Kochi: So, which is the best word to draw back the young generation to reading? Is it Chunk Bro (close friend) or is it Nelkathir (paddy stalk)? What is the ideal thing to be taught in Malayalam undergraduate degree classes these days? Should it be Keralapanini, or should it focus on how to write screenplays? Is it possible to survive in Kerala solely as a writer? Do writers suffer from an 'uncle syndrome' when engaging with the new generation?
These were some of the questions that S Harish, Santhosh Echikkanam, and Vinoy Thomas, three prominent young Malayalam writers, encountered while sitting in front of an eager young audience to share their questions, doubts, and experiences.
The writers came together for a debate at the Edappally Changampuzha Cultural Center in Kochi, part of the ‘Reading Hortus’ (Hortus Vayana) series held across all districts as a prelude to the ‘Hortus’ International Literary and Cultural Festival, organised by Malayala Manorama at Kozhikode Beach from November 1 to 3.
Starting the debate, S Harish noted that Kerala is becoming a centre for literary festivals. He, at the same time, also shared a concern that no internationally recognized works are emerging from Malayalam and expressed hope that such literary festivals could enable Malayalam literature to cross international boundaries.
Santhosh Echikkanam began his speech by mentioning that he belongs to the generation that decided to earn a living through writing. However, he soon realized that it was not possible to survive by writing pure literature, which led him to turn to writing mega serials. Many had advised that by writing for serials, I would lose my language and thought, making it impossible to write stories again. But Santosh pointed out that his most-read works, like Komala and Pantibhojanam, were written after this shift. Writing for TV serials, in fact, helped him use simpler language, especially when crafting dialogues, he noted.
Vinoy Thomas, meanwhile, shared his thoughts about the latest tendency of people to regard literature as a problematic area. He stated that this perception stems from the issue with the curriculum, which is divided into eight problematic areas. The issue that in which of these areas should encompass literature has yet to be addressed.
Although those learning languages hold potential in fields such as screenwriting, content writing, copywriting, and editing, even the teachers are concerned about who will teach these subjects. Even today, we are still teaching the grammar by Keralapanini. The youngsters, on the other hand, are more familiar with the word ‘Chunk Bro’ than with writing the term Nelmani. This suggests that those with the intellectual capacity to revise the grammar have disappeared. This, Vinoy observed, also affects reading habits, adding that the language of today’s society often exists in the comments on social media posts.
S. Harish intervened at the point by raising a question: is it still possible to make a living by writing quality literature in Kerala today? Because only a small minority is now reading it. People used to read more in the past, primarily because that was the only option available. Even now, our literature does not always travel far within Kerala itself. At some point, it has reached a few other Indian languages but has still never reached the international audience. If the younger generation is not interested in reading today’s writers, then writers, too, hold some responsibility. The new generation, he said, feels that writers are still focusing on an era that holds little relevance to their lives. Today’s youth have broken all boundaries and have become global citizens. Even in cinema, new styles are emerging, a change that can be sensed easily from the lyrics of contemporary songs. However, Harish noted that this change is not yet reflected in the literature.
Vinoy Thomas opined that writers today do not hold the same position in the film industry as M T Vasudevan Nair once did. He also pointed out that Harish had once told him that it is the director who makes the art, and what writers today need to do is simply write what they want. At this point, Santosh voiced his disagreement with the views on contemporary writing. He called for a thorough analysis as to why a film like Bhramayugam was successful in theatres. The reason, he said, was that the movie's story was narrated in a way that people could easily understand. Similarly, novels like Harish’s Meesha and August 17 were widely read because they were written in simple, comprehensible language. Ultimately, he concluded that all these works explore the human condition. Harish agreed with this perspective, adding that one cannot write by keeping politics and history aside
Thomas Dominic, Editor-in-charge of Manorama Books, President of Changampuzha Cultural Center P Prakash, and others also spoke at the event.
