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Time of India
3 days ago
- Entertainment
- Time of India
The man who wasn't a litterateur
By: Prof MK Sanoo It was during the era of progressive literature that Vaikom Muhammad Basheer began writing. While Thakazhi, Kesava Dev, and Ponkunnam Varkey aimed to transform society through literature, Basheer's approach was different—he treated stories simply as stories. Each of his works had a distinct pattern. This is evident in Poovambazham, Pathummayude Adu, or Pranayalekhanam. Though part of the progressive movement, he walked his own path—and his writing was truly unique. In Ntuppuppakkoranendarnnu, he stressed the need for the Muslim community to adopt progressive thinking. In Mathilukal, he beautifully blended reality and fantasy—something no one else dared at the time. He wrote fearlessly, portraying characters as they were. His language was distinctive and lyrical. He coined unforgettable phrases like 'Onnum Onnum Immini Balya Onnu' (One plus one makes a bit big one), introducing a new rhythm to Malayalam prose. I first met Basheer during a Sahithya Parishat meeting in the 1950s near TDM Hall. Curious, I went looking for him—but he wasn't there. I found him instead at his bookstall near Boat Jetty, Kochi, selling his own books. I asked, 'Why aren't you at the Parishat meeting?' He quipped, 'Isn't that for litterateurs?' He never considered himself one. He lived then in a building opposite the Press Club. He'd sleep till noon, roam at night. We often gathered at Shanmugham Road—PK Balakrishnan, Ponjikkara Rafi, CJ Thomas, Basheer and I. Tea at the Sea View Hotel often followed, with discussions on literature and life. Basheer had clever book-selling tricks. He'd pitch a book with a quick, witty summary. His umbrella—custom-made nearby—had 'specially made for Vaikom Muhammad Basheer' printed inside. Once, someone mistakenly took it. Basheer chased him: 'Are you Basheer? No? Then open it—the name is written inside!' In the late '50s, he sold the bookstall to NBS and moved to Thalayolaparambu. A board outside read: 'Those who need tea should bring milk and tea. Water is plenty.' Later, in Beypore, he sat under the mangosteen tree. When he received a freedom fighter's award, he joked, 'Good to pelt dogs with.'Meals at his home were always generous—pearl fish fry a favourite. Once, he and Varkey bought food, left it in a room, and went for a drink. They returned to find a dog had eaten it. Basheer told it, 'Hey dog, please go drink some water now. (As told to MK Sunilkumar)
Time of India
3 days ago
- Entertainment
- Time of India
Ahead of their time: Basheer's women
By: Jisa Jose Though he naturally maintains moderation in his writing, Vaikom Muhammad Basheer often becomes eloquent when it comes to women. His words brim with love, compassion and playful mischief. He deeply observed the world of women and the female mind. At the heart of his work are women's stories—vivid portraits of their diverse lives, adventures, and survival. The women in Basheer's stories, with their rural wisdom and simple perspectives, transform dull everyday life into a cheerful experience, as seen in Pathummayude Aadu. The novel, subtitled Pennungalude Budhi (Cleverness of Women), celebrates not bookish knowledge, but the lived intelligence women draw from experience. The writer stands in awe as a witness to the marvel of their world. Even ordinary events—like a goat's birth, eating habits, or economic planning—appear new and fascinating to Basheer. His women often hold subtle authority over men, humorously undermining patriarchal norms. Basheer's stance isn't shaped by academic feminism but by a lived, compassionate understanding of women's realities. His gender awareness stems from integrating stories he saw and heard—naturally, equitably. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 5 Books Warren Buffett Wants You to Read In 2025 Blinkist: Warren Buffett's Reading List Undo Many of Basheer's women feel ahead of their time. Ayesha in Ntuppuppakkoranendarnnu (1953), insists on finishing her BA before marrying. Sharp, socially aware and humorous, she has a scientific and liberal view of religion. While Nisar Ahmed tries to 'modernize' Kunhipathumma with love, Ayesha does it through friendship, education, and clarity. Her romance is merely a backdrop to a woman's transformation. Through Ayesha's character in 1953, Basheer articulated a profoundly modern perspective on women's freedom. This vision remains pertinent today and in retrospect, considering society's limited advancement, Basheer's foresight proves astonishing. Basheer's women aren't confined to kitchens—they are smart and adaptive. When Kunhipathumma loses her home, she exclaims, 'It's a disaster, but we can meet people, breathe fresh air, stand in sunlight…' Her father cooks because neither she nor her mother knows how. In Poovampazham, Jameela Begum, without shame, suggests hiring a maid, noting she didn't earn a BA to cook. Saramma in Premalekhanam (1943) remains iconic—bold, witty, independent, and non-religious in her love. Jameela Beebi in Poovampazham, who famously responds to a declaration of deep love with 'Glad to hear, what other news from the town?', is a miniature version of Saramma. Basheer's works are filled with many such clever women. In Viddikalude Swargam, the protagonist, drawn by the inviting gaze of a prostitute, follows her into her home—only to flee in dismay upon witnessing the squalor within. 'Was it for this that she looked at me with such a heart-wrenching longing?' he wonders. Indeed, the piercing gazes of women—whether brimming with love, desire, or maternal tenderness—lie at the heart of Basheer's narratives. These looks linger, unsettling us, stirring laughter, sorrow, and pain. Through them, his women confront men, awaken them, and guide them toward seeing women as equals. No other Malayalam writer has portrayed the individuality and depth of women with such gravity or sincerity as Basheer (The writer has authored several books and is the principal of Kunnamangalam Govt Arts & Science College, Kozhikode)
