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喈忇喈距喁� 喈夃喈曕喁�
喈ㄠ喈瘝 喈掂喈脆瘉喈瘝 喈喁嵿喁佮畷喁嵿畷喁佮畷喁� 喈曕瘈喈脆瘒 喈忇喁� 喈夃喈曕畽喁嵿畷喈赤瘝 喈夃喁嵿喈� 喈庎喁嵿喈む瘉 喈瘉喈班喈｀喈瘝喈喈曕瘝喈曕瘓. 喈忇喈距喈む瘉 喈夃喈曕喁� 喈喈む喈赤喁�. 喈嗋喈距喁� 喈瘉喈班喈｀喁嵿喈苦喁� 喈疅喁嵿疅喁佮喁嵿喈距喁� 喈呧喁嵿喈熰喈? 喈ㄠ喈溹喈距喁嵿畷喁嵿畷喁堗喈苦喁� 喈囙喁嵿喁堗喈� 喈庎喁嵿? 喈ㄠ喈瘝 喈掂喈脆瘉喈瘝 喈囙喁嵿 喈氞喁傕畷喈む瘝喈む瘉喈曕瘝喈曕瘉 喈曕瘈喈脆瘒 喈ㄠ喁嵿喈距喁� 喈喈む喈曕瘝喈曕喁嵿喈熰瘝喈熰瘉 喈呧喁佮畷喁嵿畷喈瘝喈疅喁嵿疅 喈庎喁嵿喈┼瘓 喈氞喁傕畷喈權瘝喈曕喁� 喈ㄠ喁� 喈曕喈┼喁嵿喁佮畷喁嵿畷喁� 喈掂喈距喈侧瘒喈瘒 喈囙喁佮喁嵿喁佮畷喁娻喁嵿疅喈苦喁佮畷喁嵿畷喈苦喁嵿喈�! "喈忇喈距喁� 喈夃喈曕喁�" 喈呧喁嵿 喈掄疅喁佮畷喁嵿畷喈瘝喈疅喁嵿疅 喈夃喈曕喁嵿喈苦喁� 喈ㄠ瘉喈｀瘝喈｀喈� 喈氞喈む瘝喈む喈苦喁嵿喁�. 喈呧畽喁嵿畷喁佮喁� 喈畷喁嵿畷喈赤瘝 喈掂喈脆瘝喈曕喈编喈班瘝喈曕喁�. 喈氞喈班喈曕瘝喈曕喈编喈班瘝喈曕喁�, 喈ㄠ瘒喈氞喈曕瘝喈曕喈编喈班瘝喈曕喁�, 喈曕喈む喈苦畷喁嵿畷喈苦喈距喁嵿畷喈赤瘝 喈曕瘉喈脆喁嵿喁� 喈瘑喈编瘉喈曕喈编喈班瘝喈曕喁�. 喈喈苦喈┼瘝 喈庎喁嵿 喈喈む喈赤喁嵿喈苦喁佮喁� 喈喈┼瘉喈熰喈距畷喈掂瘒 喈囙喁佮畷喁嵿畷喈苦喈距喁�. 喈庎喁嵿 喈囙喁佮喁佮喁� 喈庎喁嵿喈氞瘝 喈氞喈曕瘝喈曕疅喁堗喁佮喁� 喈呧喈┼瘓 喈喈班瘉喈曕喈距畷喁嵿畷喈苦喈苦疅喁佮喈む喈侧瘝喈侧瘓. 喈氞喈编喁嵿 喈囙喈曕瘝喈曕瘉喈ㄠ喁佮畷喁嵿畷喈距 喈む瘒喈氞喈� 喈掂喈班瘉喈む瘉 喈瘑喈编瘝喈� '喈ㄠ喈┼瘝 喈曕疅喈掂瘉喈赤瘝' 喈む喈班瘓喈瘝喈疅喈む瘝喈む喈┼瘝 喈瘋喈侧喈熰喈掂喈距畷 喈呧喁堗喁嵿 喈ㄠ喈掂喁� 喈囙喁�.
296 pages, Kindle Edition
First published January 1, 2003
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About the author
Jeyamohan
196听books801听followersB. Jeyamohan (also credited as Jayamohan) is one of the most influential contemporary, Tamil and Malayalam writer and literary critic from Nagercoil in Kanyakumari District in the south Indian state of Tamil Nadu.
He entered the world of Tamil literature in the 1990s, Jeyamohan has had impacted the Tamil literary landscape as it emerged from the post-modern phase. His best-known and critically acclaimed work is Vishnupuram, a deeply layered fantasy set as a quest through various schools of Indian philosophy and mythology. His other well-known novels include Rubber, Pin Thodarum Nizhalin Kural, Kanyakumari, Kaadu, Pani Manithan, Eazhaam Ulagam, and Kotravai. His writing is heavily influenced by the works of humanitarian thinkers Leo Tolstoy and Mohandas Karamchand Gandhi. Drawing on the strength of his life experiences and extensive travel around India, Jeyamohan is able to re-examine and interpret the essence of India's rich literary and classical traditions.
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喈む喁嵿喁� 喈瘑喈喁� 喈庎喁�.喈喈曕瘉喈侧瘒喈喁� 喈喈赤瘝喈赤瘓. 喈む喈む瘝喈む 喈瘑喈喁� 喈掂喈曕瘝喈曕喁€喈熰瘝喈熰瘉 喈氞畽喁嵿畷喈班喁嵿喈苦喁嵿喁�. 喈瘋喈班瘝喈掂瘈喈� 喈娻喁� 喈曕瘉喈喈苦喈距喈熰瘝喈熰喁� 喈掂喈赤喈權瘝喈曕瘚喈熰瘉 喈掂疅喁嵿疅喈瘝, 喈む喈班瘉喈掂喈瘝喈瘉. 喈む喈む瘝喈む 喈呧疅喈苦喁佮喁� 喈嗋畾喈距喁�. 喈嗋畷喈掂瘒 喈氞畽喁嵿畷喁� 喈嗋畾喈距喁� 喈庎 喈呧喁堗畷喁嵿畷喈瘝喈疅喁嵿疅喈苦喁佮畷喁嵿畷喈苦喈距喁�. 喈呧喁嵿喈距喈苦喁� 喈呧喁嵿喈� 喈瘑喈喁� 喈侧疅喁嵿畾喁佮喈苦畷喁嵿畷喁佮疅喁嵿疅喈� 喈呧喁嵿喈�. 喈呧喈班喁� 喈氞瘖喈ㄠ瘝喈� 喈娻喁� 喈曕瘉喈喈苦喈距喈熰瘝喈熰喁� 喈掂喈赤喈權瘝喈曕瘚喈熰瘉 喈掂疅喁嵿疅喈瘝, 喈む喈班瘉喈掂疅喁嵿疅喈距喁�. 喈呧喁嵿喈距喁佮疅喈┼瘝 喈喈编喁嵿喈掂喁嵿畷喈赤瘝 喈囙喁佮喈班瘝. 喈む喁嵿喈� 喈庎喁�.喈氞瘉喈む喁嵿畾喈┼喁� 喈ㄠ喈喁� 喈む喈苦喈� 喈呧喈氞瘉喈む瘝喈む瘉喈编瘓喈喈侧瘝 喈掂疅喁嵿疅喈距 喈掂喈班瘝喈氞瘝喈氞 喈呧喁佮喈侧喈距畷 喈囙喁佮喁嵿喁� 喈撪喁嵿喁佮喁嗋喁嵿喁� 喈囙喁嵿喁嬥喁� 喈喁嵿喈ㄠ喈喁佮喈む瘝喈む喈侧瘝 喈掂畾喈苦畷喁嵿畷喈苦喈距喁�. 喈呧喁嵿喈距喈苦喁� 喈む畽喁嵿畷喁� 喈氞喁嬥疁喈苦喈� 喈呧喁嵿喈� 喈む喈班瘉喈掂疅喁嵿疅喈距喈苦喁� 喈嗋喈苦畷喁囙畾喈� 喈瘑喈班瘉喈喈赤瘝 喈嗋喈� 喈瘉喈曕喁嵿喈苦喁� 喈夃喁嵿 喈喈熰瘝喈熰喈喈┼瘝 喈瘋喈班瘝喈掂瘈喈曕喁€喈熰瘝喈熰喈侧瘒喈瘒 喈掂喈脆瘝喈曕喈编喈班瘝.
喈呧喁嵿喈� 喈瘉喈む喈苦喁� 喈掂喈權瘝喈曕喁� 喈む瘉喈编瘓喈喈侧瘝 喈掂瘒喈侧瘓喈喈班瘝喈む瘝喈む喈班瘝. 喈喈┼瘝 喈喁嵿喈苦喈瘝喈喈苦喁佮喁嵿喁佮喁堗喈苦喁� 喈庎喁佮喁嵿喈班喈� 喈掂瘒喈侧瘓喈喈班瘝喈む瘝喈む瘉 喈撪喁嵿喁� 喈瘑喈编瘝喈编喈班瘝. 喈呧喈班喁� 喈喈苦畷喁嵿畷喈距喈む瘝喈む喈侧瘝 喈瘑喈班瘉喈瘝喈畷喁佮喈� 喈呧喁佮喈┼瘓 喈喁嵿喈苦喈瘝喈喈苦喁� 喈呧喁佮喈侧畷喈む瘝喈む喈侧瘝 喈曕喈苦喁嵿喈む瘉. 1984喈侧瘝 喈む喁� 喈呧喁佮喈む瘝喈む 喈掄喁嵿喈距喁� 喈掂喈む喈侧瘝 喈む喁嵿畷喁娻喁� 喈氞瘑喈瘝喈む瘉喈曕瘖喈｀瘝喈熰喈班瘝.
喈呧喁嵿喈� 喈. 喈掂喈氞喈侧喈熰瘝喈氞 喈呧喁嵿喈�. 喈呧喈班喁� 喈呧喁嵿喈距喈苦喁� 喈氞瘖喈ㄠ瘝喈� 喈娻喁� 喈ㄠ疅喁嵿疅喈距喈瘝. 喈呧喈班瘝 喈瘑喈喁� 喈喈瘒喈膏瘝喈掂喈┼瘝 喈喈赤瘝喈赤瘓. 喈呧喁嵿喈距喈苦喁� 喈呧喁嵿喈� 喈瘑喈喁� 喈喁嵿喈距喈む 喈呧喁嵿喈�. 喈呧喈班喁� 喈氞瘖喈ㄠ瘝喈� 喈娻喁� 喈む喈班瘉喈掂喈む喈權瘝喈曕瘚喈熰瘉. 喈ㄠ疅喁嵿疅喈距喈瘝 喈曕瘚喈喈侧瘝 喈呧喁佮畷喁� 喈夃喁嵿 喈曕喈赤 喈掂喈距畷喈瘝 喈呧喁嵿喈距喈苦喁� 喈曕瘉喈熰瘉喈瘝喈� 喈掂瘈喈熰瘉. 喈呧喁嵿喈距喁佮畷喁嵿畷喁� 喈氞畷喁嬥喈班喁嵿畷喈赤瘝 喈ㄠ喈侧瘝喈掂喁�. 喈瘋喈む瘝喈� 喈呧喁嵿喈� 喈掂瘒喈侧喁嵿喈┼瘝 喈ㄠ喈喁�, 喈囙喈｀瘝喈熰喈喈班瘝 喈曕瘒喈氞喈喈赤瘝喈赤瘓. 喈瘋喈┼瘝喈编喈瘝 喈呧喁嵿喈� 喈喈む喈┼瘝 喈喈赤瘝喈赤瘓. 喈呧疅喁佮喁嵿喁� 喈喈班喈距畷喈班喁� 喈ㄠ喈喁�. 喈曕疅喁堗畾喈� 喈む喁嵿喈� 喈曕喈赤喈瘝喈喈赤瘝喈赤瘓. 喈呧喁嵿喈距喁佮畷喁嵿畷喁� 喈囙喁� 喈氞畷喁嬥喈班喈曕喁�. 喈呧畷喁嵿畷喈� 喈む喈熰瘝喈氞喈喈� 喈呧喁嵿喈� 喈囙喁嵿喁嬥喁� 喈ㄠ疅喁嵿疅喈距喈瘝 喈曕瘉喈熰瘉喈瘝喈� 喈掂瘈喈熰瘝喈熰喈侧瘝 喈掂畾喈苦畷喁嵿畷喈苦喈距喁�. 喈囙喁嵿喁娻喁� 喈呧畷喁嵿畷喈� 喈瘈喈┼喈熰瘝喈氞喈喁嵿喈� 喈曕瘒喈班 喈喈ㄠ喈侧喁� 喈嗋喈苦喈ㄠ喈熰瘝喈熰喈侧瘝 喈喈喈曕喈氞瘝喈氞瘑喈┼瘝喈编瘉 喈呧畽喁嵿畷喁� 喈掂喈脆瘝喈ㄠ瘝喈む瘉 喈囙喈ㄠ瘝喈む喈班瘝. 喈呧喁嵿喈� 1984喈侧瘝 喈む喁� 喈愢喁嵿喈む瘝喈む瘉 喈ㄠ喈侧喈瘝 喈掂喈む喈侧瘝 喈む喁嵿畷喁娻喁堗畾喁�
He entered the world of Tamil literature in the 1990s, Jeyamohan has had impacted the Tamil literary landscape as it emerged from the post-modern phase. His best-known and critically acclaimed work is Vishnupuram, a deeply layered fantasy set as a quest through various schools of Indian philosophy and mythology. His other well-known novels include Rubber, Pin Thodarum Nizhalin Kural, Kanyakumari, Kaadu, Pani Manithan, Eazhaam Ulagam, and Kotravai. His writing is heavily influenced by the works of humanitarian thinkers Leo Tolstoy and Mohandas Karamchand Gandhi. Drawing on the strength of his life experiences and extensive travel around India, Jeyamohan is able to re-examine and interpret the essence of India's rich literary and classical traditions.
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喈む喁嵿喁� 喈瘑喈喁� 喈庎喁�.喈喈曕瘉喈侧瘒喈喁� 喈喈赤瘝喈赤瘓. 喈む喈む瘝喈む 喈瘑喈喁� 喈掂喈曕瘝喈曕喁€喈熰瘝喈熰瘉 喈氞畽喁嵿畷喈班喁嵿喈苦喁嵿喁�. 喈瘋喈班瘝喈掂瘈喈� 喈娻喁� 喈曕瘉喈喈苦喈距喈熰瘝喈熰喁� 喈掂喈赤喈權瘝喈曕瘚喈熰瘉 喈掂疅喁嵿疅喈瘝, 喈む喈班瘉喈掂喈瘝喈瘉. 喈む喈む瘝喈む 喈呧疅喈苦喁佮喁� 喈嗋畾喈距喁�. 喈嗋畷喈掂瘒 喈氞畽喁嵿畷喁� 喈嗋畾喈距喁� 喈庎 喈呧喁堗畷喁嵿畷喈瘝喈疅喁嵿疅喈苦喁佮畷喁嵿畷喈苦喈距喁�. 喈呧喁嵿喈距喈苦喁� 喈呧喁嵿喈� 喈瘑喈喁� 喈侧疅喁嵿畾喁佮喈苦畷喁嵿畷喁佮疅喁嵿疅喈� 喈呧喁嵿喈�. 喈呧喈班喁� 喈氞瘖喈ㄠ瘝喈� 喈娻喁� 喈曕瘉喈喈苦喈距喈熰瘝喈熰喁� 喈掂喈赤喈權瘝喈曕瘚喈熰瘉 喈掂疅喁嵿疅喈瘝, 喈む喈班瘉喈掂疅喁嵿疅喈距喁�. 喈呧喁嵿喈距喁佮疅喈┼瘝 喈喈编喁嵿喈掂喁嵿畷喈赤瘝 喈囙喁佮喈班瘝. 喈む喁嵿喈� 喈庎喁�.喈氞瘉喈む喁嵿畾喈┼喁� 喈ㄠ喈喁� 喈む喈苦喈� 喈呧喈氞瘉喈む瘝喈む瘉喈编瘓喈喈侧瘝 喈掂疅喁嵿疅喈距 喈掂喈班瘝喈氞瘝喈氞 喈呧喁佮喈侧喈距畷 喈囙喁佮喁嵿喁� 喈撪喁嵿喁佮喁嗋喁嵿喁� 喈囙喁嵿喁嬥喁� 喈喁嵿喈ㄠ喈喁佮喈む瘝喈む喈侧瘝 喈掂畾喈苦畷喁嵿畷喈苦喈距喁�. 喈呧喁嵿喈距喈苦喁� 喈む畽喁嵿畷喁� 喈氞喁嬥疁喈苦喈� 喈呧喁嵿喈� 喈む喈班瘉喈掂疅喁嵿疅喈距喈苦喁� 喈嗋喈苦畷喁囙畾喈� 喈瘑喈班瘉喈喈赤瘝 喈嗋喈� 喈瘉喈曕喁嵿喈苦喁� 喈夃喁嵿 喈喈熰瘝喈熰喈喈┼瘝 喈瘋喈班瘝喈掂瘈喈曕喁€喈熰瘝喈熰喈侧瘒喈瘒 喈掂喈脆瘝喈曕喈编喈班瘝.
喈呧喁嵿喈� 喈瘉喈む喈苦喁� 喈掂喈權瘝喈曕喁� 喈む瘉喈编瘓喈喈侧瘝 喈掂瘒喈侧瘓喈喈班瘝喈む瘝喈む喈班瘝. 喈喈┼瘝 喈喁嵿喈苦喈瘝喈喈苦喁佮喁嵿喁佮喁堗喈苦喁� 喈庎喁佮喁嵿喈班喈� 喈掂瘒喈侧瘓喈喈班瘝喈む瘝喈む瘉 喈撪喁嵿喁� 喈瘑喈编瘝喈编喈班瘝. 喈呧喈班喁� 喈喈苦畷喁嵿畷喈距喈む瘝喈む喈侧瘝 喈瘑喈班瘉喈瘝喈畷喁佮喈� 喈呧喁佮喈┼瘓 喈喁嵿喈苦喈瘝喈喈苦喁� 喈呧喁佮喈侧畷喈む瘝喈む喈侧瘝 喈曕喈苦喁嵿喈む瘉. 1984喈侧瘝 喈む喁� 喈呧喁佮喈む瘝喈む 喈掄喁嵿喈距喁� 喈掂喈む喈侧瘝 喈む喁嵿畷喁娻喁� 喈氞瘑喈瘝喈む瘉喈曕瘖喈｀瘝喈熰喈班瘝.
喈呧喁嵿喈� 喈. 喈掂喈氞喈侧喈熰瘝喈氞 喈呧喁嵿喈�. 喈呧喈班喁� 喈呧喁嵿喈距喈苦喁� 喈氞瘖喈ㄠ瘝喈� 喈娻喁� 喈ㄠ疅喁嵿疅喈距喈瘝. 喈呧喈班瘝 喈瘑喈喁� 喈喈瘒喈膏瘝喈掂喈┼瘝 喈喈赤瘝喈赤瘓. 喈呧喁嵿喈距喈苦喁� 喈呧喁嵿喈� 喈瘑喈喁� 喈喁嵿喈距喈む 喈呧喁嵿喈�. 喈呧喈班喁� 喈氞瘖喈ㄠ瘝喈� 喈娻喁� 喈む喈班瘉喈掂喈む喈權瘝喈曕瘚喈熰瘉. 喈ㄠ疅喁嵿疅喈距喈瘝 喈曕瘚喈喈侧瘝 喈呧喁佮畷喁� 喈夃喁嵿 喈曕喈赤 喈掂喈距畷喈瘝 喈呧喁嵿喈距喈苦喁� 喈曕瘉喈熰瘉喈瘝喈� 喈掂瘈喈熰瘉. 喈呧喁嵿喈距喁佮畷喁嵿畷喁� 喈氞畷喁嬥喈班喁嵿畷喈赤瘝 喈ㄠ喈侧瘝喈掂喁�. 喈瘋喈む瘝喈� 喈呧喁嵿喈� 喈掂瘒喈侧喁嵿喈┼瘝 喈ㄠ喈喁�, 喈囙喈｀瘝喈熰喈喈班瘝 喈曕瘒喈氞喈喈赤瘝喈赤瘓. 喈瘋喈┼瘝喈编喈瘝 喈呧喁嵿喈� 喈喈む喈┼瘝 喈喈赤瘝喈赤瘓. 喈呧疅喁佮喁嵿喁� 喈喈班喈距畷喈班喁� 喈ㄠ喈喁�. 喈曕疅喁堗畾喈� 喈む喁嵿喈� 喈曕喈赤喈瘝喈喈赤瘝喈赤瘓. 喈呧喁嵿喈距喁佮畷喁嵿畷喁� 喈囙喁� 喈氞畷喁嬥喈班喈曕喁�. 喈呧畷喁嵿畷喈� 喈む喈熰瘝喈氞喈喈� 喈呧喁嵿喈� 喈囙喁嵿喁嬥喁� 喈ㄠ疅喁嵿疅喈距喈瘝 喈曕瘉喈熰瘉喈瘝喈� 喈掂瘈喈熰瘝喈熰喈侧瘝 喈掂畾喈苦畷喁嵿畷喈苦喈距喁�. 喈囙喁嵿喁娻喁� 喈呧畷喁嵿畷喈� 喈瘈喈┼喈熰瘝喈氞喈喁嵿喈� 喈曕瘒喈班 喈喈ㄠ喈侧喁� 喈嗋喈苦喈ㄠ喈熰瘝喈熰喈侧瘝 喈喈喈曕喈氞瘝喈氞瘑喈┼瘝喈编瘉 喈呧畽喁嵿畷喁� 喈掂喈脆瘝喈ㄠ瘝喈む瘉 喈囙喈ㄠ瘝喈む喈班瘝. 喈呧喁嵿喈� 1984喈侧瘝 喈む喁� 喈愢喁嵿喈む瘝喈む瘉 喈ㄠ喈侧喈瘝 喈掂喈む喈侧瘝 喈む喁嵿畷喁娻喁堗畾喁�
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February 27, 2024
喈囙喁嵿 喈ㄠ瘋喈侧瘓 喈掂喈氞喈曕瘝喈曕喁嵿喁嬥畷喁佮喁� 喈掂喈氞畷喈班瘝喈曕喁佮畷喁嵿畷喁� 喈掄喁� 喈瘉喈┼瘝-喈庎畾喁嵿畾喈班喈曕瘝喈曕瘓 . 喈掂疅喈苦畷喈熰瘝喈熰喁嵿喈熰喈� 喈庎喈距喁嵿喁嵿喈む瘝喈む瘓 喈夃畽喁嵿畷喈赤喈侧瘝 喈む喈權瘝喈� 喈瘉喈熰喈喈む瘉 喈庎喁嵿喈距喁�, 喈囙喁嵿 喈ㄠ瘋喈侧瘓 喈曕喁嵿疅喈苦喁嵿喈距畷 喈掂喈氞喈曕瘝喈� 喈掂瘒喈｀瘝喈熰喈瘝 .
喈ㄠ喈曕喁€喈曕喁� 喈庎喁佮喁� 喈喈喁� 喈む喈班瘓喈喈┼瘝 喈喈┼瘝喈┼喈侧瘝 喈掂喈脆瘉喈瘝 喈掂喈赤喈瘝喈瘉 喈ㄠ喈侧瘓 喈喈苦喈班瘝喈曕喈苦喁� 喈囙喁佮喁嵿疅 喈夃喈曕喁嵿喁� 喈庎疅喁嵿疅喈苦喁嵿喈距喁嵿畷喁嵿畷 喈掄喁� 喈む瘓喈班喈喁� 喈掂瘒喈｀瘝喈熰瘉喈瘝 . 喈ㄠ喁嵿喈苦喁� 喈瘑喈班瘉喈瘝喈喈侧喈┼瘚喈班瘝, 喈呧喁嵿喁佮喈曕喁嵿喈苦喁� 喈曕瘉喈疅喁嵿疅 喈掂瘓喈曕瘝喈曕瘉喈瘝 喈夃喁嵿喁堗喁堗喁佮喁� , 喈喈距喁嵿喁嵿喈む瘝喈む瘓喈瘉喈瘝 , 喈曕瘉喈班瘋喈班喁嵿喁堗喁佮喁� 喈溹瘈喈班喈苦畷喁嵿畷 喈む喈班喈｀ 喈囙喁嵿喈距喈侧瘝 喈む喈班瘓喈喈┼瘝 喈呧喁佮畷喈距喁堗喈苦喁� 喈曕瘋喈� 喈瘚喈曕喈喁� 喈掂喈脆瘝喈ㄠ瘝喈む瘉 喈瘉喈熰喈曕瘝喈曕喈编瘚喈瘝. 喈嗋喈距喁佮喁� 喈氞喈� 喈ㄠ瘒喈班畽喁嵿畷喈赤喈侧瘝 喈む喁嵿畾喁嗋喈侧喈� 喈瘒喈班瘉喈ㄠ瘝喈む瘉 喈ㄠ喈侧瘓喈畽喁嵿畷喈赤喈侧瘚 , 喈班喈苦喁� 喈ㄠ喈侧瘓喈畽喁嵿畷喈赤喈侧瘚 , 喈曕瘚喈掂喈侧瘝喈曕喈苦喁� 喈瘉喈┼瘝喈┼喁� 喈氞喈む瘓喈ㄠ瘝喈む瘉 喈喈编喁嵿 喈呧喁嵿喈む瘉 喈喈编喁嵿 喈喈┼瘝 喈氞喈む瘓喈ㄠ瘝喈� , 喈氞喁傕畷喈む瘝喈む喈侧瘝 喈喈苦喈む喁嵿喁� 喈呧畷喈编瘝喈� 喈疅喁嵿疅 喈夃疅喈侧瘝 喈曕瘉喈编瘓喈喈熰瘉 喈夃喁嵿 喈掄喁� 喈喈苦喈曕瘝喈曕瘋喈熰瘝喈熰喁嵿喁� 喈ㄠ喈瘝 喈曕喈� 喈ㄠ瘒喈班喈熰喈距喁� . 喈曕瘉喈编喈瘝喈喈� ,喈曕瘚喈掂喈侧瘝喈曕喈苦喁� 喈瘉喈┼瘝喈┼喈侧瘝 喈夃畽喁嵿畷喈赤喈┼瘝 喈む喈熰瘈喈班瘝 喈曕喁佮喁堗畷喁嵿畷喁� 喈班疅喁嵿畾喈苦喁嵿喁� 喈掂喈權瘝喈曕瘉喈瘝 喈夃喈苦喁� 喈夃喁嵿 喈曕瘖喈侧瘉 喈瘖喈瘝喈瘓喈曕喈距畷 喈呧疅喁佮畷喁嵿畷喈� 喈掂瘓喈曕瘝喈曕喁嵿喈熰瘉喈喈班瘝喈曕喈苦喁� 喈囙喁佮喁嵿疅 喈掂喈脆瘝喈掂喈┼瘉喈赤瘝 喈ㄠ喁嵿喁� 喈曕瘋喈熰瘝喈熰喈氞瘝喈氞瘑喈侧瘝喈侧瘉喈瘝 喈掄喁� 喈ㄠ瘑喈炧瘝喈氞瘉喈班瘉喈曕瘝喈曕瘉喈瘝 喈瘉喈む喈┼喁� .
喈呧喁嵿喈熰 喈掄喁� 喈氞喈む瘓喈ㄠ瘝喈� 喈喈苦喈曕瘝喈曕瘋喈熰瘝喈熰喁嵿喁� 喈喈瘝 喈氞喁嵿喈距喈苦畷喁嵿畷喁佮喁� 喈曕喁佮喈苦喈距畷 喈喈┼瘝喈疅喁佮喁嵿喁佮喁� 喈掄喁� 喈喈苦喈班喈┼瘝 喈囙喁佮喁堗喁嵿喈┼瘝喈瘓 喈掂喈瘝喈ㄠ瘝喈� 喈夃喈掂喈喁� 喈瘒喈氞瘉喈曕喈编喁� 喈囙喁嵿喁傕喁� . 喈曕喁嵿喈掂喈┼瘓 喈喈班瘝喈曕瘝喈曕喈� 喈曕疅喈掂瘉喈赤瘝 喈ㄠ喁嵿喈苦畷喁嵿畷喁� , 喈む喁� 喈曕瘉喈熰瘉喈瘝喈喁嵿喈苦喁� 喈瘈喈む瘉 喈夃喁嵿 喈氞瘉喈喈侧喈距 喈喈氞喁�, 喈ㄠ喈喈喈编瘝喈� 喈掂喈喈喈班喁嵿喈苦喁佮喁� 喈ㄠ喈喈喁� 喈ㄠ喈编瘉喈掂瘉喈瘝 喈む喁嵿喁�, 喈喁嵿喁佮喁� 喈む喁� 喈掂喈脆瘝喈掂喈侧瘝 喈掂喁佮喁� 喈曕喁嵿疅喈權瘝喈曕喁� 喈庎喁佮喁佮喁� 喈呧喈班喁� 喈喈氞喈熰瘝喈氞喈瘓 喈ㄠ喈瘝 喈庎喈苦喁嵿喈距喁嵿喁嵿喈む瘉 喈瘚喈侧瘝 喈呧喈苦畷喁嵿畷喈距喈む瘉 喈ㄠ疅喁堗喁佮喁� . 喈呧喁嵿喈┼喈む喈苦喁� 喈氞瘑喈瘝喈曕瘓喈曕喁� 喈ㄠ喁嵿喈曕瘝喈曕瘉 喈曕疅喁佮喁� 喈呧喈苦喁嵿喁� 喈忇喁嵿喈熰瘉喈む瘝喈む喈┼喈侧瘉喈瘝 , 喈夃喈苦喁嵿喈距喁嵿喈距喁嵿喈む喁嵿畷喁佮喁� ,喈囙喁佮喁嵿喈侧喈喁� 喈ㄠ瘑喈班瘉喈曕瘝喈曕疅喈� 喈曕喈班喈喈曕喁佮喁� 喈ㄠ喁嵿喈苦喁� 喈喈班瘝 (喈庎喁嵿喁堗喁佮喁� 喈氞瘒喈班瘝喈む瘝喈む瘉) 喈喈氞喈熰瘝喈氞喈瘓 喈ㄠ喈班喈曕喈苦喁嵿喈掂喁嵿畷喈赤喈曕喁佮喁�, 喈呧疅喁佮喁嵿喈掂喁嵿畷喈赤喈┼瘝 喈掂喈苦喁堗喁佮喁� 喈掂瘒喈む喁堗喁佮喁� 喈夃喈班瘝喈氞瘝喈氞 喈囙喁嵿喈距喈侧瘝 喈曕疅喈ㄠ瘝喈む瘉 喈瘚喈曕瘉喈瘝 喈喈ㄠ喈侧瘓喈曕瘝喈曕瘉 喈囙喈侧瘝喈喈曕瘝喈曕喁� 喈氞瘑喈瘝喈喁嵿喈熰瘝喈熰喈班瘝喈曕喈距畷 喈囙喁佮畷喁嵿畷喈苦喁嬥喁� 喈庎喁嵿喈む瘉 喈ㄠ喈む喁嵿畾喈┼喁�.
喈曕喁堗喁� 喈ㄠ喈瘝 喈ㄠ喈む喁� 喈曕喈｀瘉喈瘝 喈喈苦喈班瘝喈曕喁� 喈曕瘖喈｀瘝喈熰瘉 喈む瘖喈瘝喈掂喈侧瘝喈侧喈� 喈掄喁� 喈嗋喈喈� 喈曕瘚喈班瘝喈む瘝喈む喈班瘉喈曕瘝喈曕喈编喈班瘝 喈嗋畾喈苦喈苦喈班瘝 . 喈曕喈距喈距喁嵿喈苦喈權瘝喈曕喁� 喈呧喁堗喁嵿喈苦喁佮喁� 喈掄喁� 喈喈苦畾喁嵿畾喈喈距 喈呧喁佮畷喈距喁堗喁佮喁� 喈呧喁� 喈ㄠ瘒喈班喁嵿喈苦喁� 喈掄喁� 喈呧喁嵿喈苦 喈む瘖喈侧瘓喈掂瘓喈瘉喈瘝 喈掄喁� 喈ㄠ瘒喈班喁嵿喈苦喁� 喈夃喈� 喈瘉喈熰喈ㄠ瘝喈む喁� . 喈庎喈距喁嵿喁嵿喈む瘝喈む瘓 喈ㄠ喈曕瘝喈曕瘉 喈夃喁堗畷喁嵿畷喁佮喁� 喈掂畷喁堗喈苦喁� 喈氞瘖喈侧瘝喈� 喈呧喈苦喁嵿畾喁嵿畾喈� 喈曕喈班喈苦喁� 喈夃喈瘚喈� 喈疅喁佮喁嵿喈苦喈苦喁佮畷喁嵿畷喈苦喈距喁� .喈瘚喈む瘝喈む 喈瘚喈┼瘝喈� 喈喈苦 喈喈む喈┼瘝 喈呧喁佮畷喁嵿畷喁佮畷喁嵿畷喁� 喈曕瘚喈掂喈侧瘝 喈曕喁佮喈编瘓喈瘉喈瘝 喈掂喈侧畷喁嵿畷喁� 喈囙喁嵿喁� 喈瘚喈侧瘉喈瘝. 喈庎喁嵿喁佮疅喁堗 喈掄喁� 喈掂喈喁嵿畾喈┼喁� ,喈掂喈赤喈瘝喈瘉 喈ㄠ喈侧瘓 喈喈苦喈班瘝喈曕喁� 喈喈班畾喁嵿畾喈┼瘓喈曕喁� 喈瘒喈氞瘉喈瘝 喈嗋畾喈苦喈苦喈班瘝喈曕瘝喈曕瘉, 喈掂喈赤喈瘝喈瘉 喈ㄠ喈侧瘓 喈喈苦喈班瘝喈曕喁佮畷喁嵿畷喈距畷 喈庎喁嵿喁娻喁佮喁佮喁� 喈瘚喈班喈熰瘉喈瘝 喈氞喈曕喁佮畷喁嵿畷喈赤瘓 喈忇喁� 喈喈熰喈曕瘝喈� 喈喈熰瘝喈熰瘒喈┼瘝 喈庎喁嵿畷喈苦喈む瘉 喈庎喁嵿喁� 喈む瘑喈班喈喈苦喁嵿喁�.
喈喁嵿喈疅喈� 喈囙喁� 喈喈む瘓 喈喈氞瘓喈ㄠ瘝喈む瘉 喈掂喈熰瘝喈熰瘉喈掂喈熰瘉喈瘝 喈掄喁� 喈喈距喁嵿喁嵿喈掂喈� 喈瘉喈┼瘓喈掂瘉 .
喈ㄠ喈曕喁€喈曕喁� 喈庎喁佮喁� 喈喈喁� 喈む喈班瘓喈喈┼瘝 喈喈┼瘝喈┼喈侧瘝 喈掂喈脆瘉喈瘝 喈掂喈赤喈瘝喈瘉 喈ㄠ喈侧瘓 喈喈苦喈班瘝喈曕喈苦喁� 喈囙喁佮喁嵿疅 喈夃喈曕喁嵿喁� 喈庎疅喁嵿疅喈苦喁嵿喈距喁嵿畷喁嵿畷 喈掄喁� 喈む瘓喈班喈喁� 喈掂瘒喈｀瘝喈熰瘉喈瘝 . 喈ㄠ喁嵿喈苦喁� 喈瘑喈班瘉喈瘝喈喈侧喈┼瘚喈班瘝, 喈呧喁嵿喁佮喈曕喁嵿喈苦喁� 喈曕瘉喈疅喁嵿疅 喈掂瘓喈曕瘝喈曕瘉喈瘝 喈夃喁嵿喁堗喁堗喁佮喁� , 喈喈距喁嵿喁嵿喈む瘝喈む瘓喈瘉喈瘝 , 喈曕瘉喈班瘋喈班喁嵿喁堗喁佮喁� 喈溹瘈喈班喈苦畷喁嵿畷 喈む喈班喈｀ 喈囙喁嵿喈距喈侧瘝 喈む喈班瘓喈喈┼瘝 喈呧喁佮畷喈距喁堗喈苦喁� 喈曕瘋喈� 喈瘚喈曕喈喁� 喈掂喈脆瘝喈ㄠ瘝喈む瘉 喈瘉喈熰喈曕瘝喈曕喈编瘚喈瘝. 喈嗋喈距喁佮喁� 喈氞喈� 喈ㄠ瘒喈班畽喁嵿畷喈赤喈侧瘝 喈む喁嵿畾喁嗋喈侧喈� 喈瘒喈班瘉喈ㄠ瘝喈む瘉 喈ㄠ喈侧瘓喈畽喁嵿畷喈赤喈侧瘚 , 喈班喈苦喁� 喈ㄠ喈侧瘓喈畽喁嵿畷喈赤喈侧瘚 , 喈曕瘚喈掂喈侧瘝喈曕喈苦喁� 喈瘉喈┼瘝喈┼喁� 喈氞喈む瘓喈ㄠ瘝喈む瘉 喈喈编喁嵿 喈呧喁嵿喈む瘉 喈喈编喁嵿 喈喈┼瘝 喈氞喈む瘓喈ㄠ瘝喈� , 喈氞喁傕畷喈む瘝喈む喈侧瘝 喈喈苦喈む喁嵿喁� 喈呧畷喈编瘝喈� 喈疅喁嵿疅 喈夃疅喈侧瘝 喈曕瘉喈编瘓喈喈熰瘉 喈夃喁嵿 喈掄喁� 喈喈苦喈曕瘝喈曕瘋喈熰瘝喈熰喁嵿喁� 喈ㄠ喈瘝 喈曕喈� 喈ㄠ瘒喈班喈熰喈距喁� . 喈曕瘉喈编喈瘝喈喈� ,喈曕瘚喈掂喈侧瘝喈曕喈苦喁� 喈瘉喈┼瘝喈┼喈侧瘝 喈夃畽喁嵿畷喈赤喈┼瘝 喈む喈熰瘈喈班瘝 喈曕喁佮喁堗畷喁嵿畷喁� 喈班疅喁嵿畾喈苦喁嵿喁� 喈掂喈權瘝喈曕瘉喈瘝 喈夃喈苦喁� 喈夃喁嵿 喈曕瘖喈侧瘉 喈瘖喈瘝喈瘓喈曕喈距畷 喈呧疅喁佮畷喁嵿畷喈� 喈掂瘓喈曕瘝喈曕喁嵿喈熰瘉喈喈班瘝喈曕喈苦喁� 喈囙喁佮喁嵿疅 喈掂喈脆瘝喈掂喈┼瘉喈赤瘝 喈ㄠ喁嵿喁� 喈曕瘋喈熰瘝喈熰喈氞瘝喈氞瘑喈侧瘝喈侧瘉喈瘝 喈掄喁� 喈ㄠ瘑喈炧瘝喈氞瘉喈班瘉喈曕瘝喈曕瘉喈瘝 喈瘉喈む喈┼喁� .
喈呧喁嵿喈熰 喈掄喁� 喈氞喈む瘓喈ㄠ瘝喈� 喈喈苦喈曕瘝喈曕瘋喈熰瘝喈熰喁嵿喁� 喈喈瘝 喈氞喁嵿喈距喈苦畷喁嵿畷喁佮喁� 喈曕喁佮喈苦喈距畷 喈喈┼瘝喈疅喁佮喁嵿喁佮喁� 喈掄喁� 喈喈苦喈班喈┼瘝 喈囙喁佮喁堗喁嵿喈┼瘝喈瘓 喈掂喈瘝喈ㄠ瘝喈� 喈夃喈掂喈喁� 喈瘒喈氞瘉喈曕喈编喁� 喈囙喁嵿喁傕喁� . 喈曕喁嵿喈掂喈┼瘓 喈喈班瘝喈曕瘝喈曕喈� 喈曕疅喈掂瘉喈赤瘝 喈ㄠ喁嵿喈苦畷喁嵿畷喁� , 喈む喁� 喈曕瘉喈熰瘉喈瘝喈喁嵿喈苦喁� 喈瘈喈む瘉 喈夃喁嵿 喈氞瘉喈喈侧喈距 喈喈氞喁�, 喈ㄠ喈喈喈编瘝喈� 喈掂喈喈喈班喁嵿喈苦喁佮喁� 喈ㄠ喈喈喁� 喈ㄠ喈编瘉喈掂瘉喈瘝 喈む喁嵿喁�, 喈喁嵿喁佮喁� 喈む喁� 喈掂喈脆瘝喈掂喈侧瘝 喈掂喁佮喁� 喈曕喁嵿疅喈權瘝喈曕喁� 喈庎喁佮喁佮喁� 喈呧喈班喁� 喈喈氞喈熰瘝喈氞喈瘓 喈ㄠ喈瘝 喈庎喈苦喁嵿喈距喁嵿喁嵿喈む瘉 喈瘚喈侧瘝 喈呧喈苦畷喁嵿畷喈距喈む瘉 喈ㄠ疅喁堗喁佮喁� . 喈呧喁嵿喈┼喈む喈苦喁� 喈氞瘑喈瘝喈曕瘓喈曕喁� 喈ㄠ喁嵿喈曕瘝喈曕瘉 喈曕疅喁佮喁� 喈呧喈苦喁嵿喁� 喈忇喁嵿喈熰瘉喈む瘝喈む喈┼喈侧瘉喈瘝 , 喈夃喈苦喁嵿喈距喁嵿喈距喁嵿喈む喁嵿畷喁佮喁� ,喈囙喁佮喁嵿喈侧喈喁� 喈ㄠ瘑喈班瘉喈曕瘝喈曕疅喈� 喈曕喈班喈喈曕喁佮喁� 喈ㄠ喁嵿喈苦喁� 喈喈班瘝 (喈庎喁嵿喁堗喁佮喁� 喈氞瘒喈班瘝喈む瘝喈む瘉) 喈喈氞喈熰瘝喈氞喈瘓 喈ㄠ喈班喈曕喈苦喁嵿喈掂喁嵿畷喈赤喈曕喁佮喁�, 喈呧疅喁佮喁嵿喈掂喁嵿畷喈赤喈┼瘝 喈掂喈苦喁堗喁佮喁� 喈掂瘒喈む喁堗喁佮喁� 喈夃喈班瘝喈氞瘝喈氞 喈囙喁嵿喈距喈侧瘝 喈曕疅喈ㄠ瘝喈む瘉 喈瘚喈曕瘉喈瘝 喈喈ㄠ喈侧瘓喈曕瘝喈曕瘉 喈囙喈侧瘝喈喈曕瘝喈曕喁� 喈氞瘑喈瘝喈喁嵿喈熰瘝喈熰喈班瘝喈曕喈距畷 喈囙喁佮畷喁嵿畷喈苦喁嬥喁� 喈庎喁嵿喈む瘉 喈ㄠ喈む喁嵿畾喈┼喁�.
喈曕喁堗喁� 喈ㄠ喈瘝 喈ㄠ喈む喁� 喈曕喈｀瘉喈瘝 喈喈苦喈班瘝喈曕喁� 喈曕瘖喈｀瘝喈熰瘉 喈む瘖喈瘝喈掂喈侧瘝喈侧喈� 喈掄喁� 喈嗋喈喈� 喈曕瘚喈班瘝喈む瘝喈む喈班瘉喈曕瘝喈曕喈编喈班瘝 喈嗋畾喈苦喈苦喈班瘝 . 喈曕喈距喈距喁嵿喈苦喈權瘝喈曕喁� 喈呧喁堗喁嵿喈苦喁佮喁� 喈掄喁� 喈喈苦畾喁嵿畾喈喈距 喈呧喁佮畷喈距喁堗喁佮喁� 喈呧喁� 喈ㄠ瘒喈班喁嵿喈苦喁� 喈掄喁� 喈呧喁嵿喈苦 喈む瘖喈侧瘓喈掂瘓喈瘉喈瘝 喈掄喁� 喈ㄠ瘒喈班喁嵿喈苦喁� 喈夃喈� 喈瘉喈熰喈ㄠ瘝喈む喁� . 喈庎喈距喁嵿喁嵿喈む瘝喈む瘓 喈ㄠ喈曕瘝喈曕瘉 喈夃喁堗畷喁嵿畷喁佮喁� 喈掂畷喁堗喈苦喁� 喈氞瘖喈侧瘝喈� 喈呧喈苦喁嵿畾喁嵿畾喈� 喈曕喈班喈苦喁� 喈夃喈瘚喈� 喈疅喁佮喁嵿喈苦喈苦喁佮畷喁嵿畷喈苦喈距喁� .喈瘚喈む瘝喈む 喈瘚喈┼瘝喈� 喈喈苦 喈喈む喈┼瘝 喈呧喁佮畷喁嵿畷喁佮畷喁嵿畷喁� 喈曕瘚喈掂喈侧瘝 喈曕喁佮喈编瘓喈瘉喈瘝 喈掂喈侧畷喁嵿畷喁� 喈囙喁嵿喁� 喈瘚喈侧瘉喈瘝. 喈庎喁嵿喁佮疅喁堗 喈掄喁� 喈掂喈喁嵿畾喈┼喁� ,喈掂喈赤喈瘝喈瘉 喈ㄠ喈侧瘓 喈喈苦喈班瘝喈曕喁� 喈喈班畾喁嵿畾喈┼瘓喈曕喁� 喈瘒喈氞瘉喈瘝 喈嗋畾喈苦喈苦喈班瘝喈曕瘝喈曕瘉, 喈掂喈赤喈瘝喈瘉 喈ㄠ喈侧瘓 喈喈苦喈班瘝喈曕喁佮畷喁嵿畷喈距畷 喈庎喁嵿喁娻喁佮喁佮喁� 喈瘚喈班喈熰瘉喈瘝 喈氞喈曕喁佮畷喁嵿畷喈赤瘓 喈忇喁� 喈喈熰喈曕瘝喈� 喈喈熰瘝喈熰瘒喈┼瘝 喈庎喁嵿畷喈苦喈む瘉 喈庎喁嵿喁� 喈む瘑喈班喈喈苦喁嵿喁�.
喈喁嵿喈疅喈� 喈囙喁� 喈喈む瘓 喈喈氞瘓喈ㄠ瘝喈む瘉 喈掂喈熰瘝喈熰瘉喈掂喈熰瘉喈瘝 喈掄喁� 喈喈距喁嵿喁嵿喈掂喈� 喈瘉喈┼瘓喈掂瘉 .
June 26, 2021
3.5
An absolutely depressing but engaging flinch-fest. Impulse to throw the book away is experienced every chapter. This novel is Naan Kadavul ^ 100. It deserves kudos for bringing to light the reality of disabled people who are enslaved and made to beg outside temples in India. The novel depicts how easily humans can adapt to unthinkable levels of cruelty and pain, and it's horrifying how we're inured to all the horror and torture after a few chapters (the initial chapters were some of the most nerve-wracking sections I've ever read). We're numbed so easily and that's the reason the world is the way it is. Most characters in the book treat the human slavery business as if it's pretty normal and acceptable - was this actually the case? I wouldn't be surprised by now. I don't even have the energy to ponder the extents to which human lives are cheapened in countries where so few resources have to be shared by so many. I wouldn't call it great literature or whatever, but for a Jeyamohan novel (whom I find bigoted), this was okay. Thankfully it didn't dwell a lot on spirituality mystique BS that some Tamil novels love to wallow in. The novel comes a full circle with its end and perfectly captures the vicious (this word feels so weak) circle of suffering.
An absolutely depressing but engaging flinch-fest. Impulse to throw the book away is experienced every chapter. This novel is Naan Kadavul ^ 100. It deserves kudos for bringing to light the reality of disabled people who are enslaved and made to beg outside temples in India. The novel depicts how easily humans can adapt to unthinkable levels of cruelty and pain, and it's horrifying how we're inured to all the horror and torture after a few chapters (the initial chapters were some of the most nerve-wracking sections I've ever read). We're numbed so easily and that's the reason the world is the way it is. Most characters in the book treat the human slavery business as if it's pretty normal and acceptable - was this actually the case? I wouldn't be surprised by now. I don't even have the energy to ponder the extents to which human lives are cheapened in countries where so few resources have to be shared by so many. I wouldn't call it great literature or whatever, but for a Jeyamohan novel (whom I find bigoted), this was okay. Thankfully it didn't dwell a lot on spirituality mystique BS that some Tamil novels love to wallow in. The novel comes a full circle with its end and perfectly captures the vicious (this word feels so weak) circle of suffering.
April 4, 2024
The author, Jeyamohan, tells us that there are 7 underworlds in Hindu mythology and The Abyss of the title refers to, 鈥溾€he Seventh Underworld; that is the unfathomable abyss the inhabitants of this novel inhabit. It鈥檚 a world Jeyamohan is familiar with having lived in this world for a few years starting at age 19. It鈥檚 important to remember that Jeyamohan considers this world unfathomable because he tells the story of a group of physically deformed beggars without any appeal to our emotions or pity. I also encourage readers to read the fantastic translator Suchitra Ramachandran鈥檚 interview of Jeyamohan, included in the Juggernaut edition, before reading the novel.
This is the story of Pothivelu Pandaram and a group of beggars Pandaram 鈥渙wns鈥� and refers to as items. Pandaram buys and sells beggars and employs some rough men to move the beggars from temple to temple, to guard and watch them, and to collect the money the beggars. There are many passages that are hard to read, but I didn鈥檛 find the book depressing. It bothered me that I didn鈥檛 find it depressing because of course I was horrified by the lives of the beggars and the awful abuse that they endure, but it was the individuals themselves that lightened the ugliness of the world this novel takes us into.
This is a dialogue heavy novel so we hear from Ramappan, Ahmed, Kuyyan, Erukku, and the others in the group that beg together. They don鈥檛 complain about their lives, in their view this is the life they were given, they accept it. They are witty, generous, and caring people.
We also get to know Pandaram, his wife and daughters and the men that work for him managing the beggars. Everyone takes, everyone gives, everyone is taken from. Each person-beggars, police officers, Pandaram, his goons, the neighbors, everyone experiences moments of great sadness and moments of joy.
What Jeyamohan wants us to see is that there is no difference between the beggar, me, or the dogs in the street, we are the same. Jeyamohan says in the interview, 鈥淚 would say that鈥檚 the ultimate point of (The Abyss.) it is not a novel meant to create sympathy in the reader鈥檚 mind. In fact, they will feel no such sympathy at all upon reading it. It is meant to invoke empathy in the reader.鈥�
The novel and Jeyamohan鈥檚 thoughts on life, political movements, poverty, and spirituality will stay with me.
This is the story of Pothivelu Pandaram and a group of beggars Pandaram 鈥渙wns鈥� and refers to as items. Pandaram buys and sells beggars and employs some rough men to move the beggars from temple to temple, to guard and watch them, and to collect the money the beggars. There are many passages that are hard to read, but I didn鈥檛 find the book depressing. It bothered me that I didn鈥檛 find it depressing because of course I was horrified by the lives of the beggars and the awful abuse that they endure, but it was the individuals themselves that lightened the ugliness of the world this novel takes us into.
This is a dialogue heavy novel so we hear from Ramappan, Ahmed, Kuyyan, Erukku, and the others in the group that beg together. They don鈥檛 complain about their lives, in their view this is the life they were given, they accept it. They are witty, generous, and caring people.
We also get to know Pandaram, his wife and daughters and the men that work for him managing the beggars. Everyone takes, everyone gives, everyone is taken from. Each person-beggars, police officers, Pandaram, his goons, the neighbors, everyone experiences moments of great sadness and moments of joy.
What Jeyamohan wants us to see is that there is no difference between the beggar, me, or the dogs in the street, we are the same. Jeyamohan says in the interview, 鈥淚 would say that鈥檚 the ultimate point of (The Abyss.) it is not a novel meant to create sympathy in the reader鈥檚 mind. In fact, they will feel no such sympathy at all upon reading it. It is meant to invoke empathy in the reader.鈥�
The novel and Jeyamohan鈥檚 thoughts on life, political movements, poverty, and spirituality will stay with me.
February 7, 2017
喈夃喁嵿喁堗喈苦喁� 喈囙喁� 喈忇喈距喁� 喈夃喈曕喈� 喈囙喁嵿喁� 喈忇喈距喁� 喈ㄠ喈曕喈� 喈庎喁嵿喁� 喈む瘑喈班喈喈苦喁嵿喁� 喈ㄠ喈曕瘝喈曕瘉 喈む瘑喈班喈喈� 喈 喈喈苦喈班瘝喈曕喈苦喁� 喈曕喁� 喈囙喁嵿喁� 喈囙喁嵿喁� 喈 喈嗋喁嵿喈距畷喈赤喈┼瘝 喈曕喁�. 喈囙喁嵿喈熰喈疅喁嵿疅 喈撪喁� 喈夃喈曕喁� ( 喈ㄠ喈曕喁� ) 喈囙喁佮畷喁嵿畷喈苦喁嵿喈む瘉 喈庎喁嵿喈む瘉 喈庎喁嵿喈┼瘓 喈瘒喈班瘉喈曕瘝喈曕瘉 喈む瘑喈班喈瘉喈瘝 喈庎喁嵿喈む瘒 喈瘑喈班喈� 喈曕瘒喈赤瘝喈掂. 喈呧畷喁嬥喈喈� 喈夃疅喈侧瘝 喈呧喁堗喁嵿喁� 喈曕瘖喈｀瘝喈熰喈班瘝喈曕喁� 喈喈氞瘝喈氞瘓 喈庎疅喁佮畷喁嵿畷 喈掂瘓喈む瘝喈む瘉 喈呧喈┼瘝 喈瘋喈侧喁� 喈喈脆瘓喈瘝喈瘉 喈ㄠ疅喈む瘝喈む瘉喈瘝 喈喁嵿疅喈距喈瘝 喈呧喁嵿 喈喈苦喈班瘝喈曕喁� 喈庎喁嵿喈熰 喈喈┼瘝喈疅喁佮喁嵿喈� 喈む喁� 喈む瘒喈掂瘓喈曕喁� 喈瘋喈班瘝喈む瘝喈む 喈氞瘑喈瘝喈曕喈编喈┼瘝 喈庎喁嵿喈む瘒 喈曕喁�. 喈囙喁嵿喈熰 喈撪喁� 喈喈脆瘓喈瘝喈瘓 喈ㄠ疅喈む瘝喈む瘉喈瘝 喈掄喁佮喈┼喈┼瘝 喈喁佮喈曕瘝喈曕喁嵿喁堗喁佮喁� 喈曕喈熰瘝喈� 喈瘉喈喁嵿畾喈� 喈氞瘑喈瘝喈む喈班瘉喈曕瘝喈曕喈编喈班瘝 喈嗋畾喈苦喈苦喈班瘝. 喈む喁� 喈囙喁堗 喈畷喈赤瘝 喈掂瘈喈熰瘝喈熰瘓 喈掂喈熰瘝喈熰瘉 喈氞瘑喈┼瘝喈编瘉 喈む喈班瘉喈喈瘝 喈氞瘑喈瘝喈む瘉 喈曕瘖喈赤瘝喈曕喈编喈赤瘝 喈掄喁� 喈ㄠ喈赤瘝 喈畷喈赤瘝 喈掂喈脆瘝喈ㄠ瘝喈む瘉 喈掂喁佮喁� 喈掂瘈喈熰瘝喈熰喈┼瘝 喈掂喈苦喈距畷 喈氞瘑喈侧瘝喈� 喈掂瘒喈｀瘝喈熰喈� 喈氞瘋喈脆瘝喈ㄠ喈侧瘓 喈呧喈赤瘝 喈掂瘈喈熰瘝喈熰喈┼瘝 喈呧喁佮畷喈苦喁� 喈囙喁佮畷喁嵿畷喁佮喁� 喈曕疅喁堗喈苦喁� 喈呧喈班瘝喈ㄠ瘝喈む瘉 喈畷喈赤瘓 喈喈班瘝喈瘝喈喈编瘝喈曕喈� 喈曕喈む瘝喈む瘉 喈曕瘖喈｀瘝喈熰喈班瘉喈曕瘝喈曕瘉喈瘝 喈む喁佮喈瘝, 喈畷喈赤瘝 喈曕瘒喈熰瘝喈� 喈掂喁堗喈侧瘓 喈掂喈權瘝喈曕瘉喈掂喈编瘝喈曕瘉 喈喈ㄠ瘝喈む瘉喈掂喈熰瘝喈� 喈喁嵿疅喈距喈瘝 喈掂瘈喈熰瘝喈熰喈编瘝喈曕瘉 喈掂喁嵿 喈喈编畷喁� 喈掂喁堗喈侧瘝 喈庎畽喁嵿畷喁� 喈庎喁嵿喁� 喈曕瘒喈熰瘝喈� 喈畷喈赤瘓 喈氞喈距喈距喈瘝喈疅喁佮喁嵿 喈瘉喈喁嵿畷喈苦喈距喁� 喈呧喈赤喈┼瘝 喈忇畷喁嵿畷喈む瘝喈む瘓喈瘉喈瘝 喈曕喁嵿喁€喈班瘓喈瘉喈瘝 喈喈班瘝喈む瘝喈む喈┼瘝 喈呧喁嵿 喈ㄠ喁嵿喈苦喈掂瘒 喈撪疅喈� 喈氞瘑喈┼瘝喈编瘉 喈嗋畾喈距喈苦喁� 喈庎喁佮喁嵿喈� 喈む畽喁嵿畷 喈掂喁堗喈侧瘝 喈掂瘒喈｀瘝喈熰瘉喈瘝 喈庎喁嵿喁� 13 喈嗋喈苦喈瘝 喈曕瘖喈熰瘉喈む瘝喈む瘉 喈掂喈權瘝喈曕 喈掂喁佮喁� 喈む喁佮喈瘝, 喈畷喈赤瘉喈曕瘝喈曕瘉 喈喈班瘝喈む瘝喈む瘉 喈囙喁佮畷喁嵿畷喁佮喁� 喈喈瘝喈喈赤瘝喈赤瘓喈喈┼瘝 喈む瘖喈脆喈侧瘝 喈喁嵿喈� 喈む瘑喈班喈ㄠ瘝喈� 喈喈编畷喁� 喈喈瘝喈喈赤瘝喈赤瘓喈喈┼瘝 喈呧喁嵿喈距喈苦疅喈瘝 喈呧喁� 喈喁嵿喈� 喈曕瘒喈熰瘝喈熰瘉 喈掂畾喈掂瘉 喈氞瘖喈编瘝喈曕喈距喁� 喈呧喁嵿畾喁嵿畾喈┼瘓 喈掂喈權瘝喈曕喈� 喈喈编畷喁� 喈掂瘑喈编瘉喈瘝喈瘉喈熰喁� 喈囙畽喁嵿畷喁� 喈庎喁� 喈畷喈赤瘝 喈庎喁嵿喈熰 喈掂喈脆瘝喈掂喈赤瘝 喈囙喁� 喈庎喁嵿喈距喁� 喈氞喈� 喈疅喁嵿疅喁� 喈掂喈距喁� 喈庎喁嵿喁� 喈氞瘑喈侧瘝喈侧瘉喈瘝 喈瘖喈む瘉 喈囙喁� 喈瘚喈┼瘝喈� 喈 喈む喁佮喈權瘝喈曕喈苦喁� 喈喁嵿疅喈距喈瘝 喈撪喁� 喈囙喈曕喈� 喈喈瘝 喈疅喁堗喁嵿喈掂喁� 喈庎喁嵿喁� 喈嗋畾喈苦喈苦喈班瘝 喈ㄠ喈班瘉喈喈曕瘝喈� 喈瘉喈喁嵿畾喈苦喁嵿喁� 喈囙喁佮畷喁嵿畷喈苦喈距喁� 喈囙喁佮喁嵿喈距喁佮喁� 喈瘉喈む瘝喈む喁嵿喁堗喁� 喈撪喁� 喈曕瘉喈脆喁嵿喁� 喈喈编畷喁嵿畷喁佮喁� 喈囙喈ㄠ瘝喈む喈班喈距畷 喈喈┼瘝喈疅喁佮喁嵿喈苦 喈喁嵿疅喈距喈瘝 喈喈编畷喁嵿畷喁佮喁� 喈曕瘉喈脆喁嵿喁� 喈娻喈喈� 喈囙喁佮畷喁嵿畷 喈掂瘒喈｀瘝喈熰瘉喈瘝 喈庎喁嵿喈む喁嵿畷喈距畷喈掂瘒 喈掂喁佮畷喁嵿畷喈熰瘝喈熰喈喈距畷 喈夃疅喈侧瘝 喈娻喈瘉喈编瘝喈� 喈曕瘉喈编瘓 喈夃喁嵿 喈喈苦喈班瘝喈曕喁堗喁� 喈曕瘋喈� 喈掂喈熰瘉喈掂喁佮喁�, 喈撪喁� 喈ㄠ瘒喈班喁嵿喈苦喁� 喈瘉喈む瘝喈む喁堗喈苦喁� 喈掄喁� 喈曕瘓 喈掄喁� 喈曕喈侧瘝 喈疅喁嵿疅喁佮喁� 喈夃喁嵿 喈呧喁嵿 喈曕瘉喈脆喁嵿喁堗喁� 喈掂瘑喈喈侧喈侧瘝 喈瘚喈熰瘝喈熰瘉 喈喈熰瘝喈氞瘓 喈庎疅喁佮畷喁嵿畷 喈掂瘓喈む瘝喈む瘉 喈掂瘑喈喈侧瘝 喈曕喈班畷喁嵿畷喈む瘝喈む喈侧瘝 喈喈權瘝喈曕瘉喈瘝 喈曕瘉喈脆喁嵿喁堗畷喁嵿畷喁� 喈呧喁堗喈｀ 喈ㄠ瘒喈班喁嵿喁佮畷喁嵿畷喁� 喈掄喁� 喈瘉喈编瘓 喈む喁嵿喁€喈班瘝 喈む瘑喈赤喈む瘝喈む瘉 喈掂喈熰瘉 喈掄喁嵿喁佮喁� 喈嗋畷喈距喁� 喈庎喁嵿喁� 喈氞瘖喈侧瘝喈曕喈� 喈喁嵿疅喈距喈む瘝喈む瘓 喈囙喈曕喈� 喈喈瘝 喈疅喁堗喁嵿喈掂喈距畷 喈忇锟斤拷锟� 喈庎喁嵿喈距喁� 喈忇喁嵿喁佮畷喁嵿畷喁娻喁嵿 喈瘉喈熰喈喈苦喁嵿喁� 喈呧喈┼瘉喈瘝 喈掄喁� 喈呧喈曕瘝喈曕喁� 喈庎喁嵿喁� 喈庎喁� 喈喈瘝 喈喈编瘉喈曕喈编喁�. 喈囙畷喁嵿畷喈む瘓喈喈┼瘝 喈夃喈苦喁嬥疅喁嵿疅喈瘒 喈ㄠ瘑喈侧瘝喈侧瘓 喈ㄠ喈曕喁嵿畷喁嬥喈苦喁� 喈掂疅喁嵿疅喈距 喈掂喈曕瘝喈曕瘉 喈氞瘖喈编瘝喈曕喁� 喈む喈┼瘝. 喈呧喁佮喁堗喈距畷 喈氞瘖喈编瘝喈曕喁� 喈曕瘓喈喈｀瘝喈熰喈班瘉喈曕瘝喈曕瘉喈瘝 喈嗋畾喈苦喈苦喈班瘉喈曕瘝喈曕瘉 喈ㄠ喈曕喁� 喈呧喈班瘝 喈疅喁嵿疅喁佮喁�.喈ㄠ喈瘝 喈掂喈脆瘉喈瘝 喈囙喁嵿 喈夃喈曕喈侧瘝 喈囙喁� 喈瘚喈侧喁佮喁� 喈畷喁嵿畷喈赤瘝 喈囙喁佮畷喁嵿畷喈苦喈距喁嵿畷喈赤瘝 喈庎喁嵿喁� 喈ㄠ喈┼瘓喈曕瘝喈曕瘉喈瘝 喈瘚喈む瘉 喈掂瘒喈む喁堗喁佮喁� 喈呧畾喁嵿畾喈瘉喈瘝 喈曕喈ㄠ瘝喈む瘉 喈掂喁佮畷喈苦喈む瘉. 喈嗋畾喈苦喈苦喈班瘝喈曕瘝喈曕瘉 喈ㄠ喁嵿喈�.
July 13, 2014
喈瘉喈む喁� 喈掄喁� 50 喈畷喁嵿畷喈瘝 喈呧喁嵿 喈掂疅喁嵿疅喈距 喈ㄠ疅喁� 喈瘉喈班喈� 喈曕瘖喈炧瘝喈氞喁� 喈曕喁嵿疅喈 喈囙喁佮喁嵿喈苦畾喁嵿畾喁�, 喈呧喁嵿喁佮喈瘝 喈氞瘑喈瘝喈�, 喈曕喁堗喁嵿喁� 喈掄喁嵿喁佮喁� 喈囙喁嵿, 喈嗋喈� 喈ㄠ疅喁� 喈氞瘋喈瘝喈喁�. 喈囙喁佮畷喁嵿畷喁� 喈瘒喈� 喈溹瘑喈瘚 喈庎喁嵿 喈曕瘉喈编喈瘈喈熰瘝喈熰瘓 喈氞瘖喈侧瘝喈� 喈掂喈距喁嵿喁嵿喁� 喈庎喈曕瘝喈曕瘉 喈瘉喈班喈. 喈曕瘖喈炧瘝喈氞喁� 喈喈苦喁嵿畾喈� 喈掂瘒喈｀瘉喈瘝 喈瘚喈�. 喈庎疅喁佮畷喁嵿畷喈编瘒喈┼瘝.
April 22, 2024
A book, a story, and an author that I will need to sit with for a long time. It has been a while since a book has been able to evoke such strength of emotion in me.
One of those rare stories that I will find myself revisiting often.
One of those rare stories that I will find myself revisiting often.
October 14, 2014
I don't think any book had this kind of impact on me after Puli Naga Kondrai. There's first the denial mode when you start the book, then getting used to inhuman behavior of our fellow human beings and finally a sense of appreciation to the life we've got.
August 1, 2017
A strange world opens up...one which we fear to tread. Beware!
August 3, 2023
Excellent novel that鈥檚 gut-wrenching and warm in equal measure. Wonderful translation as well.
May 2, 2023
From the 2007 movie, Traffic Signal to Mistry's masterpiece, A Fine Balance; a little has been explored of the humans who inhabit the stairways to temples and foothpaths. Us and them. That's how we look at the divide.
When I first came to Mumbai, I was homeless within a month. That's when I discovered a whole different world I would otherwise mock and flinch away from. When I used the last 10 rupee note to feed a sibling duo outside one of the Mumbai stations; a few nights later, it was them who offered to share their cardboard piece because it wasn't safe for a me to be out alone. For them, who had nothing, they still chose to share the warmth and little morsel they had.
Jeyamohan writes of how he lived his life as a beggar when ran away from home and had nothing to fall back upon. He too discovered a world on the other side of the abyss that very few dare to venture or even have the least inclination to do so. He experienced a family deeper than blood and bonds no discord could break. I was quickly whisked back in time to days I have chosen to forget and lock away.
Cracking open the spine of The Abyss, the opening chapters invoked a vestigal memory of Beggar-master and his retinue. India is a country where even dirt sells. Humans are just another prime commodity. Suffering sells best. Know how to milk it.
In few chapters, Jeyamohan delivers a horrific, flinching tale of debased human experience. A tale where disability is exploited and encashed. Money passes through hands like water. The levels of cruelty and pain is horrific.
The circle of pain and suffering comes to a full circle. As the proverb goes, "as you sow, so shall you reap." Jeyamohan has written a parable of karmic completion is the most realistic manner possible. Try as you may, you won't inure yourself to this horrific miasma that's playing out for real, but we turn a blind eye to.
When I first came to Mumbai, I was homeless within a month. That's when I discovered a whole different world I would otherwise mock and flinch away from. When I used the last 10 rupee note to feed a sibling duo outside one of the Mumbai stations; a few nights later, it was them who offered to share their cardboard piece because it wasn't safe for a me to be out alone. For them, who had nothing, they still chose to share the warmth and little morsel they had.
Jeyamohan writes of how he lived his life as a beggar when ran away from home and had nothing to fall back upon. He too discovered a world on the other side of the abyss that very few dare to venture or even have the least inclination to do so. He experienced a family deeper than blood and bonds no discord could break. I was quickly whisked back in time to days I have chosen to forget and lock away.
Cracking open the spine of The Abyss, the opening chapters invoked a vestigal memory of Beggar-master and his retinue. India is a country where even dirt sells. Humans are just another prime commodity. Suffering sells best. Know how to milk it.
In few chapters, Jeyamohan delivers a horrific, flinching tale of debased human experience. A tale where disability is exploited and encashed. Money passes through hands like water. The levels of cruelty and pain is horrific.
The circle of pain and suffering comes to a full circle. As the proverb goes, "as you sow, so shall you reap." Jeyamohan has written a parable of karmic completion is the most realistic manner possible. Try as you may, you won't inure yourself to this horrific miasma that's playing out for real, but we turn a blind eye to.
July 16, 2017
喈囙喁嵿喈ㄠ喈掂喁� 喈む喁佮喈苦喁嵿喈距喁� 喈ㄠ喈┼瘝 喈曕疅喈掂瘉喈赤喈侧瘝 喈掂喁佮喁� 喈喈氞瘝喈氞瘓喈曕瘝喈曕喈班喁嵿畷喈赤喈┼瘝 喈曕喁堗喈瘝喈氞喁� 喈呧喁堗喁嵿喁佮喁嵿喈む瘉.
喈掂疅喁嵿疅喈距 喈掂喈曕瘝喈曕瘉 喈呧喈苦畷喈喈瘝 喈瘉喈脆畽喁嵿畷喈苦喈距喁佮喁� 喈曕喁堗喁嬥疅喁嵿疅喈瘝 喈瘉喈班喈ㄠ瘝喈む瘉喈曕瘖喈赤瘝喈赤畷喁傕疅喈苦喈む喈瘝 喈夃喁嵿喈む瘉.
喈掂疅喁嵿疅喈距 喈掂喈曕瘝喈曕瘉 喈呧喈苦畷喈喈瘝 喈瘉喈脆畽喁嵿畷喈苦喈距喁佮喁� 喈曕喁堗喁嬥疅喁嵿疅喈瘝 喈瘉喈班喈ㄠ瘝喈む瘉喈曕瘖喈赤瘝喈赤畷喁傕疅喈苦喈む喈瘝 喈夃喁嵿喈む瘉.
June 1, 2023
The book is as dark as the title makes it sound like. The Abyss is author Jeyamohan's fictitious take on his own experiences when he fled from home as a young man and lived off begging on the streets. His interactions with fellow beggars pulled him inside the world of begging cartels and his book chronicles the lives of the poor, physically challenged, inebriated people who are roped into this darkness and the men who lord over them.
As the book starts off with Pandaram, one of the many men who manages one such cartel, going into the early morning to watch one of his physically deformed pregnant "item" giving birth to another physically deformed "item" that was carefully created with eugenics in mind, it sets off the haunting atmosphere of the book. As we move on with the plot we get to see how Pandaram goes about his cartel, his problems with his family, the beggars who have formed a family of their own, how they are just sold off as mere commodities, and how everything comes full circle towards the end of the story that had me sitting up straight at 2 AM in the morning.
This book is not for the faint hearted. This book was evocative in its purest sense. I cannot fathom how begging cartel is still rampant in India without officials taking any measures to stop it. This book not only fleshed out the ugly truth of poverty but also issues such as casteism and classism still prevalent to this very day in India.
Highly recommend this book to people who can stomach such themes. The plot is set in the rural Tamil backdrop, and it was interesting to read about the festivals and how they were used to leverage the beggars into earning more.
As the book starts off with Pandaram, one of the many men who manages one such cartel, going into the early morning to watch one of his physically deformed pregnant "item" giving birth to another physically deformed "item" that was carefully created with eugenics in mind, it sets off the haunting atmosphere of the book. As we move on with the plot we get to see how Pandaram goes about his cartel, his problems with his family, the beggars who have formed a family of their own, how they are just sold off as mere commodities, and how everything comes full circle towards the end of the story that had me sitting up straight at 2 AM in the morning.
This book is not for the faint hearted. This book was evocative in its purest sense. I cannot fathom how begging cartel is still rampant in India without officials taking any measures to stop it. This book not only fleshed out the ugly truth of poverty but also issues such as casteism and classism still prevalent to this very day in India.
Highly recommend this book to people who can stomach such themes. The plot is set in the rural Tamil backdrop, and it was interesting to read about the festivals and how they were used to leverage the beggars into earning more.
March 27, 2025
The Abyss is a novel about the lives of people under our feet. We can see them if we are genuinely interested, but we ignore them. There are novels depicting the lives of marginalized people, but this is the story of people living below that marginal line. Beggers, merchants who are selling and buying them, their families, and the crime world fostered by them. The novel moves quickly, weaving wit and dark poetry throughout the narrative.
In fact, the present is not a depressive story. The novel begins with a series of violent events, but unexpectedly, we find ourselves residing among them. They are like us鈥攊ntelligent, political, cynical, loving, and caring for each other. After a while, I began to appreciate their life, despite their poverty and sorrow; their bonds are strong, and their world is filled with more joy than ours. Their happiness is due to their existence beneath our feet and their attentive listening to us. They are cynical and playful.
I just loved the character Kuyyan, who says he is innocent. "You have to feed the innocent, you know." "You should not beat the innocent." "Innocents never mind." He is simply a delightful individual. The saint stands out among them. The beautiful narration of Kuyyan and the saint at the end makes this work a classic. 听
In fact, the present is not a depressive story. The novel begins with a series of violent events, but unexpectedly, we find ourselves residing among them. They are like us鈥攊ntelligent, political, cynical, loving, and caring for each other. After a while, I began to appreciate their life, despite their poverty and sorrow; their bonds are strong, and their world is filled with more joy than ours. Their happiness is due to their existence beneath our feet and their attentive listening to us. They are cynical and playful.
I just loved the character Kuyyan, who says he is innocent. "You have to feed the innocent, you know." "You should not beat the innocent." "Innocents never mind." He is simply a delightful individual. The saint stands out among them. The beautiful narration of Kuyyan and the saint at the end makes this work a classic. 听
October 6, 2022
Thankfully reading about the downtrodden community who live on the streets is not as gory as watching the movie on the same issue. BJM's writing is very detailed and keeps the reader engaged till the end. Characterization is very good and the same remain in our minds long after we are done reading the book. I just wished the movie that was based on this book had retained the original plot.
The detailed life of Pothy Pandaaram and how his sins come back to haunt him could have formed shown beautifully. The humour element is present throughout the Novel, infact that is what keeps the wretched lives of the oppressed section controlled by Pandaaram, going, as they are harassed by the latter by converting them into commodities who are frequently moved around, sold, under-fed, left to rot on the streets outside temples & churches.
At the end of it all, the reader is left with hope that bad karma comes back like a boomerang, for which Pandaaram is an example. The climax is open ended, leaving it to the readers to just understand and comprehend on this never ending tragic lives of the oppressed.
The detailed life of Pothy Pandaaram and how his sins come back to haunt him could have formed shown beautifully. The humour element is present throughout the Novel, infact that is what keeps the wretched lives of the oppressed section controlled by Pandaaram, going, as they are harassed by the latter by converting them into commodities who are frequently moved around, sold, under-fed, left to rot on the streets outside temples & churches.
At the end of it all, the reader is left with hope that bad karma comes back like a boomerang, for which Pandaaram is an example. The climax is open ended, leaving it to the readers to just understand and comprehend on this never ending tragic lives of the oppressed.
April 14, 2023
Exploring The Human Condition in the Darkest
In Hindu mythology there are seven worlds under the world in which we live, they are characterized as dark and daemonic. It is not just the world under us, even the world that we reside in contains nether worlds which we seldom notice. Ezham Ulagam by Jeyamohan a Tamil novel translated brilliantly as Abyss by Suchithra explores such a world. The novel is centered on the lives of beggars and people who run businesses around the act of begging.
Pandaram is the man who owns these people, whom he refers to as items, these people suffer from physical disabilities, and Pandaram uses them by placing them in prominent places and earns his livelihood by making them beg. In the initial chapters, one is shocked to see the brutality of the world unfold before our eyes. There is very little effort to make the readers sympathize with the lives of these poor souls. We get to know the various characters who run and facilitate this macabre establishment. Pandaram himself is a complex human being, he seems to be a god-fearing man, calls the name of Muruga every now and then but does not see any moral discomfort in running such a business. Everyone around him seems to take it as any other business, they enquire about it casually like you inquire about the sales to a shopkeeper. His wife, and children all are aware of it and do not seem to see anything wrong or sinful. This I felt may be due to the fact they don鈥檛 see these beggars as human souls, they are referred to as 鈥榠tems鈥� pejoratively. This dehumanization is a way it seems everyone including Pandaram justifies the cruelty they seem to inflict upon these people.
In a sense as a reader, one feels a sense of astonishment at what is being done to these people. Especially how Pandaram uses one of the women Muthammai to rear children is something that was especially sickening to me. The novel changes as we really start seeing the personalities, until this point we see repulsion and anger at the way they are treated. As we get to know the individual characters we see the underlying humanity that is common to everyone. Even though they are physically deformed and made to beg and live amidst such cruelty we see the tremendous sense of humanity in each one of them. Contrary to how they are characterized as 鈥榠tems鈥� they share love and affection amongst themselves. They have a tremendous sense of humor and fun, and they have a brilliant understanding of the human condition. In one of the conversations, Ramappan who is afflicted by leprosy yearns to see the beautiful fingers of women, and the way he shares love with one of the girls in the group. In the later stages when she is sold to another person by Pandaram, he is heartbroken to see her go. We see Muthammai who is forced to have children like a cow, just to be made to beg yet her affection towards the child which is born is something any mother can resonate with. She brutally protects the child, feeds her constantly, and enjoys the funny little things the child does. There is Kuyyan who is constantly hungry his life is characterized by an intense desire to taste food, there is no notion of tomorrow for him. In one of the final episodes, Kuyyan is heartbroken when he learns that Pandaram does not feast on them at his daughter鈥檚 wedding. Everyone pools money and offers him the money they arrange for the local constable to take him to a hotel and get him a feast with payasam. The local constable even suggests that he can use this 50 rupees to eat beef curry and parotta for five days rather than wasting it for one day feast yet Kuyyan chooses it, there is no tomorrow in this world.
As we see the world being part of them and not from above, we understand them much better, and helps us see the humanity that is common to everyone. In Hinduism鈥檚 Vedanta tradition, the Atma is eternal and everlasting and not the body, which is ephemeral. In Buddhism, one of the fundamental tenets is to see the body as just the body. Underlying the deformed bodies we see the everlasting souls, souls which could feel happiness, pain, shame, love, and angst like anyone of us. This is the central success of the novel we get a lived experience of being and sharing with the people we generally fail to notice.
Mangandi Samy who is part of the beggar commune is someone venerated by everyone including his owners. He never begs anyone and sings yearning songs towards the eternal. He is just being there with them but everyone is aware of him being beyond them. Like a mystic Paramahamsa who is not bothered by the things around him, he exists in eternity. In between the novel he is sold to another group, where he is provided with all the riches and showcased as a spiritual guru. He stops singing altogether and starts begging amongst the riches. He is returned back to the Pandaram group, where he comes back and the novel ends with his singing again. It鈥檚 an interesting thing to note that he never begged when he was with Pandaram, but when he was given all the riches in the world he starts to beg.
The novel explores the human condition in the abyss, a very dark corner, and even here it shows how relatable and similar humans are everywhere. As Jeyamohan mentions in his interview, this novel calls for empathy rather than evoking a sympathetic response from the reader. It shows the commonness of human experience everywhere and showcases the soul that is eternal, like the fire that burns everything irrespective of what it is, the soul burns everywhere.
The translation of Suchithra needs a special mention, it is a very challenging work to translate as the prose is filled with proverbs, rejoinders, and funny conversations and she has done a commendable job in translating it and providing an amazing reading experience.
In Hindu mythology there are seven worlds under the world in which we live, they are characterized as dark and daemonic. It is not just the world under us, even the world that we reside in contains nether worlds which we seldom notice. Ezham Ulagam by Jeyamohan a Tamil novel translated brilliantly as Abyss by Suchithra explores such a world. The novel is centered on the lives of beggars and people who run businesses around the act of begging.
Pandaram is the man who owns these people, whom he refers to as items, these people suffer from physical disabilities, and Pandaram uses them by placing them in prominent places and earns his livelihood by making them beg. In the initial chapters, one is shocked to see the brutality of the world unfold before our eyes. There is very little effort to make the readers sympathize with the lives of these poor souls. We get to know the various characters who run and facilitate this macabre establishment. Pandaram himself is a complex human being, he seems to be a god-fearing man, calls the name of Muruga every now and then but does not see any moral discomfort in running such a business. Everyone around him seems to take it as any other business, they enquire about it casually like you inquire about the sales to a shopkeeper. His wife, and children all are aware of it and do not seem to see anything wrong or sinful. This I felt may be due to the fact they don鈥檛 see these beggars as human souls, they are referred to as 鈥榠tems鈥� pejoratively. This dehumanization is a way it seems everyone including Pandaram justifies the cruelty they seem to inflict upon these people.
In a sense as a reader, one feels a sense of astonishment at what is being done to these people. Especially how Pandaram uses one of the women Muthammai to rear children is something that was especially sickening to me. The novel changes as we really start seeing the personalities, until this point we see repulsion and anger at the way they are treated. As we get to know the individual characters we see the underlying humanity that is common to everyone. Even though they are physically deformed and made to beg and live amidst such cruelty we see the tremendous sense of humanity in each one of them. Contrary to how they are characterized as 鈥榠tems鈥� they share love and affection amongst themselves. They have a tremendous sense of humor and fun, and they have a brilliant understanding of the human condition. In one of the conversations, Ramappan who is afflicted by leprosy yearns to see the beautiful fingers of women, and the way he shares love with one of the girls in the group. In the later stages when she is sold to another person by Pandaram, he is heartbroken to see her go. We see Muthammai who is forced to have children like a cow, just to be made to beg yet her affection towards the child which is born is something any mother can resonate with. She brutally protects the child, feeds her constantly, and enjoys the funny little things the child does. There is Kuyyan who is constantly hungry his life is characterized by an intense desire to taste food, there is no notion of tomorrow for him. In one of the final episodes, Kuyyan is heartbroken when he learns that Pandaram does not feast on them at his daughter鈥檚 wedding. Everyone pools money and offers him the money they arrange for the local constable to take him to a hotel and get him a feast with payasam. The local constable even suggests that he can use this 50 rupees to eat beef curry and parotta for five days rather than wasting it for one day feast yet Kuyyan chooses it, there is no tomorrow in this world.
As we see the world being part of them and not from above, we understand them much better, and helps us see the humanity that is common to everyone. In Hinduism鈥檚 Vedanta tradition, the Atma is eternal and everlasting and not the body, which is ephemeral. In Buddhism, one of the fundamental tenets is to see the body as just the body. Underlying the deformed bodies we see the everlasting souls, souls which could feel happiness, pain, shame, love, and angst like anyone of us. This is the central success of the novel we get a lived experience of being and sharing with the people we generally fail to notice.
Mangandi Samy who is part of the beggar commune is someone venerated by everyone including his owners. He never begs anyone and sings yearning songs towards the eternal. He is just being there with them but everyone is aware of him being beyond them. Like a mystic Paramahamsa who is not bothered by the things around him, he exists in eternity. In between the novel he is sold to another group, where he is provided with all the riches and showcased as a spiritual guru. He stops singing altogether and starts begging amongst the riches. He is returned back to the Pandaram group, where he comes back and the novel ends with his singing again. It鈥檚 an interesting thing to note that he never begged when he was with Pandaram, but when he was given all the riches in the world he starts to beg.
The novel explores the human condition in the abyss, a very dark corner, and even here it shows how relatable and similar humans are everywhere. As Jeyamohan mentions in his interview, this novel calls for empathy rather than evoking a sympathetic response from the reader. It shows the commonness of human experience everywhere and showcases the soul that is eternal, like the fire that burns everything irrespective of what it is, the soul burns everywhere.
The translation of Suchithra needs a special mention, it is a very challenging work to translate as the prose is filled with proverbs, rejoinders, and funny conversations and she has done a commendable job in translating it and providing an amazing reading experience.
June 13, 2017
what more can one say about this book that's not said before? first you get repelled by the book, then something draws you to it. then u marvel at the Jaya Mohan's audacious nature in the way he writes. you get broke all the way up and then nothing prepares for the shattering end . for sure an uneasiness once the book is done, a twinge of guilt and appreciation for ur life whenever u see a beggar next. such an indescribable read on the unknown dark world that's all around us and the indomitable human nature that makes one cling on to life however horrendous it may be. Such incredible dissection of all human nature- evilness, goodness, jelaousy, desire to live and what not? a must read, however difficult the read might be
January 30, 2018
喈ㄠ喈瘝 喈掂喈脆瘝喈ㄠ瘝喈む瘉喈曕瘝 喈曕瘖喈｀瘝喈熰喈班瘉喈曕瘝喈曕瘉喈瘝 喈囙喁嵿 喈夃喈曕瘉喈曕瘝喈曕瘉 喈曕瘈喈脆瘒 喈夃喁嵿 喈囙喁佮喁佮喈曕瘓喈氞瘝 喈氞喈班瘝喈ㄠ瘝喈む喈班瘝喈曕喈苦喁� 喈曕喁� 喈囙喁�. 喈呧喈班瘝喈曕喁� 喈掂喈脆瘝喈ㄠ瘝喈む瘉喈曕瘝 喈曕瘖喈｀瘝喈熰喈班瘉喈瘝喈喁� 喈曕喈熰瘝喈熰喈熰瘝喈� 喈ㄠ喈曕喁嵿喈苦喁� 喈呧喁嵿喈む瘉 喈呧喁� 喈掂喈� 喈瘚喈氞喈距 喈掄喁� 喈夃喈曕喈侧瘝. 喈嗋喈距喁�, 喈呧畽喁嵿畷喁佮喁嵿 喈む瘉喈喈權瘝喈曕喁� 喈呧喁嵿喁嬥喈瘝喈瘝喈瘖喈瘚喈む瘓喈曕瘝喈曕瘒 喈喈曕瘝喈曕喈熰瘝喈熰瘉 喈掂喈熰瘉喈曕喈┼瘝喈编. 喈氞喈班喈曕瘝喈曕喈┼瘝喈编喈班瘝, 喈曕喈む喈苦畷喁嵿畷喈苦喁嵿喈┼喁� 喈掂喈脆瘝喈曕瘝喈曕瘓喈瘓 喈畷喈苦喁嵿畾喁嵿畾喈苦喈距畷 喈掂喈� 喈呧喈班瘝喈曕喁佮畷喁嵿畷喁� 喈む瘑喈班喈む喈班瘉喈曕瘝喈曕喈┼瘝喈编喁�. 喈掂喈氞喈む瘝喈む瘉 喈瘉喈熰喈む瘝喈� 喈喈编畷喁佮喁� 喈瘋喈赤瘓喈喈侧瘝 喈ㄠ瘉喈脆瘓喈ㄠ瘝喈む瘉喈曕瘝 喈曕瘖喈｀瘝喈熰瘉 喈ㄠ喁嵿喁� 喈氞喈� 喈ㄠ喈熰瘝喈曕喁佮畷喁嵿畷喈距喈む瘉 喈氞瘑喈喈苦喈曕瘝喈� 喈掂瘓喈曕瘝喈曕瘉喈瘝 喈曕喁堗畷喈赤喈侧瘝 喈囙喁佮喁佮喁� 喈掄喁嵿喁佮喁�. 喈呧喁嵿喈距喁佮喁� 喈庎喁嵿喁� 喈氞瘑喈喈苦喈曕瘝喈� 喈掂瘓喈む瘝喈� 喈瘉喈む瘝喈む畷喈權瘝喈曕喁� 喈呧喁堗喁嵿喁佮喁� 喈溹瘑喈喁嬥畷喈┼瘝 喈庎喁佮喈苦喈む瘉 喈庎喁嵿喈む瘉 喈曕瘋喈熰瘉喈む喁� 喈む畷喈掂喁�.
August 24, 2018
Jeyamohan never fails to amuse with his words and the world he deals with in this hard-hitting & intense novel is very new to me (not sure of any earlier Tamil fictions of the same genre). The handling of metaphors and some dialogues which elevate the novel to a whole new level is refreshing to read again & again and giggles my mind everytime I happen to see the book in my shelf.
October 8, 2018
喈ㄠ喈┼瘝 喈曕疅喈掂瘉喈赤瘝 喈疅喈瘝 喈喈班瘝喈む瘝喈� 喈喈┼瘝喈瘉喈む喈┼瘝 喈囙喁嵿 喈疅喁堗喁嵿喁� 喈疅喈苦畷喁嵿畷 喈瘉喈熰喈ㄠ瘝喈む喁�.喈疅喈む瘝喈む瘓 喈掂喈� 喈囙喁嵿 喈疅喁堗喁嵿喁� 喈喈曕喁佮喁� 喈呧喁佮喁堗喈距喈む瘉.喈溹瘑喈喁嬥畷喈┼瘓 喈む喈苦 喈掂瘒喈编瘉 喈喈班喈侧瘉喈瘝 喈囙喈┼瘓 喈囙喁嵿喈赤喁� 喈庎喈距喁嵿喁嵿喈喈� 喈庎喁佮喁嵿喈苦喁佮畷喁嵿畷 喈瘉喈熰喈喈む瘉.
喈喈氞瘝喈氞瘓喈曕瘝喈曕喈班喁嵿畷喈赤喈┼瘝 喈掂喈脆瘝喈掂瘓 喈囙喁嵿喈赤喁� 喈庎喈距喁嵿喁嵿喈喈� 喈庎喁嵿喈熰 喈疅喁堗喁嵿喈距喁�?... 喈曕瘉喈喈� 喈喈粪瘓 喈呧喁嵿喈赤喁� 喈呧喁佮喁�....
喈瘖喈む瘝喈む喁嵿喈苦喁� 喈庎喈苦喁嵿喈距喈距 喈ㄠ喈掂喁�... 喈喈苦 喈喈む瘝喈む瘓 喈呧喁佮喈班瘉喈曕瘝喈� 喈掂瘓喈曕瘝喈曕畷喁嵿畷喁傕疅喈苦 喈ㄠ喈掂喁�... 喈ㄠ喈氞瘝喈氞喈喈� 喈疅喈苦畷喁嵿畷 喈掂瘒喈｀瘝喈熰瘉喈瘝 喈呧喁堗喈班瘉喈瘝...!
喈喈氞瘝喈氞瘓喈曕瘝喈曕喈班喁嵿畷喈赤喈┼瘝 喈掂喈脆瘝喈掂瘓 喈囙喁嵿喈赤喁� 喈庎喈距喁嵿喁嵿喈喈� 喈庎喁嵿喈熰 喈疅喁堗喁嵿喈距喁�?... 喈曕瘉喈喈� 喈喈粪瘓 喈呧喁嵿喈赤喁� 喈呧喁佮喁�....
喈瘖喈む瘝喈む喁嵿喈苦喁� 喈庎喈苦喁嵿喈距喈距 喈ㄠ喈掂喁�... 喈喈苦 喈喈む瘝喈む瘓 喈呧喁佮喈班瘉喈曕瘝喈� 喈掂瘓喈曕瘝喈曕畷喁嵿畷喁傕疅喈苦 喈ㄠ喈掂喁�... 喈ㄠ喈氞瘝喈氞喈喈� 喈疅喈苦畷喁嵿畷 喈掂瘒喈｀瘝喈熰瘉喈瘝 喈呧喁堗喈班瘉喈瘝...!
June 26, 2017
Book about the life of beggars and the business of trafficking in beggars. The novel gives the story of disabled beggars and how the police and others exploit them.
August 28, 2018
Psychology of different person explained in an elegant way
January 10, 2019
Thamizh nadai puriyum varai konjam porumaiyaga padithen. Puriya aarambitha pin kannil neer vara vara padithu mudithen
June 2, 2020
Mind blowing fictional world
Read
July 7, 2021喈呧疅喈苦喈熰瘝喈熰喁嵿喈苦喁� 喈掂喈脆瘝喈喈班瘝喈曕喈苦喁� 喈掂喈脆瘝喈掂喈喁� 喈曕喁�.
August 2, 2021
After reading it I am thinking that we are living happy life ...
August 7, 2021
One of the great work by Jeyamohan
December 29, 2021
Just wondering about author....
August 23, 2024
I grew up in India, so I was always accustomed to beggars and lepers being around. Little did I know that a story revolving around their kind would be so engrossing.
October 13, 2024
A great translation of an incredible novel.
February 26, 2025
Impact full novel written in Nagercoil Tamil slang
Read only if you have a taste for classic reads
Read only if you have a taste for classic reads
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