by whatsonsidsmind

Colors of the Wind Song | Pocohontas (Disney) | Advay’s Rendition

My six-year-old tried his hand at Smule this week. He has been taking singing classes for roughly a year now, and this is one of his favorite songs. Long way to go, and this is just the start. (Click the YouTube link below to view)

Colors of the wind | Pocohontas | Advay Rendition – YouTube

My favorite lines from the song …

“You think the only people who are people
Are the people who look and think like you
But if you walk the footsteps of a stranger
You’ll learn things you never knew, you never knew”

Hope you all like it.

Have a nice weekend!

Thanks,

Sid

 

 

 

by whatsonsidsmind

Siddhartha – Hermann Hesse | Book Review

Written by Siddhartha Krishnan . 5 Min Read

First published in 1922 (in German), Nobel prize winning author Hermann Hesse’s ninth novel Siddhartha is a book that has stood the test of time. I have heard a lot about this book over the years. It first caught my eye, as a teenager, when it was languishing in my father’s bookshelf, and I was being introduced to Buddhism in my history classes. Then I heard of a movie adaptation of it from the 70s, during my college days, which starred some famous Indian actors. And most recently it’s been popping up regularly on the Amazon page, which could be a result of my recent searches. Whatever it is, I can safely say that the book called out to me, and that I started reading it on the day of Buddha Purnima felt like divine providence. But after a bit of introspection, it was understood to be a conspiracy by Amazon.

Despite the divine calling, to assume that I have understood everything that the book had to offer would be foolish because a book on self-discovery, spanning a life time of its protagonist, is bound to mean different things to different people. Also, an understanding of what is being told will depend on the reader’s own life experiences and the stage of life the person is in. This could be the reason why I was hesitant to read it all this while. But this could also be the reason why the book is considered a classic.

It is difficult to review a book like this because you can’t really disagree with what is being said. Unlike other works of fiction, the truth isn’t blended or cloaked in something sinister or magnificent. It is said as it is, making it feel like a self-help book or a book of philosophy. Moreover, what is being said is so profound that you don’t have an option but to be an attentive student.

Written in a lyrical style, this novella is meant to take you on your own path of self-discovery through the journey of a brahmin boy named Siddhartha. Born during the time of the Buddha, Siddhartha just like his namesake, renounces his privileged life, but then goes on to live several lives; that of an ascetic, a rich merchant, a lover, an ordinary ferryman and a father before the great realization happens to him. The lyrical style suits the narrative because the writer is trying to find beauty in the suffering. It is through this road of suffering that the protagonist finds his enlightenment. The following quote from the book explains this point,

“I have experienced on my body and on my soul that I needed sin very much, I needed lust, the desire of possessions, vanity, and needed the most shameful despair, in order to learn how to give up resistance, in order to learn how to love the world, in order to stop comparing it to some world I wished, I imagined, some kind of perfection I had made up, but to leave it as it is and to love and to enjoy being a part of it”.

Like the above quote, much of the learnings are shared through conversations that Siddhartha is having either with himself or someone or something he considers dear to him. The prose is replete with metaphors and the pace is intentionally slow to induce a meditative state within the readers.

The Buddha’s story is a fascinating one. It resonates with millions across the world, and although our stories may not be as impressive as his, we do associate with the ideas of renunciation, detachment, transformation and self-discovery. These ideas are universal and timeless. And authors in the past and in the present have harnessed the power of this story to create their own remarkable works of fiction. Robin Sharma’s “The Monk who sold his Ferrari” and Paulo Coelho’s “The Alchemist” comes to mind in this regard. However, for me, Hermann Hesse’s masterstroke, was to let the story unfold during the time of the Buddha, so much so, that Siddhartha even has a conversation with his namesake. This I felt not only made this story timeless but also credible to readers who wouldn’t otherwise be interested in philosophy.

This is a book that readers will go back to, as and when they have new and transformative life experiences, bitter or sweet. There are several quotes in this book that will take newer meanings as you progress in life. The quote that stayed with me at this point in my life was,

“Knowledge can be conveyed, but not wisdom. It can be found, it can be lived, it is possible to be carried by it, miracles can be performed with it, but it cannot be expressed in words and taught.”

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also an enthusiastic blogger and, on his website, www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and movie reviews.

 

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by whatsonsidsmind

Kala Movie Review – A psychological thriller which grows bigger as it unfolds!

Written by Siddhartha Krishnan . 3 Min Read

The Amazon prime video description of Kala, says that it is a psychological thriller. In line with this description, the many slow-motion sequences at the start, seduce you into believing that the film is one thing, before it transforms into something else. This metamorphosis is almost magical in this deeply allegorical and non-linear narrative, where two men are beating each other to pulp for half the length of this film. It takes a while to understand, that what is being handed out is not an enticing red apple, but a many-layered onion.

Kala is not a plot heavy film, and strangely, the story unravels through its innumerable fight scenes. However, this is not just a fight, it is much more! Expertly choreographed by stunt directors Basidh Al Gazzali and Irfan Ameer, these action scenes are brutal but not grotesque, and there is an unmissable lyrical quality to it. But it is not meant to excite you in the way a Jackie Chan movie would. You wouldn’t be rooting for anyone in this bloody combat, and yet watch the madness unfold with keen interest.

The film has a deep commentary on toxic masculinity but in an ingenious, non-preachy way. The screenplay by writer Yadhu Pushkaran and director Rohit VS, exhibits a level of maturity rarely seen in Indian cinema. In a scene from the film, a plane flies over the property of the lead character, Shaji. At that moment, he is engaged in a bloody duel, and the fight is captured from a height, as if to show it from the perspective of the plane. The triviality of it all comes out beautifully! But this is only one of the many perspectives explored and cinematographer Akhil George gives you an absolutely immersive movie-watching experience, ably aided by a gripping background score by Dawn Vincent.

However, it is in the two lead characters played by Tovino Thomas and Sumesh Moor that you are most invested in. The contrast in their physicality as well as their personalities sets everything up beautifully for what is to unfold on screen. A lot depended on their performances and they have, quite literally, put every single muscle of their body into this film. As a result, at the climax, we are as exhausted as these characters for all the blows (pun intended) thrown at us.

All said, don’t go into this film thinking it is only for the intellectuals, boring and too nuanced nor should you go into this film thinking it is only an edge of the seat action flick. It is neither, and a beautiful balance has been struck which makes it highly entertaining as well as intellectually stimulating. For its unique concept and execution, Kala deserves a 4/5.

Watch it on Amazon Prime Video.

Watch the trailer here.

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also an enthusiastic blogger and, on his website, www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and movie reviews.

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by whatsonsidsmind

Book Review – Poonachi Or The Story Of A Black Goat | Perumal Murugan

Written by Siddhartha Krishnan . 4 Min Read

Over the last ten days, every evening when I stared at the cover of this book, a feeble looking goat stared back at me with its innocent, marble eyes. It took me a while to understand the power of its gaze, but when that happened, I was shaken!

The story is set in a nondescript village in Tamil Nadu. One quiet evening as an old man watches the sun set over his village, a mysterious and unusually tall man, approaches him and gifts him a one-day old black goat. She is the seventh child of her mother, so delicate, that her fragility becomes a cause of wonderment for all in the village. The goat is therefore treated as a tiny miracle by the old man and his wife who do everything within their capacity to keep it alive. Thus begins the story of Poonachi, the black goat.

Poonachi, is a political novel that takes a look at society, it’s abuse of power, gender inequities, greed, surveillance and the resultant subjugation of the weak. But all of this from the perspective of a goat. As a result, comparison to Orwell’s Animal Farm or Kipling’s Jungle Book are obvious. But as testified by the scroll, in this story the animals are not sacrificed at the altar of allegory. This is what differentiates, Poonachi, from other famous works in this genre. The title therefore is conclusive – it is the story of a black goat, and all that we draw from the book as human beings is an accompaniment to that story. To understand this aspect better, it is best to quote an excerpt from N Kalyan Raman’s translator’s note – “As we track the destiny of this orphan goat, shaped by a force-field of humans and animals, we realise that the author’s real theme is our own fears and longings, primordial urges and survival tactics.”

However, the novel does resort to anthropomorphism (attribution of human traits, emotions, intentions on non-human beings) to make the animal characters relatable while also retaining their animal behaviour. This fine balance that has been struck in the narrative along with an eye for detail is an astonishing feature of the writing. Only a person who has a deep understanding of animal behaviour could have pulled this off. This, I am assuming has come from years of close observation.

The other commendable aspect of the storytelling is, how deeply layered it is? Every sentence carries weight, no word is wasted, and paragraphs often end with some message conveyed. The translation is brilliant, and despite the absence of Tamil words in the narrative, I felt that I was a part of that village. I may have missed some hidden references intrinsic to the culture but that does not rob me of understanding the perspective. Yes, it might take time for one to fully relate to the story, since it is written from the perspective of a goat, but that investment is surely worth it.

But the standout feature of the book, for me, is the tenderness of the storytelling. Despite being a political novel with a powerful message, the empathy displayed even while describing the most macabre moments mesmerized me as a reader. It helped me connect deeply with the characters and their journeys. Only a truly gifted writer can pull this off with such finesse. Through, Poonachi, I am now introduced to the genius of Perumal Murugan, and I am kicking myself as to why I had not read any of his books up until now?

Well, I guess there is a time for everything.

The book was shortlisted for the 2018 JCB Literature Prize, and I think it is best to end with the jury’s comments –

“Funny and warm, Poonachi is a book that forces us gently to look at ourselves and our contribution to an unequal world. Perumal Murugan is a master storyteller who reflects profoundly on our transactional society and its inequities and struggles. Through the character of the lonely goat, he has written a powerful modern fable.”

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also an enthusiastic blogger and, on his website, www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and movie reviews.

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Tenet Movie Review – A high concept, visual spectacle that should have been more emotionally engaging

Written by Siddhartha Krishnan . 8 Min Read

The last thing you want to do with a Christopher Nolan film, is to judge it too quickly. Given the high concept plots, sub-texts and layers in his films, they are bound to be inaccessible to some. In such a case a second or even a third viewing might help. However, I chose to let the film sink in for a week, and gradually assimilate whatever I had watched, before forming an opinion about it. But I have no qualms in admitting that I may not have understood all the nuances of Tenet (if that’s even possible). So, a second viewing is due. Also, I won’t be surprised if this film is considered a modern masterpiece in the future. However, at this point I can only tell you what I felt about it after having slept over it for a week. (Disclaimer – given the current covid scenario, I could not watch the film in a theatre and chose to watch it on Amazon prime video.)

All that we have come to expect from a Nolan film are present in Tenet — jaw dropping visuals, a spectacular opening sequence, a protagonist who has to save the world, and multiple sub-plots which bind together beautifully towards the end. However, there is another Nolan cliché that his films are notoriously famous for, and that is the complexity of the concepts that he explores. On that aspect, Tenet surely feels like Nolan’s most complex and mind-bending blockbuster till date.

The Amazon prime description of Tenet reads — “Armed with only one word – Tenet – and fighting for the survival of the entire world, the protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time”. So, this is a globe-trotting, action adventure shot in multiple locations around the world. These locations are important to the film, because the lead character has to save the “world” from an impending danger. “Time” as everyone knows is an important element in many of Nolan’s films, and he uses it in path-breaking ways. In Tenet, he introduces the concepts of “time inversion” and “reverse entropy” to create an absurd sci-fi landscape where the past, present and future are warring with each other in one frame, glimpses of which we can see in the trailer. However, Nolan has clarified in his interviews that Tenet isn’t exactly a film on time travel. Also, beneath all of these complexities is a very human story, and that is so easy to miss in a film as fast-paced as this one.

We all know that Nolan is not a big fan of CGI. Hence, the fight scenes of Tenet, using practical effects, have left audiences wondering as to how these scenes were choreographed to such perfection. It is believed that Nolan took inspiration from dance choreography so that stunt performers could do the movements forwards and backwards without reversing the film. The fight scenes are undoubtedly the film’s big plus point. (Ref. cbr.com)

Nolan’s go to man for the background score, Hans Zimmer, wasn’t available for this film, since he was committed to “Dune”. So, in came Swedish composer, Ludwig Göransson, Grammy and Academy award winner, known for his score in the 2018 superhero movie, “Black Panther”. I for one, did not miss Hans Zimmer in Tenet, because the score sounded so much like his. If I hadn’t googled to find out who the composer was, I would have assumed it to be Zimmer! During the pandemic, Göransson had recorded the musicians at home and what we finally get is captivating.

However, as with Nolan’s earlier films, the sound-mixing of Tenet, has received some criticism. The over-bearing sound mix has at times made the dialogues incomprehensible. I have experienced this in Nolan’s earlier films as well, but in this film, it felt a tad too jarring. But Nolan seems unapologetic about it. This was his defense of the sound-mixing of Interstellar, “Clarity of story, clarity of emotions — I try to achieve that in a very layered way using all the different things at my disposal — picture and sound. I’ve always loved films that approach sound in an impressionistic way and that is an unusual approach for a mainstream blockbuster, but I feel it’s the right approach for this experiential film.” (ref: Indiewire). Okay, but I guess only die-hard fans of the director will buy that explanation.

Visually, though, Tenet is breath-taking! Cinematographer Hoyte Van Hoytema might have just shot an IMAX masterpiece. This is the third collaboration between Hoytema and Nolan after Interstellar (2014) and Dunkirk (2017), and this is Nolan’s sixth film that is shot in 70 mm IMAX. With each film the director seems to be pushing the boundaries and taking it a notch higher. The methodology used is to find innovative ways to make a 30 kg IMAX camera portable. We have seen that in the spectacular action sequences of Dunkirk and Dark Knight Rises, and given the complex concept of Tenet, we can only imagine the innovations that went behind shooting the fight scenes.

Due to the many sub-plots, there are several characters in the film. The ensemble cast comprises of John David Washington (protagonist), Robert Pattinson (Neil), Elizabeth Debicki (Kat), Dimple Kapadia (Priya) and Kenneth Branagh (Andrei Sator) in the important roles. Although, all the actors have done their jobs well; due to the backstory, it’s the characters played by Elizabeth Debicki and Kenneth Branagh you will be most invested in. The reason you do not relate to the journeys of the other characters is because of the screenplay, which is perhaps the film’s weakest point.

Tenet is a plot heavy film, like many of Nolan’s other films. But I think he was so enamoured with the concept of this one, that beyond a point it felt like he was resorting to exhibitionism. Therefore, the film takes too long to start making sense and to unravel all its layers. There are several scenes where the protagonist is seen discussing the science behind it all with other characters, which comes at the cost of a gripping narrative. The screenplay is also so fast-paced that within the blink of an eye you can miss out important elements.

The complexity of the plot/concept also ensured that the reactions to the film were highly polarized. Some found it fascinating while others found it inaccessible and boring. However, I felt that it wasn’t the concept, per say, that was a turn off, but the excessive investment in it. Instead, if the characters were a little more layered and humanlike, they would have been a lot more relatable. Moreover, this is a human story and not just a sci-fi fantasy, which audiences will realize towards the end.

But Christopher Nolan is one of those directors who keeps pushing the boundaries with every new film. Perhaps his greatest attribute is that he believes in the intelligence of his audience. When directors around the world are dumbing down their stories to such levels that all you need to do is to keep your eyes and ears open, here is one director, who wants his audiences to think. He is also constantly innovating to give his audiences something new each time. This is why he is widely regarded as a modern master of cinema and deservedly so.

My final word — Tenet is a high concept, plot-heavy, visual spectacle that dazzles you several times but does not keep you emotionally invested throughout. But for the imagination and the subsequent innovations that went behind the making of this unusual film, it deserves to be watched. I will give Tenet 3.5/5 stars. It is available on Amazon prime video.

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also an enthusiastic blogger and, on his website, www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and movie reviews.

All rights reserved by whatsonsidsmind.com

by whatsonsidsmind

Love Movie Review – A cleverly disguised psychological thriller that gives the chamber drama genre a fresh template!

Written by Siddhartha Krishnan . 4 Min Read

Khalid Rahman’s “Love” starts off rather innocuously with Deepthi (Rajisha Vijayan) getting an ultrasound done at a hospital, and finding out that she is pregnant. She calls her husband, Anoop (Tom Shine Chacko), but he doesn’t answer the call. Anoop is at home, making himself a glass of whiskey, when he gets a message on his phone — “I’m pregnant”. Everything that happens, thereafter, in this psychological thriller cum chamber drama, cannot be taken at face value. Also, revealing anything in this film could turn out to be a big spoiler. So, I will try to keep this review as spoiler free as possible, because this film deserves to be watched, despite its flaws.

“Love” has been a topic of discussion lately, due to its ending, which many felt was confusing. However, the truth is that the ending, per say, is not rocket science. It’s all that happens before the ending that is new, weird and perhaps a bit puzzling. Without giving too much away (anyway all of it is in the trailer), towards the beginning of the film, we see Deepthi and Anoop, engaged in a vicious verbal fight which eventually leads to physical violence. This is a sequence that gets repeated towards the end as well, leading to an unexpected closure, hence the confusion. However, as a viewer if you have paid attention to all that has been happening, including the little clues that the writers have thrown into the screenplay, the so-called unusual climax and unexpected closure, will all the start to make sense.

The screenplay by Khalid Rahman and Noufal Abdullah, is undoubtedly the most commendable aspect of the film. It is deceptive, cleverly sequenced and uses dark humour. The absurd conversations that happen between some of the characters are bound to make you wonder — what the hell is happening here? So, the film draws comparisons to Hitchcock’s “Rope” and Ram Gopal Varma’s “Kaun”. But then it unexpectedly slips into surrealism becoming mind-bending at times, and you could spot shades of Nolan as well. However, the story is original.

“Love” was shot in the middle of the pandemic last year, following covid protocols, which explains the single location setting with only six actors. The shooting is believed to have been completed in just 23 days! However, even with the restrictions, the film manages to stand out aesthetically. The cinematography by Jimshi Khalid is intriguing and many unusual camera angles have been used to aid the bizarre narrative. The background score by Yakzan Gary Pereira builds the suspense and adds to the absurdity. All the actors in the ensemble cast have done a fine job, ably led by Tom Shine Chacko, but it is Gokulan and Sudhi Koppa as Anoop’s friends, who will grab your attention.

The writing is fresh but in it lies the flaws of the film as well. For a script that was so well written, the ending, although unexpected, feels abrupt. At 91 minutes, this isn’t a long film, so it could have done with a few more layers to the story and the lead characters — their past, background etc. This could have made this really good film, a great one! However, director Khalid Rahman’s “Love” is a courageous venture because it gives the psychological thriller cum chamber drama genre a fresh template. For that, it deserves 3.5/ 5 stars and should be watched. It is available on Netflix.

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also an enthusiastic blogger and, on his website, www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and movie reviews.

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Joji Movie Review | Fahadh Faasil | Dileesh Pothan

Written by Siddhartha Krishnan . 5 Min Read

In a scene from the film, Joji asks his sister-in-law, Bincy, whether his elder brother has spoken to their father? To which Bincy replies, that their plan will never ever work and that his good days will be wasted on the kitchen slab. Joji, smirks and exits the kitchen. The camera pans backwards and a wide angle shot, complemented by a haunting background score, captures the exasperation of Bincy and Joji, in one frame. Both sulk in silence. The scene conveys the confusion lingering in the minds of the two characters, without many dialogues and screen time. Yet, it is a pivotal moment in the film!

After having watched Dileesh Pothan’s earlier two films, “Maheshinte Prathikaram” (2016) and “Thondimuthalam Driksashiyam” (2017) (both National award-winning films), one thing was clear, that he wasn’t going to repeat himself. The worlds, characters, and the cinematic language were all very distinct in his earlier films. However, what was constant is the minimalism, and that continues in “Joji”.

Shakespeare’s tragedy “Macbeth” written over 400 years ago, was about a Scottish general, who, consumed by his ambition and spurred to action by his wife, murders the King to take the Scottish throne. Widely regarded as one of the best characters ever written, Macbeth, shows the workings of the complex human mind, when blinded by desire, and the subsequent descent into madness, guilt and paranoia. The universality of the play’s messaging, allowed flexibility to filmmakers to contemporize and adapt the story, according to their sensibilities. Macbeth could have been anyone, anywhere in the world. So in the case of “Joji”, we are amidst the vast green expanses of Erumely, and inside the house of the affluent Panachel family, where we meet Joji, the youngest of the three sons of the imposing family patriarch Kuttappan PK. Physically the weakest, but deceptive and the most ambitious.

The film starts off with the disclaimer that it is inspired by Shakespeare’s “Macbeth”, which means that this isn’t exactly an adaptation, as many are making it to be. Yet, there is a lot of “Macbeth” in this film, in ways that you may think wasn’t possible, and writer Syam Pushkaran deserves credit for that. The attention to detail is immaculate, and nothing seems out of place. The intelligence of the writer shows in the scenes and intricately layered characters he has written. The narrative is sprinkled with allegories and the use of dark humour to mock traditions and show the behavioural transformation of the brothers to serve their self-interest makes for some gripping cinema.

Cinematographer Shyju Khalid’s lens, once again, manages to make the cinematic experience immersive. Close-up shots followed by wide-angle ones, is what he uses to take you into the mind of a character, and then give you the bigger picture. Also, the use of mirrors in the storytelling was very clever. The background score by Justin Varghese has a brooding, haunting quality to it. Western orchestra, mainly cello and violin, has been used to complement the moods and thoughts. Given the milieu, the background score might take you by surprise but the choice of music is definitely a masterstroke. It adds to the drama unfolding on the screen.

But in a performance driven film like this; a lot of the heavy-lifting has to be done by the actors. The ensemble cast consists of PN Sunny (as Kuttappan PK, the dominant family patriarch), Baburaj (as Jomon, the turbulent and alcoholic eldest sibling), Joji Mundakayam (as Jaison, the unassuming middle brother), Unnimaya Prasad (as Bincy, the quietly scheming wife of Jaison), Alister Alex (as Popy, the malleable son of Jomon) and Fahadh Faasil (as Joji, the complexed youngest sibling). Although, the story is centered around Fahadh’s character, the other actors also had a lot on their plate, since the scenes are written in such a way, that they have to feed off each other, giving room for a lot of improvisations. And they have all delivered superlative performances. Some of the best scenes in the film are when the family members are together in one frame.

However, a lot rested on the shoulders of the central character, and Fahadh, through his expressive eyes, physicality and body language becomes “Joji”. Due to the physical transformation, beyond a point, you fail to see Fahadh, and you see only “Joji”. It is difficult to say whether, this is his best performance because he has many to his credit. But this could be the most complexed character he has played till now, and he pulls it off with aplomb.

Malayalam cinema is truly having a golden run at the moment, challenging even the late 80’s and 90s golden era. No wonder, they have got the attention of filmmakers and movie lovers across the world. Through sheer technical brilliance, they seem to have the ability to make a 5-crore film, look like a 50-crore one! They also have the best content, and some of the most naturally gifted actors. “Joji” is another feather in the cap of Malayalam cinema, and with it, director Dileesh Pothan has hit the ball, out of the park, for a third consecutive time! For its powerhouse acting performances, technical brilliance, engaging screenplay and minimalism, “Joji” deserves 4 / 5 stars. You can watch it on Amazon Prime video.

 

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also an enthusiastic blogger and, on his website, www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and movie reviews.

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The Metamorphosis | Franz Kafka | Book Review

Written by Siddhartha Krishnan | 5 Min Read

Book – The Metamorphosis
Author – Franz Kafka (Translated from German by David Wyllie)
Originally published in 1915
Genre – Absurdist Fiction
Franz Kafka’s seminal work of fiction “The Metamorphosis” has been on my “TBR” list for well over a year. I was hesitant to read it because I was sure that it would be too dark for my liking. However, I took the plunge a fortnight ago, and the book was all that it had promised to be. Despite being just 80 pages long, this novella is a difficult read because within all its surrealism is something very real and scary.
The story is about a travelling salesman, Gregor Samsa, who wakes up one morning to find that he has turned into an insect. What follows thereafter is an allegorical narrative steeped in dark humour and surrealism. There are four aspects to the story; the transformation (dehumanization) of Gregor into an insect, the reaction of other central characters (father, mother, sister who are dependent on him) to this transformation, the gradual alienation of Gregor by his loved ones, finally Gregor’s lonely death and how things quickly get back to normal for his folks. What is fascinating, is that, despite the physical transformation there is very little transformation in Gregor’s character. He patiently accepts the hardships and surrenders to authority.
Now, the last thing that I want to do is to explain the allegories (and there are many) hidden in the narrative — for e.g what did the picture that Gregor was hiding from his mother signify or why did Gregor’s father hurl “apples” at him, one of which, gets stuck on his back and decays? I think enough is available on the internet on this, explained by experts who have studied Kafka’s work more than I. Moreover, all these allegories are open to multiple interpretations and beyond a certain point everything seems allegorical in the narrative. Instead, I would like to explore why someone like Kafka, would write something as bizarre as this? That is far more interesting to me as a reader and writer.
So, I began to wonder –
Do such authors think a lot before writing such pieces?
Just because these works are considered ground-breaking, does that automatically mean that it is a result of years of deep thinking?
My gut tells me, “No”.
Kafka is believed to have asked his friend Max Brod to burn all his unpublished manuscripts because he saw no value in it. But here we are, 100 years later, discussing one of the seminal works of literature of the 20th century. To quote George Steiner, “What Dante and Shakespeare were for their ages, Kafka is for ours”. Thankfully, Mr Brod saw value in those discarded pieces of paper, a century ago, else we would have lost a treasure trove of literature forever!
The overpowering emotion that I felt while reading the story was anguish, but the narrative comes with no filters—no flowery language, no melodrama, and even the longish sentences have clear purpose, often leading to something conclusive. I did not ever feel that Kafka was writing this story to please anybody. Perhaps he was just writing what he was feeling—stifled by authority he was feeling like an insect. And that is exactly what he wrote.
If you do a bit of research, you will find out that most of what Kafka wrote did not take him much time. Sometimes a single sitting was enough. He was just writing what he wanted to say, as he wanted to say it. This may also explain why Kafka never saw value in his writings. He may have thought that conventional wisdom will not agree with what he wrote. But today all of it is literature and he is as original as original can be!
My takeaway therefore is, that there is no single ordained way to the truth, there are multiple ways to it. For me, this diversity is what makes reading fiction so fascinating. When an author brings his/her unique voice or should we say language to his/her stories it makes for great reading, and that is what I liked the most about “The Metamorphosis”.

About the author –

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also an enthusiastic blogger and on his website www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and film reviews.

All rights reserved by whatsonsidsmind.com

 

by whatsonsidsmind

Review Promo – Two and a Half Rainbows

Hi All,

This is a promotional video encapsulating the reviews that my book has received so far, as well as a sneak peek into the content. Hope you like it!

Thanks for all the support!

Regards,

Sid

“Two and a Half Rainbows” is available on Amazon (Paperback and Kindle):

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by whatsonsidsmind

Prisoners of Secrets | Lata Gwalani | Book Review

Written by Siddhartha Krishnan . 5 Min Read

“Confessing is a weakness. Living with secrets and bearing the punishment of silence is strength.” “Prisoners of Secrets” by Lata Gwalani begins with this opening line, and in it lies the premise of this unusual love story. At 170 pages, this book may seem like a quick read, but it is not. And that is because the storytelling is vivid, the characters are well-sketched, and the attention to detail is immaculate. So, you must spend some time with it to fully savour what it has to offer.
Once you get past the attractive cover and intriguing title of the book, and you plunge into the story, the first thing that grabs your attention is the languid flow of the prose. Nothing seems too laboured in this sprawling narrative. To add to that, Gibran, Fitzgerald, Rumi, Atwood, Longfellow and their likes, find a place in the story, as the author sprinkles their quotes into the narrative at key moments. Her love for literature is clearly evident.
However, it was the stellar use of visual imagery that stood out for me, and through it the author weaves several beautiful moments in the story which is bound to linger in your mind. So, whether it is Parthasarathy Lane in Pollachi, the crowded fishing village of Vizhinjam or the jackfruit tree under which two lovers meet, the author expertly transports you to these places with vivid descriptions of colour, texture, smell, sight and touch. All of it becomes magically tangible!
As I moved further into the story, around the half-way mark something unexpected happened—a change in perspective from 3rd person to 1st person. It made the storytelling even more immersive than it was because the shift comes at a crucial juncture in the story. The surprise value is also considerably enhanced by the author’s choice of character for this shift in perspective. This was quite clever.
But techniques can only work if the story itself is compelling. And “Prisoners of Secrets” delivers with a well thought out storyline. It is the story of three very different people—Meera, Manuel and Shankar who are guarding secrets that can destroy their lives and their relationships. Through several impactful moments, the author endeavours to capture the complexities of the human mind and its motivations. She does that by expertly crafting the character arc of its lead characters and you are invested in their journeys, even if you don’t agree with them.
The only criticism I could think of was an overdose of quotes which at places felt unnecessary because the narrative itself was doing a fine job of driving the story forward. And perhaps certain instances where I felt that the author could have left things to the reader’s imagination. But different readers will perceive these aspects differently. Also, in a sprawling narrative, as this one, a few excesses are bound to happen.
Under the contemporary fiction genre books like the “Prisoners of Secrets” are rare. It is also difficult to cut through the clutter and find these books. If it weren’t for reading groups like this one and for like-minded friends, I wouldn’t have discovered this book. I will recommend it to anyone who loves literature, is an eternal romantic and wants to read a story which portrays human frailties and motivations vividly. It deserves to be read.
“Prisoners of Secrets” is available on Amazon (link below) in Paperback and Kindle formats:

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also an enthusiastic blogger and on his website www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and film reviews.

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