Kahakinte Kala Analysis

Introduction

“Why does one write? Because sometimes one feels like saying something. Because some question disturb us. At times these may be questioned addressed to ourselves. Or to the community around us. Or to our time. Or the whole of mankind. At time to nature, and to God.” This seemingly general statement on the primal springs of literature M.T. Vasudevan Nair make in Kathakinte Kala (story teller’s art) can very well apply to M.T’s own writing that spans four fertile decades. When M.T started writing his narratives in the fifties of the last century, the story writing tradition in Malayalam was controlled largely by the ideology of what could be called ‘renaissance fiction’, which modelled itself on the social realism of such nineteenth
Hey often avoid the academic vocabulary that one uses in theorising about art. To be ‘artful’, one might say, is to shun theory. If talking about the theory of art is to be somewhat ‘artless’, M.T. Vasudevan Nair is to be treated as artless in his practice as a writer. On the other hand he can also be treated as ‘artful’ in his approach inasmuch as he is enormously conscious of the complexities of the craft of fiction and can indeed talk authentically about them. He is one of the few fiction writers of his generation who have talked and written at length about the art of fiction writing in the form of letters, lectures, essays and book-length studies. Basically the artless of art is that sees no major breach between reality and its fictional representation. An artless attitude to writing would suggest that one looks upon literature as a transparent carry over of the problems of the real world to the world represented in
He situates much of his fiction against social backdrop of the matrilineal Nair tharavad at the point of time when it was slowly disintegrating, largely to emphasize the power, the frustration; the helplessness that characters that move against the background have deal with the protagonists of his early novels Naalukettu, Asuravith, and Kaalam are alienated individuals, painfully aware of being isolated from uncaring and unkind members of society or their own families. As a writer M. T Vasudevan Nair used the beauty of environment and his Nair family. Also the autobiographical element is conspicuous in his novels. Nair feudal family and the village environment were the common features of M.T’s novel. The suffering of the protagonist in the existed society and he challenges it. Few protagonists stand alone as a role model to society. Individual functions very less power in Nair family system. And they were very much obedient to the Karnavan. Because there is no which can be espoused, defend ended or rescued against the power, and there is no escape from freedom to power. Power is always accompanied resistance; resistance in a fundamental structural feature of power. “Where there is a power, there is resistance and yet, or rated consequently this resistance is never in a position yet, or rather consequently, this resistance is never in a