Where Else…

Where Else…

The van, the auto, the waste cart, the seaside library, the guest room, the kitchen – all are libraries. All are literature.

On the way to Kochi, someone had named his tourist carrier Rumi Ride. A Force Urbania. Dark grey. Kollam registration. And right in the middle of Cherai beach — not a bookshop, not a university — a two-storeyed library. Named Janakeya Vayanasala. A People’s Reading Room, in Malayalam. As if the beach needed one. As if, of course it does.

Francis Bacon, Father of Science, wrote in his essay Of Studies — Reading maketh a full man, Writing an exact man. Most people stop there. But the full sentence adds: conference a ready man. Conversation. Dialogue. The third leg. The one we always drop, as if reading and writing alone were enough. Bacon knew better. Readiness is not solitary. It happens in the presence of another mind.

In Kerala, that third leg has always been the street. Not the seminar hall. The street corner where an auto driver names his vehicle after a novel.

A few years ago, a photo went around of an auto in Kerala. The driver, Pradeep, had named his three-wheeler The Alchemist — after reading the Malayalam translation of Paulo Coelho’s novel. That was ten years before the photo was taken. He had changed the vehicle a couple of times. He never changed the name. Someone photographed it, tagged Coelho on Twitter, and the Brazilian writer — fifteen million followers — reposted it with just this: Kerala, India (thank you very much for the photo). Pradeep became an internet sensation without quite intending to. Coelho probably smiled and moved on. But the auto kept running. Same name. Same roads.

And then there is Dhanuja Kumari. She is a sanitation worker in Thiruvananthapuram, with the Haritha Karma Sena — the door-to-door waste collection service. She dropped out of school in the ninth grade. She began writing on scrap paper. Not to publish. Just to cope. What came out was a memoir — Chengalchoolayile Ente Jeevitham. My Life in Chengalchoola. Published in 2014. By 2024, it was part of the BA curriculum at Kannur University and the MA curriculum at Calicut University. She still collects waste in the mornings. She is writing her second book. Her colony has a library. She started it. It is called Wings of Women.

Two libraries. One on a beach, one in a colony. Both named after people.

Pradeep changed the vehicle. Never the name. Dhanuja wrote on scrap paper. It ended up in syllabi.

I remember reading, a long time ago, how Mahasweta Devi — the Bengali literary giant — encouraged an ordinary rickshaw puller (Manoranjan Byapari) to write. It stayed with me. I didn’t know then why. I think I do now.

After my own days of trauma — the nights, the twilights, the dawns — I sat in an online writing workshop and learned one thing. Perspectives matter. But more than that: those who have suffered, who have tasted the salt in their own tears — they are the ones who write literature. Mostly.

Rumi on a tourist van. Coelho on an autorickshaw. A library facing the sea.

Where else.

On our last day at Kochi, I told Nishad, who was taking care of us at Kochi, that we got to pay a visit to Kaladi Sankara’s birthplace. I had been there a couple of times. Thara has not. In the dedication page of my first published book “Fallen Flower and Fragrant Grass”, I had penned, “There were three Sankaras in my life.. EMS, Sankara and Adi Sankara. Of the three, it was Sankara, my late father, who taught me without teaching me to walk on the Middle Way between left and right. I dedicate this book to his wonderful memories.” And on our way, there was a board Pazhayidam Naivedyam. That triggered a photo of a Sadya on leaf shared by my sister Sandhya when she was visiting Guruvayoor, just a week back. My sister Sandhya, my nephew Anand, and my brother-in-law Manjunath — when they visited Guruvayoor last month — had their lunch at Pazhayidam Ruchi, a restaurant run by him.

Pazhayidam Mohanan Namboothiri.

And then, in the kitchen, another stage: Pazhayidam (literally “Old Place” in Malayalam, often contrasted with Puthiyaidam — “New Place”) is always fresh in taste. A six-flavoured culinary art that never tires the eater. Even those weary of life, ready to die, find themselves returning to the rasa — the essence of life — through it… He would say that life thirty years ago was not beautiful. After completing a degree in chemistry, there was a search for jobs. Nothing was working out. He started supplying equipment to school and college laboratories. That too failed midway. Then he began to lose hope. He was 28 years old. Sitting at home without any work or employment, he even thought of death. Even when he was completely depressed, he did not forget the path to the Kuttichathan Public Library. Behind that journey was his love for M.T.’s stories. When it felt like darkness was ahead, standing at a junction, he happened to flip through a weekly magazine hanging in a shop. In it was the beginning of M.T. Vasudevan Nair’s Randamoozham. It started like this: “That day, the sea had a dark colour…” He read the chapter titled Yatra two or three times. His mind told him that if he left the world without finishing this novel, it would be a loss. He journeyed with the novel until the 51st issue. Later, as brand ambassador for a food product, Mohanan Namboothiri earned his name and fame cooking for thousands at Kerala School Festival (one of the most reported events in Kerala), holding rare records and earning accolades.

Not sure Sandhya was aware of the story.

On our way to Kochi, Thara and I stayed at Usha Aunty and Dr. Radhakrishnan’s home in Coimbatore. Family friends for forty years. In the guest room, on the table there was a book. The Academy of Magic. Written by their granddaughter, Sanvi. A schoolgirl. Just that — a child’s first published story. No syllabus. No struggle. Only the ordinary miracle of a child who wrote. Who knows. I was about to take it and read it, then Nyra, the author’s cousin sister walked in to talk to Thara and I, and the rest of the evening went for it. So I added that book to my reading queue. The title of the book sounds like one of those J.K. Rowling series. “The Academy of Magic”. Who knows she may be the next J.K. Rowling.

The van, the auto, the waste cart, the seaside library, the guest room, the kitchen — all are libraries. All are literature.

Where else? Everywhere there is hunger. Not for food. For the thing that makes food worth making. Last month, my family sat at his table. They didn’t need to know. That’s how it works.

The Hand That Knows Too Much: What Dan Brown Teaches Us About the Untaught Writers…

The Hand That Knows Too Much: What Dan Brown Teaches Us About the Untaught Writers…

(A Reader's — and an Aspiring Writer's — Critique of The Secret of Secrets By Dan Brown )

After I moved to the Zendo, the natural progression was becoming part of the Bodhi Sangha book club. Each month they curate a list of seven or eight books, and all of us vote and select a book for the month and the last Saturday of the month spend some 2 hours sharing views on it. Some members — like Dr. Rao, a retired Indian-American physician, and Ritesh, an academic settled in Germany who is completing his doctorate,  Carl who lives in Kyoto next to a Zen monastery etc  — read every single chosen book and come prepared with views and critiques. Many others do too. That one-and-a-half to two hours is worth its weight in gold.

Dan Brown needs no introduction to any reader in the world. Not after The Da Vinci Code.

The book for March was Dan Brown's The Secret of Secrets — a breezy read, a fast page-turner. I was completely engrossed for a day and two. Then, after a gap of two or three days, I found myself reflecting on it.

There are books I have read in one sitting. Gone with the Wind, for instance. We got hold of a copy during our final-year engineering exams, and my roommate Goofy and I read it straight through, the exam entirely irrelevant. And then there are other books — O.V. Vijayan, Kamala Das — which demand something slower, something more interior.

What follows is my critique of The Secret of Secrets. When I was reading, I was simply reading. That reflective hat came later — a gift from a generous online writing course I was able to attend at no cost. Sincere gratitude for their generosity.

The Machinery of Pace

Brown builds his narrative through relentless scene-shifting — short chapters that end mid-tension, dropping the reader into a different strand before resolution arrives. In cinema this is called cross-cutting. In literature the precise term is interlacement — the medieval technique of braiding multiple storylines so that the reader is perpetually suspended between threads. Brown deploys this with considerable skill. The pages turn almost involuntarily.

The Crichton Effect

What gives the novel its unusual grip is Brown's faction — the scaffolding of verifiable fact beneath the fictional story. He elaborates, sometimes at length, on noetic science, the Hermann Grid, precognition, sudden savant syndrome, EMet and Met, the Barnum Effect and others. A reader who fact-checks these discovers they hold up. And that changes everything. The fictional frame partially dissolves. What was a thriller quietly becomes a possibility. This is the Crichton inheritance — dense, accurate research deployed not to educate but to destabilise the reader's certainty about what is real. Brown uses it masterfully.

The Knowing Hand

And yet. Brown teaches creative writing. And it shows.

A writer who teaches technique becomes hyper-conscious of the toolbox. Every chapter end arrives on schedule. Every cliffhanger deploys with the punctuality of a train. Every scientific digression appears at precisely the moment the pace needs breathing room. The interlacement is too clean, the faction too carefully placed, the dramatic revelation too well-timed.

The seams are visible. The hand is always there.

Brown's interlacement is like a magician's trick — you know the hand is moving, but you still lean forward. Yet there is a difference between suspension and surrender. In Dostoevsky or Vijayan, you surrender because the world itself has swallowed you. In Brown, you are suspended because the scaffolding keeps you dangling. It is a thrill, yes. But not the free fall.

This is the central limitation of the classroom writer — tremendous structural competence, imaginative caution. He writes like an excellent student who has understood every rule and replicates them faithfully. There is skill here, undeniable. But rarely surprise at the level of form.

Technique is safe. It guarantees a certain level of readability. But risk is what makes literature unforgettable. Kamala Das risked shame. Vijayan risked incomprehension. Melville risked ridicule. Brown risks nothing. He entertains, but he does not endanger himself. And so the reader is never endangered either.

And yet — here is the other side. Some books demand one-sitting immersion, like Gone with the Wind during engineering exams, when the world outside is irrelevant. Others demand gaps, pauses, reflection. Brown's scaffolding may be deliberate, but the reader's rhythm decides whether it becomes mere entertainment or a seed of reflection. The critique is not only of the writer. It is also of the reader's own machinery of attention.

The Dharma of Reading

Every book is a gate. Some gates open into gardens, some into deserts, some into wounds. Brown's gate opens into a museum of ideas — consciousness, precognition, noetic science. You walk through, you admire, you nod. But you rarely bleed. The Dharma of reading is not only to be informed, but to be transformed. Brown informs. Transformation is rarer.

And what the Untaught Writers Had…

Dostoevsky had a Siberian prison and a firing squad. O.V. Vijayan had Khasak and a devotional relationship with Malayalam itself. Kamala Das had her body and her uncontainable honesty. Emily Brontë had the Yorkshire moors and one novel in her and died at thirty. Melville had harpooned actual whales and lived among cannibals.

None of them managed technique. They managed truth. The craft followed necessity, not the other way around.

What the Indian aesthetic tradition calls pratibha — spontaneous creative illumination — cannot be taught or replicated. It arises. And when it does, you cannot see the writer's hand at all. Only the wound, or the landscape, or the obsession. Mahabharata, does not give any clue about Veda Vyasa, neither Ramayana about Valmiki. 

Brown chose to write a thriller. That choice is already the distance between him and that company.

The Honest Verdict and  the reader's — and aspiring writer's — Gratitude

Brown is not without genuine quality. His enthusiasm for ideas — consciousness, the limits of knowledge, mind preceding matter — is real, not manufactured. That curiosity rescues him from being merely mechanical. When the research opens an unexpected room, the wonder is authentic.

But the architecture around it is always a little too deliberate. The technique is the scaffolding. The ideas are the building. In his best moments, you forget the scaffolding. In his weakest, it is all you see.

He writes like a man who knows exactly what he is doing. The greatest writers never quite knew. And that unknowing was everything. Still, gratitude remains. A book that engrosses for two days is already a gift. A book that makes you reflect after gaps is another gift. And a book that provokes critique is the greatest gift of all. Brown gave me all three. For that, I bow.

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