Book Review: Pleasure of Thinking by Wang Xiaobo

Suppose that somewhere in history there was a great sage who suddenly discovered all novelties and things interesting, revealing the ultimate truth such that there would be nothing left to be discovered, then I would prefer to be born in a time before such a great sage existed. The reason is that if the ultimate truth has already been discovered, then the only thing left for humanity to do would be to judge everything based on this truth.

 Wang Xiaobo is a Chinese writer whose novels and essays are very popular in mainland China. Some of his novels, like Golden Age, are already translated into English, and now his collection of essays is translated for the first time with the title Pleasure of Thinking. The translation is done by Yan Yan, who also has the translation credit for Wang's novel Golden Age. This upcoming book was provided to me by Netgalley and its publisher in exchange for my honest feedback.

Wang Xiaobo was born into a family of intellectuals. But he was forced to work on a farm in Yunnan as a part of the Cultural Revolution. It is evident from these essays that his experiences in the commune and his later ones as a teacher and factory worker were critical in shaping his unique perspectives on life, literature, and culture. He married the famous sociologist and activist Li Yinhe. Several essays in this collection have sprouted from the sociological works of Li Yinhe about homosexuals, marginalised communities, and villagers in China. He went to the US as a student for a short period and then returned to China. He worked as a lecturer in sociology until his early death in 1997.

This collection contains 33 essays laced with black humour that discuss a variety of themes. It will be easy to discuss these essays if we group them under some headings. Though the contents may spill over in between these categories to a certain extent, it will make sense if we group them as essays on thinking, on sociology, on China, on abroad, and on writing and literature. It seems the pieces are placed in the order of their humour content, with the initial ones being more meditative and sober and the later ones going all out on sarcasm and black humour, the exception being the very last one, The Silent Majority, which is more contemplative.

The first set of essays ruminates about being an intellectual capable of thought. These are mostly connected with his experiences in the commune, where he had to work under army men who were incapable of any thought and simply followed orders. In the essays about sociology, Xiaobo refers to the work of his wife and writes about different marginalised communities within China. He says that even the Chinese of his time were ignorant of the homosexual community in China because they operated as a silent minority. He writes on topics like village communities in China, feminism, leftism in the USA, and cultural relativism. The essays in these two categories are more reflective and matter-of-fact accounts, though we are treated to glimpses of his sharp wit and sarcasm occasionally.

There are a bunch of essays on China that ponder the situations in the country that he observed. Razor-sharp criticism can be found in these pieces, though it is evident that he has deep love and patriotic feelings for his country. He writes about the damages caused to China from the time of Confucius to Mao's Cultural Revolution, which severely impaired the country. The writer writes in his essays about his life experiences in America and Europe. He writes about food, houses, travel, and many other facets of life in foreign nations and compares them with China. These essays are loaded with sharp observation and the recounting of several hilarious incidents.

His essays on literature and writing are some of my favourites in the collection, because here I could feel the balance of penetrating humour and profound thought. He explains the reason he chose to write, about his first novel and his writing style, about different novels with oppression as the theme, and about a book by Italo Calvino about writing. The final essay of the collection and probably the longest one, The Silent Majority, sums up the total world view of Wang Xiaobo and provides a perfect culmination to the book.

As the book is written mostly in the 1990s, the social and political situation of China and the whole world has significantly altered. The issues that Xiaobo addresses in many essays have also undergone transformations, and many of them may seem irrelevant. The pop culture and technological references are outdated. But if we take a dive below surface level, it can be observed that the essays are relevant even now, albeit sometimes in an altered context. For example, in his commentary on the internet, he bemoans the deluge of information and misinformation that it supplies to the consumer, which has escalated today when some of that information is our own.

Reading Xiaobo visualised in me a seahawk that flies far above the ocean, observing it closely and once in a while plunging into it and rising again with a fish on the beak. He gives us a general description of the subject and, when we least expect it, takes the plunge and throws towards us a surprise observation that is consistently profound and witty.

Book Review: To The Stars And Other Stories by Fyodor Sologub

I have read many Russian writers and generally love Russian literature. The first Russian novel that I read was Crime and Punishment by Fyodor Dostoevsky. Later, I got to read the works of esteemed writers like Tolstoy, Turgenev, Gogol, Chekhov, etc. I am also looking forward to reading the novels of some familiar names like Nabokov and Bulgakov. Till I received the upcoming short story collection To The Stars and Other Stories from Netgalley for an honest review, I had never heard of Fyodor Sologub, who is a celebrated poet and story writer.

Sologub was born into a poor family, and after his father's death, it was his mother who toiled as a houseworker and ensured he got educated. Sologub became a teacher and worked in places far away from popular literary circles. With time, his work started to get noticed, and he collaborated with his wife, Anastasia Chebotarevskaya, who was also a translator. After the Bolshevik revolution, which he didn't favour, he was not able to publish anything in Russia. But he received recognition outside Russia as his works were translated into other languages. The couple applied for emigration, but the application was put on hold. Poverty and uncertainty caused his wife to take her life. Sologub was deeply affected, and he decided not to leave Russia. He spent his remaining days near the place of his wife's death.

To The Stars and Other Stories is a collection of thirteen short stories and a sampling of fairy tales written by Sologub that are translated by Susanne Fusso. Sologub is not a writer who is read widely today, though he was so popular in his time that a collection of his complete works was published twice in his lifetime. Fusso, being a Sologub enthusiast, wants him to reach his deserved audience, and that is the motivation behind this collection.

While reading these stories, I became aware of one thing: Sologub is, first and foremost, an excellent poet. All his short stories have an economy that portrays the most profound and vivid images with the minimum use of words. His stories are realistic in their setting and fantastic in their telling. We get a glimpse of a decaying society that suppresses the creative urges displayed by its members. Though all his stories have common themes and a similar structure, he uses elements from a highly varied cross-section of society, which makes each story a unique experience. It is also important to note that the issues highlighted in them are of universal nature and will find resonance until we depend on a societal structure for our sustenance.

The book opens with the story To The Stars, which is about a kid called Seryozha who cannot bear the behaviour of adults. He associates this with the daytime and craves the presence of nights and stars. He creates a world of stars in his imagination and believes it beckons him. This is a common motif that is present in most of the stories in this collection: a kid or kid-like person who cannot handle reality and aspires for fantasy. This alternate, imaginative life ends in ultimate tragedy. Most of the stories have a pessimistic viewpoint, but Sologub approaches death in a reverential manner. It is as if death is the eventual comfort for a human being suffering to align with a society that doesn't care.

But it's not just doom and gloom that is prevalent in these stories. Most of the stories have a humorous undercurrent, which again adds to their poetic nature. In some stories, like In Captivity, where two boys' search for magic words ends in expletives, and The Two Gotiks, where a boy sees his doppelganger running out of the house at midnight, the humour is overt. There are stories like The Youth Linus and In The Crowd in which humour is used to accentuate the horror and leaves the reader feeling a bit queasy after reading. The White Dog, a story in which an old seamstress decides to transform into a howling dog, embraces the supernatural, which is a rarity in the collection. Another one called Death by Advertising is also a supernatural plot about a man calling his death upon him by answering an advertisement.

The Road To Damascus, a story that he co-wrote with his wife, is a unique story in which the ending is very uplifting. The Kiss of The Unborn Child is also a story that ends with optimism, though it starts with the death of a boy who shot himself. There is another story of a young man who shoots himself. It is about a club of young girls who take turns masquerading as the fiancee of any dead single man. Nina is in anticipation when her turn comes and she has to attend the funeral of a man who shot himself as his fiancee. This is my favourite of the whole collection. Stories titled Beauty and The Sixty-Seventh Day are unabashed celebrations of the human body. The former ends in despair, while the latter, against which a pornography charge was applied and the publisher prosecuted, has a very hopeful ending.

The Lady In Shackles is a story about a widow who invites men to torture her every year at the exact time that her abusive husband died. It has an interesting psychological angle that is unearthed in its final sentence. Finally, we find a collection of fairy tales and parables that stands on the fine line that separates poetry from prose. Each of them is a very minimalist exercise that conveys a lot more to the thinking mind than it appears.

To The Stars And Other Stories by Fyodor Sologub is a collection of unique stories that blend reality and fantasy, poetry and prose, despair and hope. These stories share the pain experienced by a silent demography that struggles to keep up with the dictates of an unsympathetic society, fails to assimilate, and attempts to build a new reality for themselves.

ഗുരുസാഗരം: ആധുനികതയ്ക്കൊരു ഒറ്റമൂലി?

വളരെ വർഷങ്ങൾക്കു മുൻപ്, നോബൽ സമ്മാന ജേതാവായ ഒരു വിശ്വ സാഹിത്യകാരന്റെ കൃതി വായിച്ചു കഴിഞ്ഞ ശേഷം, എങ്ങനെയുണ്ട് എന്ന് ചോദിച്ച എൻറെ അമ്മാമനോട് ഞാൻ പറഞ്ഞത്, ഇതുപോലുള്ള പുസ്തകങ്ങൾ എഴുതിയ ആൾക്ക് നോബൽ കൊടുക്കാം എങ്കിൽ നമ്മുടെ ഓ വി വിജയന് ഒക്കെ പണ്ടേ അത് കിട്ടേണ്ടതാണ് എന്നായിരുന്നു. ഒ വി വിജയൻറെ ഖസാക്കിന്റെ ഇതിഹാസം എന്ന അത്ഭുത സൃഷ്ടി വായിച്ചതിന്റെ സ്വാധീനത്തിലാണ് അന്ന് ഞാൻ അത് പറഞ്ഞത്. അതിനു ശേഷം അദ്ദേഹത്തിൻറെ പല നോവലുകളും കഥാസമാഹാരങ്ങളും ലേഖനങ്ങളും മറ്റും വായിച്ചിരുന്നു. അന്ന് പറഞ്ഞതിന് ഒരു കുറവും പിന്നീട് തോന്നിയിട്ടില്ല. 

എന്നാൽ കഴിഞ്ഞ ദിവസം ആദ്യമായി ഗുരുസാഗരം വായിക്കാൻ എടുത്ത് കുറച്ചു പേജുകൾ കഴിഞ്ഞപ്പോൾ, ഞാൻ കരുതിയത് എൻറെ അഭിപ്രായം ഒന്നുകൂടെ വിലയിരുത്തണമെന്നാണ്. കാരണം എനിക്ക് ഗുരുസാഗരം തീരെ പിടി തരുന്നുണ്ടായിരുന്നില്ല. നോവലിസ്റ്റ് എന്താണ് ഉദ്ദേശിക്കുന്നത് എന്ന് മനസ്സിലാകുന്നുണ്ടായിരുന്നില്ല. പക്ഷേ പൂർണ്ണമായ വായനക്ക് ശേഷമാണ് എന്താണ് ഇതിൽ പറയുന്നതെന്നും, എന്തിനാണ് ഇത് രചിച്ചതെന്നും ബോധ്യപ്പെടുന്നത്. ഖസാക്കിന്റെയോ അദ്ദേഹത്തിൻറെ മറ്റു കൃതികളുടെയോ യാതൊരു പിന്തുടർച്ചയുടെയും പങ്കു പറ്റാതെ തീർത്തും സ്വതന്ത്രമായി രചിക്കപ്പെട്ടതാണെന്ന് ഇതിൻറെ രചനാരീതി പരിശോധിച്ചാൽ മനസ്സിലാക്കാം. 

ഭാരതീയ തത്വശാസ്ത്രപ്രകാരം മനുഷ്യൻ ജീവിതകാലം മുഴുവൻ കർമ്മങ്ങൾ ചെയ്തു കൊണ്ടിരിക്കുകയും, ഈ കർമ്മങ്ങളാൽ ഉണ്ടാകുന്ന ബന്ധനത്തിൽ മുങ്ങിക്കിടക്കുകയും ചെയ്യുന്നു. എന്നാൽ കർമ്മ ബന്ധത്തിൽ നിന്നും പുറത്തു കടക്കുകയും ആത്മജ്ഞാനം നേടുകയും ചെയ്യുന്നതോടെ അവൻ പരമ ലക്ഷ്യമായ മോക്ഷ പ്രാപ്തിക്ക് അർഹനായിത്തീരുന്നു. ഒരു മനുഷ്യജീവന് തനതായി മോക്ഷ പ്രാപ്തി ലഭിക്കുക എന്നത് ദുഷ്കരമായതിനാൽ അവനെ അതിനു പ്രാപ്തനാക്കുവാൻ ഗുരുവിൻറെ സഹായം ആവശ്യമാണ്. തൻറെ ശിഷ്യനെ ധർമ്മ പാതയിലേക്ക് നയിക്കുകയും ആത്മബോധം നൽകുകയും ചെയ്യുക എന്നതാണ് ഗുരു ധർമ്മം. മലയാളത്തിൻറെ മഹാസാഹിത്യകാരനായ ഒ വി വിജയൻറെ ഗുരുസാഗരം എന്ന കൃതി വായിച്ചു കഴിഞ്ഞപ്പോൾ ഈയൊരു തത്വചിന്തയുടെ കഥാവിഷ്കാരമാണ് അതിൽ അടങ്ങിയത് എന്നാണ് എനിക്ക് തോന്നിയത്. 

നോവൽ ആരംഭിക്കുന്നത് കുഞ്ഞുണ്ണി തൻറെ ദേശാന്തരവാസം മതിയാക്കി തിരിച്ച് തൂതപ്പുഴയുടെ തീരത്തുള്ള തറവാട്ടിലേക്ക് മടങ്ങുമ്പോഴാണ്. വർഷങ്ങൾക്ക് മുന്നേ തന്റെ ആദ്യ ഗുരുവായ അച്ഛൻ ചൊല്ലിത്തന്ന പാഠങ്ങൾ കേട്ട് വളർന്ന സ്ഥലം. ദില്ലിയിലെ പത്രപ്രവർത്തന ജോലിയും അവിടെ നിന്ന് , പരിചയപ്പെട്ട പല രീതികളും, സ്വഭാവങ്ങളും ഉള്ള മനുഷ്യരും, കുറച്ചു വർഷങ്ങളായി കൽക്കത്തയിൽ പിരിഞ്ഞു താമസിക്കുന്ന ഭാര്യയും മകളും, ഒരു ആശ്രമം നടത്തുന്ന തൻറെ ബാല്യകാല സുഹൃത്തും, എല്ലാവരെയും ഉപേക്ഷിച്ചുള്ള ഒരു മടങ്ങിവരവ്. ഇങ്ങനെ ഒരു തുടക്കം വായിക്കുമ്പോൾ നാം കരുതുക നിരാശനായുള്ള ഒരു മടക്കയാത്രയാണിത് എന്നാണ്. എന്നാൽ കഥ അവസാനിക്കുമ്പോഴാണ് ഇതൊരു ഹതാശന്റെ തിരിച്ചുവരവല്ല, നേരെമറിച്ച് ആത്മബോധം ശ്രദ്ധിച്ച ഒരു യോഗിയുടെ തിരിച്ചുവരവാണ് എന്ന് നാം മനസ്സിലാക്കുക. 

ആരാണ് കുഞ്ഞുണ്ണിയെ ഇതിന് സഹായിച്ച ഗുരു? നോവലിന്റെ പേര് പറയുന്നതുപോലെ കുഞ്ഞുണ്ണിയെ ആത്മബോധത്തിലേക്ക് നയിക്കുന്നത് ഒരു ഗുരുവല്ല ഗുരുക്കളുടെ സാഗരമാണ്. തൻറെ ജീവിതത്തിൽ നല്ലതായാലും ചീത്തയായാലും, സന്തോഷം ആയാലും ദുഃഖം ആയാലും, ഒരു സ്വാധീനം ഉണ്ടാക്കിയവരെല്ലാം തൻറെ ഗുരുക്കന്മാരാണ്. എന്തിന് കടുത്ത സമ്മർദ്ദത്തിൽ തന്നെക്കൊണ്ട് എത്തിക്കുന്ന സന്ദർഭങ്ങൾ, അത് മാനസികമാകട്ടെ, ശാരീരികമാകട്ടെ, തൻറെ ഗുരു തന്നെയാണ് എന്ന തിരിച്ചറിവാണ് ഗുരുസാഗരം നമ്മിൽ ഉണ്ടാക്കുന്നത്. 

യുദ്ധം നോവലിലെ ഒരു പ്രധാന വിഷയമാണ്. കഥ നടക്കുന്നത് ഈസ്റ്റ് പാക്കിസ്ഥാനിൽ ആഭ്യന്തര കലഹം നടക്കുമ്പോഴാണ്. ഇന്ത്യ അതിൽ ഇടപെടുന്നതോടെ കുഞ്ഞുണ്ണിയുടെ ജീവിതവും ഈ യാഥാർത്ഥ്യത്തോട് ബന്ധിക്കപ്പെടുന്നു. കൽക്കത്തയിലേക്ക് യുദ്ധറിപ്പോർട്ടർ ആയി പോകുന്ന കുഞ്ഞുണ്ണി തൻറെ മകളോടും ഭാര്യയോടും വീണ്ടും ഒത്തുചേരാൻ ആഗ്രഹിക്കുന്നു. എന്നാൽ അത് ഒരിക്കലും സാധ്യമാവില്ല എന്ന തിരിച്ചറിവ് തൻറെ ജീവിതത്തെ മറ്റൊരു കണ്ണിലൂടെ കാണാൻ അയാളെ നിർബന്ധിക്കുന്നു. പ്രാഗിലേക്ക് റഷ്യൻ ടാങ്കുകൾ ഇരച്ചു കയറിയപ്പോൾ അഭയാർത്ഥിയായി മാറിയ ഓൾഗയുടെ അനുഭവം കുഞ്ഞുണ്ണിയുടെ അനുഭവത്തിന്റെ മുന്നോടിയായി വായിക്കാം. 

ഇഹലോക ബന്ധങ്ങളിൽ നിന്നും, ജന്മാന്തരങ്ങളായി സംഭരിച്ചുവെച്ച കർമഫലങ്ങളിൽ നിന്നും രക്ഷപ്പെടുക എന്നത് എളുപ്പമല്ല. ചിലതിനെ നമ്മൾ എടുത്തു കളയുമ്പോൾ മറ്റു ചിലത് നമ്മളിൽ നിന്നും പറിഞ്ഞ് പോകുകയാണ്. ഈ പറിഞ്ഞു പോക്ക് ഏതൊരു പരിത്യാഗിയുടെ ശരീരത്തിനെയും മനസ്സിനെയും മുറിപ്പെടുത്തും. എന്നാൽ ഈ മുറിവുകളിൽ നിന്നുള്ള അതിജീവനമാണ് മോക്ഷപ്രാപ്തിയിലേക്ക് കുഞ്ഞുണ്ണിയെ നയിക്കുന്നത്. തൻറെ അച്ഛൻറെ ശിഷ്യത്വം സ്വീകരിച്ചുകൊണ്ട് തുടങ്ങുന്ന കുഞ്ഞുണ്ണിയുടെ ആത്മസാക്ഷാത്കാരത്തിന് ആയുള്ള യാത്ര ഒടുങ്ങുന്നത് തൻറെ മകളെ ഗുരുവായി സ്വീകരിക്കുന്നതിലൂടെയാണ്. തൂതപ്പുഴയുടെ തീരത്ത് നിന്ന് തുടങ്ങുന്ന യാത്ര സമാപിക്കുന്നത് തൂതപ്പുഴയുടെ തീരത്ത് തന്നെ. 

പാശ്ചാത്യ സാഹിത്യത്തിൽ നിന്ന് ഇറക്കുമതി ചെയ്ത അന്യതാ ബോധവും (alienation) അസ്ഥിത്വ ദുഃഖവും (existential crisis) നമ്മുടെ ആധുനിക സാഹിത്യത്തെയും ബോധ്യങ്ങളെയും ആവരണം ചെയ്തിരുന്ന ഒരു കാലഘട്ടത്തിൽ ഈ പ്രതിസന്ധികളെ തരണം ചെയ്യാൻ ആശ്രയിക്കേണ്ടത് ഭാരതീയ പാരമ്പര്യത്തെ തന്നെയാണ് എന്നതാണോ ഗുരുസാഗരം പറഞ്ഞു വയ്ക്കുന്നത്? ചോദ്യങ്ങളും പ്രശ്നങ്ങളും മാത്രം ഉന്നയിക്കാൻ പഠിച്ച ആധുനികതയ്ക്ക് ഒരു ഒറ്റമൂലി ഇതാണ് എന്നാണ് കഥാകാരൻ പറയുന്നത് എന്നാണ് എൻറെ നിഗമനം. എന്തായാലും ഇനിയും പല എഴുത്തുകാരുടെ പുസ്തകങ്ങൾ വായിച്ചതിനുശേഷവും ഇവരൊന്നും ഒ വി വിജയന് അപ്പുറമല്ല എന്ന് ധൈര്യപൂർവ്വം എനിക്ക് ഉറപ്പായും പറയാം.  

Book Review: Where Are You Going, You Monkeys? By Ki Rajanarayanan

Folk tales are codes of human history transferred to us from the past. Tales that are invented, told, and retold numerous times by numerous generations come with valuable information embedded within them. Folk tales attain a life of their own by collecting sediments from different parts of the world and from different generations of people. Decoding them and extracting these sediments is an almost impossible, though immensely rewarding, task.

I am more interested in just enjoying them, and wondering who else have relished these tales in the long past. I love to imagine that when I hear or read a folk tale, I become one with all its previous listeners, essentially nullifying the space and time separating us. So, when Blaft Publications offered a collection of Tamil folk tales translated in English, in return of an honest review, I was more than delighted. 

I really believe that a folk tale is more alive when someone narrates it. The expressions of the story teller, her tone, pitch and pauses, the reactions of listeners, their laughs, gasps and exclamations, everything makes it more and more alive. When a folk tale is written on paper and recorded, it suddenly become imprisoned, and stop being an organic entity that metamorphoses everytime it is delivered depending on the person who tells it and the period and place in which it is told. 

But the bad news is that, the oral transmission of folk tales is a dying art, as more visually appealing media are replacing old story tellers. Comics, series and movies have created new age folk tales with new age sensibilities that the present generation can identify. World over, ancient folk tales are slowly getting forgotten and along with them, a reservoir of ancient knowledge are breathing the last breaths. So it is the necessity of the times to record and prevent the mass extinction. 

I have read several collections of folk tales, written with the noble intention of preservation. But as written in most of their foreword sections, they have been edited out to satisfy the modern reader's sensibilities. Many stories are edited with the intention of ironing out the parts that are politically incorrect for containing racism, body shaming or sexism. But I believe that this exercise hampers the intention of preservation and stops representing the times when they were told and retold. 

Where Are You Going You Monkeys, the collection of Tamil folk tales by Ki Rajanarayanan, thankfully is one that tries really hard to reduce the distance between oral and written formats of story telling. There is no interference from the collector's or translator's side, except certain footnotes that illuminate certain aspects of the stories that may be alien for today's readers. Author doesn't shy away from stories that portray the primeval value system of the narrators and that makes reading this collection a raw experience. The innocent sensibility of villagers- their prejudices, superstitions, social and economic behavioural patterns and above all their sharp humor, oozes out of the stories. 

Ki Rajanarayanan known also as Ki. Ra is a Tamil folklorist and Sahitya Academy Award recipient. He spent decades collecting folk tales and as per his introduction of the book, he took care to collect them directly from old persons who told these stories after hearing it orally from their ancestors. The folk tales that he collected were published in a Tamil book of around 900 pages. This English translation is an excerpt of that master volume written in Tamil. Translations are bound to miss many crucial linguistic and cultural elements. While translating a book of orally transmitted stories, told in colloquial language, it is difficult to do cent percent justice. But to the credit of the translator Pritham K Chakravarthy, it doesn't feel like the book has lost anything significant in translation. 

The stories are divided into seven sections based on their themes. There are sections dedicated to stories on animals, Gods, Kings, ghosts, married couples, friends and family. In the end there is a section for dirty stories, which is rare in a folk tale collection. Old classic collections like Chaucer'sThe Canterbury Tales, Boccaccio's The Decameron, The Arabian Nights and Madanakamarajan Tales contains tales with sex as the background. Probably because until very recently, folk tales were told for a general audience. But the tales of magic, prince and princess are now totally relegated to kids. That is how there emerged totally sanitised kids friendly versions of fairy tales by Disney and other productions. Collectors usually censor dirty stories or plainly ignore them. The result is the fall of a wealth of such stories into oblivion. 

The stories are narrated in a way that instruct the reader how to retell it to an audience. It is obvious that the writer had a passionate intention to keep the tradition of telling stories alive. Most striking in these stories is their irreverent attitude to the hierarchial structure of the society. We read stories that lampoon kings, queens, priests and even deities. Many stories deal with serious issues like adultery, poverty, greed and treachery. The value systems that are portrayed in many stories are very plastic and doesn't mirror the moralistic beliefs of larger society. This portrayal of staunch defiance that are conveyed by these stories commonly told by lowest denomination of society makes these folk tales engrossing to read. 

Today we have standup comedians who are excellent and entertaining story tellers. But the collective generational wisdom that equips a teller of folk tales is missing in them. Many of the stories may contain elements that are totally alien to a modern individual. But if we go a little deep, we can unfurl a treasure chest of practical understanding that is still relevant to live an enriched life.