The juxtaposing of prose and screenplay provides an absorbing ringside view of a maestro at work
MT is a one-man literary movement in the Malayalam language. The hundreds of thousands of gossamer words this 84-year-old literary phenomenon of Kerala has written since his teens is like a complex filter through which you can gaze at the Malayali and her contemporary predicament as she grapples to make sense of the persistence of the feudal past within the seductive embrace of the present.
Over the past six decades, MT taught the Malayali to look squarely in face of the multiple waves of Time she rides on and hear the plaintive sounds when they collide.
Eight major novels, 18 volumes of short stories, nine books of essays, 55 film scripts — and still going strong. You have to be a person of leisure to fully engage with the delights of this prodigious output. Of course, there would be many a Keralite of my generation who simply grew up with their literary consciousness drenched in the ink from his pen.
Predictably, the secondary literature around him — of reviews, interviews, critical analysis, academic and media overviews and translations — is almost of an industrial scale. It’s an avalanche. Whenever one has to write on MT, one is gripped by a sense of stunned paralysis — what more can one say on someone about whom everything significant has been already said.
But little of it captures his protean skill — the deft, surgical manner in which he dissects the middle-class Nair family to clinically expose its fears, anxieties, joys, arrogance, false pride, contradictions and its fatal nostalgia for its decadent past. He is like some in-house Balzac of the Nair community and every description of that caste, in his stories, perceptively foretells its conflicted future.