed, hiding the nudity in which he began under heavy, multicolored articles of clothing conjured up out of his imagination.

In the subsequent chapters, Llosa forgoes his abstract style to hold your hand and show the technical aspects of the form and structure of stories. He demonstrates how a novel should have the power to persuade the reader if it has to be good, like when you read The Metamorphosis, Kafka successfully persuades you to wholeheartedly accept the premise of a man turning into an insect. This persuasion happens not just due to its content but also the form in which the writer chose to write it. It happens when the style and the order—the way it is written and the way it is organised—work in tandem to create an alternate reality inside you that is independent of your own perceived reality.

The discussion then goes on about the space and time inside a novel and how you can use spatial and temporal shifts to create maximum impact on the story. You could choose a level of reality that is different from the ones that we perceive, or you could even alternate between different realities to enhance your story. A few more techniques to improve the novel are also shared, like the use of Chinese boxes, where a story is placed inside another story (Mahabharatam has such a structure), excluding facts and events from the narrative for you to form conclusions of your own, or the usage of communicating vessels, where different episodes happening in different spaces, at different times, or in different realities may be linked to result in a whole that is far above the sum of its parts.

Letters of a Young Novelist is a work by the ace novelist Mario Vargas Llosa that describes the techniques of narrating a persuading story. But what I loved the most was the audacity of the genius to make you read a book of around 150 pages on writing a novel and then to end it with this:

My dear friend: what I am trying to say is that you should forget everything you’ve read in my letters about the structure of the novel, and just sit down and write.

 

 

 

Book Review: Hex Americana by Bree D. Wolf

 Dante Willow, aka Speed Demon, the legendary car racer of the fictional Hex Americana Grand Prix, crashed inside Echo Caverns while racing his rival Mason Higs. Twenty years later, when Ken, an aspiring racer, falls into the cavern, he meets the ghost of Dante and decides to help him move on. Dante wants to win the race that he had to leave incomplete, and Ken wants a car and an entry in Hex Americana. But when more details of the old incident get revealed and romance blooms between the two, they have to rethink their goals and priorities.

Hex Americana is an upcoming graphic novel by Bree D. Wolf, a cartoonist and game designer who has been involved in the creation of several board games, video games, comics, and stuff. The novel is a teenage romantic fantasy with the background of car racing and explores several themes like loss, grief, closure, teenage issues, homophobia, corporatization, cultural differences, and then some more. I received an advance copy of the book from the publisher, Letter Better Publishing Services, through Netgalley in exchange for honest feedback.

Hex Americana is a pretty huge project, as evident from the 360 pages it occupies. There are numerous colourful characters, a wide range of themes are depicted, and the plot itself is stocked with many twists and turns along the way. Bree, who has written and illustrated the book, needs to be commended for the consistency in the quality of her work. Her illustrations are not overtly detailed. She focuses more on the closeups of her characters and uses a broad, caricaturish style that is also pleasing to the eye. The race sequences were especially interesting because, beyond detailing the action, you also found the reactions. There is obvious inspiration from manga, though Bree pushes her individual style to the fore.

Another strong point of the book is its world-building efforts. Most of Bree's characters have seemingly other wordly looks, like an extra mouth behind the head that can speak for some or a large single eye for another. You find ghouls, cyclops, and even a chicken-legged car. But even with these seeming deformities, we discover their lives, outlooks, motivations, and aspirations are as real as you and me. The writer makes them go through recognisable situations, and the fantastic elements turn out to be cleverly hidden reality bombs.

While the illustrations and the concepts are pretty compelling, I found it overwhelming when the plot tried to grab as many social issues as it could while it plodded to a twist-charged, absorbing climax. I don't think there is any point in going out of your way to just have your finger in every piece of the pie.

Book Review: Past Lying by Val McDermid

 A perfect crime! Every crime novelist claims that it is impossible to perform such an act and writes novels with the sole intention of dispelling such a notion. But it seems one writer has executed such a transgression and planned to base his next novel on that, as per the incomplete manuscript that falls into the hands of DCI Karen Pirie. She is sure that the plot is eerily similar to the unsolved disappearance case of a university student that she handles. Amidst a severe global pandemic, strict lockdown, a hostile boss, and a strained relationship, she digs deeper to find that this crime may not just be born out of the whim of an arrogant writer, and beneath the mystery lies a Scotch Gambit played out to exact revenge.

Past Lying is the upcoming crime novel by the veteran Scottish crime novelist Val McDermid, her seventh one featuring DCI Karen Pirie, a DCI who handles cold cases for the Edinburgh Police. The book is set during the first COVID lockdown period in Edinburgh, with several severe restrictions in place. It is also interesting to note that the writer, being a crime novelist herself, has opted to base the novel in the cutthroat (?) world of crime novelists and publishers. The book is published by Grove Atlantic, who provided me with an advance copy through Netgalley in exchange for feedback.

The idea to use the lockdown period for a crime thriller is a very refreshing twist. What it effectively does is provide a closed-room setting for the plot. A crime is (probably) committed, and all the suspects are severely restricted in their movements with only one option: to let the classic detective interrogate them, piece together the clues, and detect the culprit. But in Past Lying, even the detective, unlike Poirot, who gives batshit about the personal space or privacy of suspects, is severely restricted. Instead of impairing the plot progression, the writer effectively uses this predicament to provide innovative ways for Karen to overcome her obstacles.

The writer also gives her readers an interesting glimpse of the world of crime fiction writers and the industry. She, being a crime writer herself, makes it very entertaining, even though the glit and glamour feel exaggerated to suit the plot necessities. Better than the lives of writers, I feel McDermid depicts the fandom of crime writers, true fiction enthusiasts, and the podcast culture with more accuracy and sensitivity. It is the portions of the novel that detail the literary world and surrounding paraphernalia that make it more enlivened.

One drawback of the closed-room mysteries is that the reader always succumbs to the tendency to be ahead of the narrative and predict the culprit. I guessed this surprise well ahead of the reveal, but still, I found Past Lying a pretty interesting crime novel to read. The motive and modus operandi of the crime are absorbing to read about, and as a procedural, the novel is very diligent in its path. Lockdown and the pervasive, uncertain atmosphere provided a claustrophobic effect while reading.

If I have an issue with this book, which I have with many other recent books of the genre, it is the unnecessary virtue signalling. While writing a series of mystery books featuring a common detective, I assume it is very well to have subplots that don't add to the main plot but forward the story of the protagonist from one novel to the next. But many novels try to forcefully insert subplots that don't complement the story or the overarching character development of the protagonist spanning the franchise. This is done to make an idealistic or political point or to make the novel more culturally inclusive. If this is an important feature to add to a crime novel, why not make it the main plot? What is the reason to introduce plot points and characters that impede a perfectly paced story?