Kozhikode: Visitors to MT Vasudevan Nair's residence, 'Sithara', on Kottaram Road seldom noticed the master storyteller in his favourite chair at one look. Look to the right after the main door; still, the writer's expression would not be clear.

His presence would be clear as he sat silhouetted in light, stirring up time inside through a large glass window behind him. Once the eyes come to terms with the brightness, his expression, an announcement of his optics on life, could be read.

In life, MT had never turned a light on himself. Yet, he seated literature in the front row of the public sphere, for he upheld the view that a writer was second to none. It was this realisation that made Malayalam reserve him a seat in the front row.

MT's behaviour reflected his conviction that a writer should hold his head high. He did not make tall, arrogant claims, but the strength of his belief in equality carved him a space. No power stood above him, and no temptation made him bow.

He might have strongly objected to or expressed dislike only before television cameras. The lights that accompanied the cameras and flooded the surroundings made MT restless. Perhaps the ubiquitous crowds with cameras, too, might have disturbed him.

It was the natural response of a man who worshipped silence and solitude. Even in outings, a walker umbrella was his constant companion. After all, who else would accompany him in silence?

MT was reluctant to speak about himself — even to introduce himself as a writer. Instead, he introduced himself as "working in a newspaper office." When asked about the strange introduction, he explained it helped him avoid an explanation.

Coming to stories, however, MT seemed to be an uncompromising and inaccessible stickler. He was to be approached with caution. People's expectations about MT might have led to such a situation.

He never wished for admirers around him, not even one. He was close to those who praised him and never gave them an opportunity to continue a conversation. Such people left MT's presence in a huff.

Those who also tried to speak ill of his critics were not spared. "You need not tell this (what critics spoke about him) neither here nor anywhere else," was MT's common refrain. It singed many. But it gave MT an image of a rigid personality.

MT never spoke ill about — nor replied to — those who painted him in a negative light. He believed that such talks would not affect him, and hence, they required no response. However, he initiated legal proceedings in matters that affected him. He responded with legal action against one who levelled charges of plagiarism without any justification against him.

"I don't have any other means to convince the society when my integrity is questioned," he said. I have visited MT hoping to speak with him. Often, he said nothing to talk about. It had only one meaning. The question cannot be repeated. Nor could I ask a supplementary question. If asked, it would lead to a perpetual "no", a total banishment.

However, MT once spoke elaborately. It was about Kudallur, his childhood, carrying paddy stalks, children lending a hand in farming, and herding cattle. During the conversation, he also mentioned that he was a problem child, which made his mother admit him to Koppan Sir's school. Such stories need to be asked.

Even in silence, his fingers used to talk. Perhaps his mind was talking, or he was speaking to one of his characters. Or, he had turned into a character. It was never clear. However, his hands kept gesturing.

MT used to do much homework before speaking. His speeches reflect the effort he had spent studying the subject. He provided background information to drive in his points. When he spoke, the audience saw in him a man with a sharp memory.

He studied extensively to write as well, and it makes his writings stand out. He searched for materials outside the 'Mahabharata' to write 'Randaamoozham'. When 'Vadakkan Pattu' (ballads of the north) became a movie through MT, Aringodar appeared draped in a 'thorthu' — a thin cotton towel — reflecting the writer's deep knowledge of a bygone era.

MT spent five years studying, including 'Yajurveda', before penning 'Randaamoozham'. He studied the attire, ornaments, war strategies, food habits, and social behaviour of the Dvapura Yuga, the era of 'Mahabharata'. He used to say that he would not survive the passage of time to remain an author in Malayalam. MT was content to know the River Nila (Bharatapuzha) rather than knowing the oceans.

MT was asked about the 'Philosophy of Writing' while he was speaking during his 90th birthday celebration. "There is no such philosophy, and mine is not a philosophical mind," he replied. The literary great was instrumental in finding several writers in Malayalam. He had mentioned it also: "They would have become writers without me."

MT was excited when someone, especially those not known to him, expressed happiness after reading his works. However, he never showed the excitement in public. He was also happy to see others writing well. People bringing him books from across the world too excited him.

He once said he has around 3,000 books. In fact, his collection was much more than 3,000 books. MT had carefully selected them to be with him. He donated other books to libraries. MT has passed, leaving behind his legendary silence and words molded from that quietness. Both will remain in Malayalam for eternity.