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Do you see reflection of your childhood in your life as an author?
I grew up in Vaikom and my father was an activist involved in Vaikom Satyagraham and later moved to agriculture. He read a lot and there was a culture of reading, agriculture and love for nature in our house. My father encouraged me to read in the village library. I used to help my mother in the farm work. As a result, nature was a big classroom for me where human world, plant world and animal world co-existed. I fondly remember my mother placing a mix of rice, dal, papadam and ghee at different places outside the house during Onam so that the ants do not go hungry during the festival. As I look back, I see how sensitivity around me filled my childhood days and holds a great impact to my writing. Maturity and sensitivity come with life experiences which formal educational institutions cannot teach.
The intrinsic connection between science and literature is rarely found in children’s fiction, and it is predominant in your writing. Tell us about it.
Presenting science simply through stories have the risk of it being a sugar-coated pill; adding sugar to a sour pill does not help sourness disappear. As a remedy, we need to present science as literature itself. The scientific concepts should reach children’s head and heart, be a part of their emotions; this cannot happen by teaching only chemical equations. I use biography to introduce the scientists, the context in which these discoveries were made – the human story and the drama behind it. In a country like India, where so many live in the margins, a scientific outlook is important for survival and community growth, and I use science as a tool for empowerment and literature for communication. I use this approach while teaching higher education too, like teaching the atomic structure, connecting it to the impact of atom bombs. We need to nurture societal intelligence for people to understand the use and misuse of science.
Can you talk about ways of crafting your work through a few book examples?
Writing is like meditation! In all my books, I try to highlight the literary values to the best of my ability and place stories through diverse perspectives. For example, Keeyo Keeyo is not a book on science per se, but a work of fiction with a scientific spirit. I have not tried to teach the act of bird watching, but offered a perspective that helps readers understand that birds are a part of our family and it is important to also observe them through an ecological lens. The main aim is to arouse children’s interest in a way that is desirable and appealing. Kerala Sashtra Sahitya Parishad (KSSP) wanted me to write a handbook about nature for children and I wrote one with all my childhood experiences – Vayichallum Vayichallum Theerath Pusthakam (The book that does not end as you read). It has a record sale of one lakh copies within a year after publication. Here, I describe nature from an ecological perspective. There is an evolution of thought involved, along with science, ethics and a philosophical vision.
What are some of the most memorable moments in your life as an author?
A response to my book Keeyo Keeyo has been very memorable. The book ends with a prayer when the last baby bird flies away from the nest after being raised by parent birds, for mother nature to protect her so that she can have a good life and someday return to my garden to build a nest as a parent bird. A few days after the book was released, Mr. John C Jacob, a leading environmentalist, wrote a letter saying that he cried after reading. He said that he added “Amen” at the end of the book. I understood that he felt deeply about the ending prayer.
Another similar moment was when Kilimakalude Punyavalan was published, a story about St. Francis, told by a killi (sparrow). Mr. Joy Eswar (film director), an expert on St. Francis, got in touch to say that he had not been to church in the previous 2 years and post reading the book he went since it moved him very much.
How do you pick specific themes for writing, how do they emerge?
Differently for different books. For example, Vayichallum Vayichallum Theerath Pusthakam was written because I was asked to write, at the same time Mathan Mannira Case, a story that ends with an earthworm rejecting pension, was not planned. When I was the editor of Eureka Magazine, a young boy wrote a joke saying – “I am a small earthworm, I request Eureka uncle to give me a pension.” – this letter inspired me. After researching for three years, I was able to put the book together. Some books can be written faster; I wrote Keeyo Keeyo by observing birds in my garden, laying eggs and caring for their young. As a part of an emeritus fellowship awarded by the Kerala government I wrote seven volumes on scientists, three of which have been brought out by DC books.
Have any of your books been translated to other languages?
“Vayichallum Vayichallum Theerathe Pusthakam” has been translated in many languages, including Tamil and Hindi. Translations are important of course, but focus must remain in retaining the spirit of the book, instead of making a literal translation. The book needs to be read deeply, ideas imbibed and adopting a style that is suitable to the language. A good translation requires as much effort from the translators as the authors. There are other aspects like whether the book renders itself to a translation and if it will sell in the translated language.
What is the status of children’s publication in Kerala compared to adult publications? Has the space enhanced over time?
Comparatively, children’s literature is considered a rung lower by people in general. An author wanting respect and position in the literary world does not write for children. Secondly, publishers are not very interested to publish children’s books even though they sell. They prefer publishing books for adults since the library associations buy them. I hope that the future generations will come forward and experiment with children’s literature with dedication.
Any comments on children’s literature in other regional languages?
Children’s literature in English is spread across various genres, many of which I have had the opportunity to read. I remember reading a book in Munich, “The Dream of a Donkey” which came out after 20 years of hard work. Do we have publications in India for children with such intense hard work? We need to widen genres in children’s publication across all Indian languages. There needs to be more science related content for children in other regional languages. Children’s literature as a whole needs to be nurtured and enhanced across languages and promoted by the government too.
What is your message for young authors and publishers?
Young authors should keep writing and not be adamant about only big publishers publishing their works. They should deepen their reading and involve themselves in the community, it will give them plenty of new ideas to work on. There is no permission needed to write on Facebook or social media, so these platforms must be explored for sharing writings and publishers will find you. I want to tell the publishers to not hold on to their opinion of children’s books not selling. If they do the right kind of marketing, books will sell since there are lakhs of children and parents willing to buy. Publishers need to reimagine the market and bring out good literature for children consistently.
