Vaikom Muhammad Basheer | |
|---|---|
 Basheer on a 2009 stamp of India | |
| Born | Abdul Rahman Muhammad Basheer[1] (1908-01-00)January 1908 |
| Died | 5 July 1994(1994-07-05) (aged 87) |
| Occupation | Writer,freedom fighter |
| Language | Malayalam |
| Nationality | Indian |
| Genre | Novel, short story, essays, memoirs |
| Notable works | |
| Notable awards |
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| Spouse | |
| Children | 2 |
| Signature | |
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VaikomMuhammad Basheer (21 January 1908 – 5 July 1994), popularly referred to as theBeypore Sultan, was an Indian writer ofMalayalam literature, ahumanist and afreedom fighter in theIndian National Movement. He was a novelist and a short story writer known for his path-breaking, down-to-earth style of writing that made him equally popular among the literary critics as well as the common man. His notable works includeBalyakalasakhi,Shabdangal,Pathummayude Aadu,Ntuppuppakkoranendarnnu,Mathilukal,Janmadinam,Anargha Nimisham. The translations of his works into other languages have earned him worldwide acclaim. The Government of India awarded him the fourth highest civilian honor of thePadma Shri in 1982. He was also a recipient of theSahitya Academy Fellowship,Kerala Sahitya Academy Fellowship, and theKerala State Film Award for Best Story. He was a recipient of theVallathol Award in 1993.
Basheer was born on 21 January 1908[2][3] inThalayolaparambu (near Vaikom)Kottayam District, to Kayi Abdurahman, a timber merchant, and his wife, Kunjathumma,[4] as their eldest child.[5] His siblings were Abdulkhader, Pathumma, Haneefa, Anumma and Aboobakker, in order from eldest and youngest. After completing his primary education at a local Malayalam medium school, he joined an English medium school inVaikom, five miles away, for higher education. It was during this time, he metMahatma Gandhi, when theIndian independence movement leader came toVaikom for thesatyagraha, which later came to be known asVaikom Satyagraham, and became his follower. He started wearingKhādī, inspired by theswadeshi ideals of Gandhi.[6] Basheer would later write about his experiences on how he managed to climb on to the car in which Gandhi was traveling and touched his hand.[4]
He resolved tojoin the fight for an Indian Independence, leaving school to do so while he was in the fifth form.[6] Basheer was known for his secular attitude, and he treated all religions with respect. Since there was no active independence movement inTravancore – being a princely state – he went toMalabar district to take part in theSalt Satyagraha in 1930.[7] His group was arrested before they could participate in the satyagraha. Basheer was sentenced to three months imprisonment and sent toKannur Prison. He became inspired by stories of heroism by revolutionaries likeBhagat Singh,Sukhdev Thapar andShivaram Rajguru, who were executed while he was in the jail. His release, along with 600 of his fellow prisoners, came in March 1931 following theGandhi-Irwin pact. Once free, he organized an anti-British movement and edited a revolutionary journal,Ujjivanam, because of which an arrest warrant was issued on him and he left Kerala.[8]
Having left Kerala, he embarked upon a long journey that took him across the length and breadth of India and to many places in Asia and Africa for seven years, doing whatever work that seemed likely to keep him from starvation.[8] His occupations ranged from that of a loom fitter, fortune teller, cook, newspaper seller, fruit seller, sports goods agent, accountant, watchman, shepherd, hotel manager to living as an ascetic withHindu saints andSufi mystics in their hermitages inHimalayas and in theGanges basin, following their customs and practices, for more than five years. There were times when, with no water to drink, without any food to eat, he came face to face with death.[4]
After doing menial jobs in cities such asAjmer,Peshawar,Kashmir andCalcutta, Basheer returned toErnakulam in the mid-1930s. While trying his hands at various jobs, like washing vessels in hotels, he met a manufacturer of sports goods from Sialkot who offered him an agency in Kerala. And Basheer returned home to find his father's business bankrupt and the family impoverished. He started working as an agent for the Sialkot sports company at Ernakulam, but lost the agency when a bicycle accident incapacitated him temporarily.[9] On recovering, he resumed his endless hunt for jobs. He walked into the office of a newspaperJayakesari whose editor was also its sole employee. He did not have a position to offer, but offered to pay money if Basheer wrote a story for the paper.[10] Thus Basheer found himself writing stories forJayakesari and it was in this paper that his first story "Ente Thankam" (My Darling) was published in the year 1937. A path-breaker in Malayalam romantic fiction, it had its heroine a dark-complexioned hunchback.[11] His early stories were published between 1937 and 1941 inNavajeevan, a weekly published inTrivandrum in those days.[12]
AtKottayam (1941–42), he was arrested and put in a police station lock-up, and later shifted to another lock up in Kollam Kasba police station.[8] The stories he heard from policemen and prisoners there appeared in later works, and he wrote a few stories while at the lock-up itself. He spent a long time in lock-up awaiting trial, and after trial was sentenced to two years and six months imprisonment. He was sent toThiruvananthapuram central jail. While at jail, he forbadeM. P. Paul from publishingBalyakalasakhi. He wrotePremalekhanam (1943) while serving his term and published it on his release.Baalyakaalasakhi was published in 1944 after further revisions, with an introduction by Paul.[13]M. K. Sanu, critic and a friend of Basheer, would later say that M. P. Paul's introduction contributed significantly in developing his writing career.[14] He then made a career as a writer, initially publishing the works himself and carrying them to homes to sell them. He ran two bookstalls inErnakulam; Circle Bookhouse and later, Basheer's Bookstall. After Indian independence, he showed no further interest in active politics, though concerns over morality and political integrity are present all over his works.[4]
Basheer got married in 1958 when he was over fifty years old and the bride, Fathima was twenty years of age.[15] The couple had a son, Anees and a daughter, Shahina, and the family lived inBeypore, on the southern edge ofKozhikode.[16] During this period he also suffered from mental illness and was twice admitted to mentalsanatoriums.[17] He wrote one of his most famous works,Pathummayude Aadu (Pathumma's Goat), while undergoing treatment in a mental hospital inThrissur. The second spell of paranoia occurred in 1962, after his marriage when he had settled down at Beypore. He recovered both times, and continued his writings.[18]
Basheer, who earned thesobriquet,Beypore Sultan, after he wrote about his later-day life in Beypore as a Sultan,[8] died there on 5 July 1994, survived by his wife and children.[17] Fabi Basheer outlived him for over two decades and died on 15 July 2015, at the age of 77, succumbing to complications following a pneumonia attack.[15]
Basheer is known for his unconventional style of language.[19] He did not differentiate between literary language and the language spoken by the commons[20] and did not care about the grammatical correctness of his sentences. Initially, even his publishers were unappreciative of the beauty of this language; they edited out or modified conversations. Basheer was outraged to find his original writings transcribed into "standardised"Malayalam, devoid of freshness and natural flow, and he forced them to publish the original one instead of the edited one. Basheer's brother Abdul Khader was a Malayalam teacher. Once while reading one of the stories, he asked Basheer, "where are aakhyas and aakhyathas (elements of Malayalam grammar) in this...?". Basheer shouted at him saying that "I am writing in normal Malayalam, how people speak. And you don't try to find your stupid 'aakhya and aakhyaada' in this!". This points out to the writing style of Basheer, without taking care of any grammar, but only in his own village language. Though he made funny remarks regarding his lack of knowledge in Malayalam, he had a very thorough knowledge of it.
Basheer's contempt for grammatical correctness is exemplified by his statementNinte Lodukkoos Aakhyaadam! ("Your 'silly stupid' grammar!") to his brother, who sermonises him about the importance of grammar (Pathummayude Aadu).[21]
Basheer's fictional characters were mostly marginalised people like gamblers, thieves, pickpockets and prostitutes, and they appeared in his works, naive and pure.[9] An astute observer of human character, he skilfully combined humour and pathos in his works. Love, hunger and poverty, life in prison are recurring themes in his works. There is enormous variety in them – of narrative style, of presentation, of philosophical content, of social comment and commitment. His association with India's independence struggle, the experiences during his long travels and the conditions that existed in Kerala, particularly in the neighbourhood of his home and among theMuslim community – all had a major impact on them. Politics and prison, homosexuality, all were grist to his mill. All of Basheer's love stories have found their way into the hearts of readers; perhaps no other writer has had such an influence on the wayMalayalis view love. The major theme of all Basheer stories is love and humanity. In the storyMucheettukalikkarante Makal (TheCard sharp's Daughter), when Sainaba comes out of the water after stealing his bananas, Mandan Muthappa says only one thing: "Sainaba go home and dry your hair else you may fall sick". This fine thread of humanism can be experienced in almost all his stories.[22]
About the influence of Western literature in his works, Basheer once wrote: "I can readily say that I have not been influenced by any literature, Western or Eastern, for, when I started writing I had no idea of literature. Even now it is not much different. It is only after I had written quite a bit, that I had opportunities to contact Western literature. I read all that I could get hold of—Somerset Maugham,Steinbeck,Maupassant,Flaubert,Romain Rolland,Gorky,Chekhov,Hemingway,Pearl S. Buck,Shakespeare,Galsworthy,Shaw... In fact, I organised one or two bookstalls so that I could get more books to read. But I read these books mainly to know their craft. I myself had plenty of experience to write about! I have even now! I am unable to ascertain who has influenced me. Perhaps Romain Rolland and Steinbeck—but even they, not much."[23]
Almost all of Basheer's writing can be seen as falling under the heading of prose fiction – short stories and novels, though there is also a one-act play and volumes of essays and reminiscences. Basheer's fiction is very varied and full of contrasts. There are poignant situations as well as merrier ones – and commonly both in the same narrative. There are among his output realistic stories and tales of the supernatural. There are purely narrative pieces and others which have the quality of poems in prose. In all, a superficially simple style conceals a great subtlety of expression. His works have been translated into 18 languages.[8]
His literary career started off with the novelPremalekhanam, a humorous love story between Keshavan Nair – a young bank employee, an uppercaste Hindu (Nair) – and Saramma – an unemployed Christian woman. Hidden underneath the hilarious dialogues we can see a sharp criticism of religious conservatism,dowry and similar conventions existing in society. The film adaptation of the story was byP. A. Backer in 1985, with the lead roles played bySoman andSwapna.[24] It was remade again byAneesh Anwar in 2017, featuringFarhaan Faasil,Joy Mathew andSheela.[25]
Premalekhanam was followed by the novelBalyakalasakhi – a tragic love story between Majeed and Suhra – which is among the most important novels in Malayalam literature[26] in spite of its relatively small size (75 pages), and is commonly agreed upon as hismagnum opus work.[27] In his foreword toBalyakalasakhi,Jeevithathil Ninnum Oru Aedu (A Page From Life),M. P. Paul brings out the beauty of this novel, and how it is different from run-of-the-mill love stories. The novel was later adapted into a film bySasikumar, underthe same name.[28] It was again remade withthe same title in 2014, byPramod Payyannur,[29] with Mammootty andIsha Talwar playing the lead.[30]
The autobiographicalJanmadinam ("Birthday", 1945) is about a writer struggling to feed himself on his birthday.[31] While many of the stories present situations to which the average reader can easily relate, the darker, seamier side of human existence also finds a major place, as in the novelShabdangal ("Voices", 1947),[32] which faced heavy criticism for violence andvulgarity.[33]
Ntuppuppakkoranendarnnu ("My Gran'dad 'ad an Elephant", 1951) is a fierce attack on the superstitious practices that existed among Muslims. Its protagonist is Kunjupathumma, a naive, innocent and illiterate village belle. She falls in love with an educated, progressive, city-bred man, Nisaar Ahamed. Illiteracy is fertile soil for superstitions, and the novel is about education enlightening people and making them shed age-old conventions.Velichathinentoru Velicham (a crude translation can be "What a bright brightness!") one of the most quoted Basheer phrases occurs inNtuppuppaakkoraanaendaarnnu. People boast of the glory of days past, their "grandfather's elephants", but that is just a ploy to hide their shortcomings. The book was later translated into English by R. E. Asher.[34]
His next novel wasPathummayude Aadu, an autobiographical work published in 1959, featuring mostly his family members.[35] The book tells the story of everyday life in a Muslim family.[36]Mathilukal (Walls) deals with prison life in the pre-independence days. It is a novel of sad irony set against a turbulent political backdrop. The novelist falls in love with a woman sentenced for life who is separated from him by insurmountable walls. They exchange love-promises standing on two sides of a wall, only to be separated without even being able to say good-bye. Before he "met" Naraayani, the loneliness and restrictions of prison life was killing Basheer; but when the orders for his release arrive he loudly protests, "Who needs freedom? Outside is an even bigger jail." The novel was later made into afilm with same name byAdoor Gopalakrishnan withMammootty playing Basheer.[37]
Sthalathe Pradhana Divyan,Anavariyum Ponkurishum,Mucheettukalikkarante Makal andEttukali Mammoonju featured the life of real life characters in his native village ofThalayolaparambu (regarded asSthalam in these works). Perch, aChennai based theatre, has adapted portions fromPremalekhanam andMucheettukalikkarante Makal as a drama under the title,The Moonshine and the Sky Toffee.[38]
Fabi Basheer published his memoirs,Basheerinte Ediye,[39] which details her life with her husband.[40]
Sahitya Akademi honoured Basheer with theirfellowship in 1970,[41] the same year as he was honoured with thedistinguished fellowship by theKerala Sahitya Akademi.[42] TheGovernment of India awarded him the fourth highest civilian honour of thePadma Shri in 1982[43] and five years later, theUniversity of Calicut conferred on him the honorary degree of theDoctor of Letters on 19 January 1987.[44] He received theKerala State Film Award for Best Story for theAdoor Gopalakrishnan film,Mathilukal in 1989[45] and the inauguralLalithambika Antharjanam Award in 1992[46] followed by thePrem Nazir Award the same year.[21] He received two awards in 1993, theMuttathu Varkey Award[47] and theVallathol Award.[48][49] TheThamrapathra'of the Government of India (1972), Abu Dhabi Malayala Samajam Literary Award (1982), Samskaradeepam Award (1987) andJeddah Arangu Award (1994) were some of the other awards received by him.[21] Mathrubhumi issued afestschrift on him,Ormmayile Basheer (Basheer - Reminiscences) in 2003 which featured several articles and photos[50] and theIndia Post released a commemorative postage stamp, depicting his image, on 21 January 2009.[51][52]
I said nothing. I was shaken, unable to breathe. The whole world was asleep! My mother alone was awake! Mother brought a vessel of water and asked me to wash my hands and feet. Then she placed a plate of rice before me.
She asked me nothing.
I was amazed. “How did you know, Umma, that I was coming today?”
Mother replied, “Oh... I cook rice and wait every night.”
It was a simple statement. Every night I did not turn up, but mother had kept awake waiting for me.
The years have passed. Many things have happened.
But mothers still wait for their sons.
“Son, I just want to see you...”
| # | Title | Translation in English | Year of Publishing |
|---|---|---|---|
| 1 | Premalekhanam | The Love Letter | 1943 |
| 2 | Balyakalasakhi | Childhood Companion | 1944 |
| 3 | Shabdangal | The Voices | 1947 |
| 4 | Ntuppuppakkoranendarnnu | My Grandad Had an Elephant | 1951 |
| 5 | Maranathinte Nizhalil | In the Shadow of Death | 1951 |
| 6 | Mucheettukalikkarante Makal | The Card Sharper's Daughter | 1951 |
| 7 | Sthalathe Pradhana Divyan | The Principal Divine of the Place | 1953 |
| 8 | Anavariyum Ponkurishum | Elephant Scooper and Golden Cross | 1953 |
| 9 | Jeevithanizhalppadukal | The Shadows of Life | 1954 |
| 10 | Pathummayude Aadu | Paththumma's Goat | 1959 |
| 11 | Mathilukal | Walls | 1965 |
| 12 | Thara Specials | 1968 | |
| 13 | Manthrikappoocha | The Magic Cat | 1968 |
| 14 | Prempatta | The Loving Cockroach (Published posthumously) | 2006 |
| # | Title | Translation in English | Year of Publishing |
|---|---|---|---|
| 1 | Janmadinam | The Birthday | 1945 |
| 2 | Ormakkurippu | Jottings from Memory | 1946 |
| 3 | Anargha Nimisham | Invaluable Moment (See "Anal Haq") | 1946 |
| 4 | Viddikalude Swargam | Fools' Paradise | 1948 |
| 5 | Pavappettavarude Veshya | The Prostitute of the Poor | 1952 |
| 6 | Vishwavikhyathamaya Mookku | The World-renowned Nose | 1954 |
| 7 | Visappu | The Hunger | 1954 |
| 8 | Oru Bhagavad Gitayum Kure Mulakalum | A Bhagavadgeetha and Some Breasts | 1967 |
| 9 | Anappooda | Elephant-hair | 1975 |
| 10 | Chirikkunna Marappava | The Laughing Wooden Doll | 1975 |
| 11 | Bhoomiyude Avakashikal | The Inheritors of the Earth | 1977 |
| 12 | Shinkidimunkan | The Fools' God Man | 1991 |
| 13 | Sarpayajnam | The Snake Ritual | |
| 14 | പാമ്പും കണ്ണാടിയും | The Snake And The Mirrior |
| # | Title | Translation in English | Year of Publishing | Notes |
|---|---|---|---|---|
| 1 | Dharmarajyam | 1938 | Essays | |
| 2 | Kathabeejam | Story Seed | 1945 | Play |
| 3 | Nerum Nunayum | Truth and Lie | 1969 | Commentary and letters |
| 4 | Ormayude Arakal | The Cells of Memory | 1973 | Commentary and memoirs |
| 5 | Anuragathinte Dinangal | The Days of Desire | 1983 | Diary |
| 6 | Bhargavi Nilayam | Bhargavi's Mansion | 1985 | Screenplay; adapted from the short story "Neelavelicham" |
| 7 | M. P. Paul | 1991 | Reminiscences of his friendship with M. P. Paul | |
| 8 | Cheviyorkkuka! Anthimakahalam | Hark! The Final Clarion-call!! | 1992 | Speech |
| 9 | Yaa Ilaahi! | Oh God! | 1997 | Collection of stories, essays, letters and poem; Published posthumously |
| 10 | Jeevitham Oru Anugraham | Life is a Blessing | 2000 | Collection of stories, essays and play; Published posthumously |
| 11 | Basheerinte Kathukal | Basheer's Letters | 2008 | Letters; Published posthumously |
| # | Year | Title | Contribution |
|---|---|---|---|
| 1 | 1964 | Bhargavi Nilayam | Story, screenplay, dialogues |
| 2 | 1967 | Balyakalasakhi | Story, screenplay, dialogues |
| 3 | 1975 | Mucheettukalikkaarante Makkal | Story |
| 4 | 1985 | Premalekhanam | Story |
| 5 | 1988 | Dhwani | Acting |
| 6 | 1990 | Mathilukal | Story |
| 7 | 1995 | Sasinas | Story |
| 8 | 2013 | Kathaveedu | Story |
| 9 | 2014 | Balyakalasakhi | Story |
| 10 | 2017 | Basheerinte Premalekhanam | Story |
| 11 | 2023 | Neelavelicham | Story, screenplay, dialogues |
It is years since I have started writing stories. When did I start? I think it was from 1937. I have been living in Ernakulam since then. I was a writer by profession. I wrote a great deal. I would get my writing published in newspapers and journals. No one paid me for it. The stories were published between 1937 and 1941 inNavajeevan, a weekly published in Trivandrum in those days.
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