Themes of MT's works felt profoundly personal: Kaithapram Damodaran Namboothiri
In the 1960s, when I was just ten, I began reading voraciously, seeking out every story MT wrote.
In the 1960s, when I was just ten, I began reading voraciously, seeking out every story MT wrote.
In the 1960s, when I was just ten, I began reading voraciously, seeking out every story MT wrote.
The era of MT Vasudevan Nair was a springtime of storytelling. To this day, Vasuvettan remains the only writer I have ever revered with such devotion. To me, he was always Vasuvettan.
In the 1960s, when I was just ten, I began reading voraciously, seeking out every story MT wrote. I devoured his books, novels, and short stories. I even bought the Keralasabdam magazine only to read his serialised novel 'Kaalam'. I watched all the films inspired by his stories.
MT's stories resonated deeply, reflecting the unspoken frustrations of fearless young minds. The unrest along the banks of the Nila river in the 1960s became the backdrop for these stories. The themes of these works felt profoundly personal to me. “How do I build a small shelter in this city that chases time?” I would sob when I read those lines.
My reading journey included the likes of Vishakanyaka by SK Pottekkatt, Bashir's works, Thakazhi's Chemmeen, and Keshava Dev's Odayil Ninnu. I admired the writing of C Radhakrishnan, Uroob, Kovilan, and Nandanar for their shared sense of humanity. But the enchantment of MT's works, from Naalukettu to Manju, was unparalleled. The character in Iruttinte Athmavu even took on the form of Peringode Kunjuppettan, my neighbour in Kaithapram, without my realising it.
I saw Vasuvettan for the first time in 1967 at the Thalassery Sahitya Samiti Conference, listening to his speech from afar. However, it took me until 1980 to gather the courage to meet him. At the time, I was a proofreader for Mathrubhumi Weekly in Thiruvananthapuram, while he was the editor. In 1985, Vasuvettan summoned me to Kozhikode through Assistant Editor Unninarayanan.
That silent meeting was surreal. I thought I would be able to say a few words or share my thoughts, but nothing came out. The purpose of the call was to offer me a minor role in Vaishali.
Later, he invited me to write lyrics for Oru Vadakkan Veeragatha. That call was a miracle. This was followed by opportunities in films like Thazhvaram, Janakikutty, and Theerthadanam. He even penned the introduction to my poetry collection. My passion for writing poems and songs stemmed from the profound influence of literary giants like Changampuzha and Sugathakumari, whose works Vasuvettan helped me discover.
His library, Gnanabharathi, became an open treasure chest for me. It was through him that I first accessed Manju. Our astrological signs—his Uthratathi and my Revathi—sometimes brought us together at Mookambika Temple. I have always considered those meetings one of the greatest blessings of my life.