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malgudi is in small village insouth India.

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malgudi is in small village insouth india.

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A Tiger for Malgudi was created in 1983.

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The World of Malgudi was created in 2000.

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The duration of Malgudi Days is 1320.0 seconds.

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The Man-Eater of Malgudi was created in 1961.

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The ISBN of The Man-Eater of Malgudi is 9788185986081.

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Malgudi Days - book - was created in 1943.

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The ISBN of Malgudi Days - book - is 8185986177.

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"Malgudi Days" is a collection of short stories by R.K. Narayan, set in the fictional town of Malgudi in South India. The stories feature various characters such as Swami, a mischievous young boy; Raju, a tour guide; and Margayya, a financial advisor, among others. Each story explores the lives, experiences, and eccentricities of the residents of Malgudi.

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"Malgudi Days" is a collection of short stories by R.K. Narayan set in the fictional town of Malgudi in India. The book portrays various aspects of Indian life through the experiences of its diverse characters, capturing the essence of everyday situations with humor and insight. Each story offers a glimpse into the human condition, exploring themes such as tradition, family, and social change.

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Malgudi Days is an Indian television series. The main characters are Swami, his parents, his grandmother, Muni, Muni's wife, a shopkeeper, and an American tourist.

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There are a total of thirty-two stories in R.K. Narayan's "Malgudi Days." Each story offers a glimpse into the fictional town of Malgudi and its diverse cast of characters, capturing the essence of small-town life in India.

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Leela's mother is referred to as "Leela's mother" in R.K. Narayan's book "Malgudi Days." Her name is not specifically mentioned in the stories.

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Summer in Malgudi brought intense heat, affecting daily life by making it uncomfortable for residents to work outdoors. The increase in temperature also impacted agricultural activities and water availability, causing hardships for the villagers. Overall, summer in Malgudi was a challenging time for the community.

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just a fictitious place. The stories are from books, A Horse and Two Goats, Malgudi Days, Swami and Friends and the Vendor of Sweets. The series was filmed near Agumbe

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In "Malgudi Days," Sir Samuel is depicted as a respected and wealthy British resident of Malgudi. He is portrayed as a nostalgic figure, often reminiscing about the old British colonial days in India. Sir Samuel's character reflects the complexities of the colonial legacy and the nostalgia felt by some for that bygone era in the changing landscape of post-independence India.

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"Swami and Friends" was written by Indian author R.K. Narayan. It was first published in 1935 and is the first novel in Narayan's "Malgudi" series, which is set in the fictional town of Malgudi.

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There is a tiger,the director(Madan),the cameraman,the school staff,and the captain.

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Rasipuran Krishnaswamy Narayan has written:

'The man-eater of Malgudi'

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I enjoyed "Malgudi Days" for its simple yet profound storytelling, rich characters, and authentic portrayal of Indian culture and society. The series beautifully captured the essence of human relationships, everyday life experiences, and moral dilemmas in a relatable and engaging manner.

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He wrote and translated many great Indian works into English .He wrote about reality, about truth .Malgudi Days is one of his best works written in English.It deals with the fictional town of South India - Malgudi and about the lives of the people living there.

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The cast of Malgudi Days - 1987 includes: Deven Bhojani as Nitya (1987) Kanti Madia as Muniya a.k.a. Muni (1987) Master Manjunath as Swami Arundathi Nag as (1987) Shankar Nag as (1987) Anant Nag as (1987)

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Malgudi, India, a fictional city about which Narayan often writes about.

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  1. Swaminathan (Swami) - the main character and protagonist, a young schoolboy in Malgudi
  2. Mani - Swami's close friend, known for his physical strength and daring nature
  3. Rajam - another close friend of Swami and the son of Malgudi's Police Superintendent
  4. Somu - a classmate of Swami and his friends, known for his academic excellence and strict nature

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The Old Man of the Temple by R K Narayan takes place in the fictional South Indian town of Malgudi in the 1930s. The story follows the journey of a young man, Shankar, who is sent to Malgudi to stay with his uncle, the titular old man of the temple. Shankar's experiences in Malgudi, a small town where the mundane and the extraordinary coexist, help him gain a better understanding of the world and his place in it.

The novel is set in the 1930s, a period of great cultural and political upheaval in India. It is also during this time that the country is beginning to feel the effects of the British Raj and its subsequent decline. The story follows Shankar as he adjusts to life in Malgudi and learns about the town's customs and traditions. He meets interesting characters from all walks of life and even gets involved in a love affair. Through it all, Shankar learns to appreciate the beauty of the town and its inhabitants.

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Malgudi Days is a collection of short stories by R. K. Narayan published in 1943, "The Blind Dog": A story about a blind beggar who catches a dog to guide him.

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R.K. Narayan's stories are centered around the fictional town of Malgudi in South India. This imaginary town serves as a backdrop for many of his novels and short stories, capturing the essence of everyday life in India with wit and humor.

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Hi,

You have to get down at Electronic City Bus Stop. Just Walk towards Hosur. Take 2nd Left from the bus stop where you will find Malgudi Restaurant. Just walk few meters forward, u will find Semicon Park.

Thanks,

Sarath.M

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R. K. Narayan, on the good advice of Graham Greene, shortened his name from Rasipuram Krishnaswamy Iyer Narayanswamy.

R. K. Narayan was the most popular Indian novelist writing in English from the pre-independence period until the surge of modern novelists who have become popular around the turn of the 21st. century. Most of his novels were set in the fictious small south Indian town of Malgudi and were likened to the intimate stories of the southern United States written by W. Somerset Maugham. Among his best known tales were "The Guide", "The English Teacher", "Waiting for the Mahatma" and "Tales from Malgudi". He ultimately wrote travelogues, memoirs and fifteen novels as well as five volumes of short stories in his fifty years of writing. He died at the age of 95 in 2001.

For more information on Narayan see: http://calitreview.com/21

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In R. K. Narayan's "The Doctor's Word," the story revolves around a doctor in a fictional town named Malgudi who gains influence and authority due to his medical skills. He becomes entangled in the lives of his patients, offering advice and direction that impact their decisions and relationships. The story explores themes of trust, power dynamics, and the complexities of human interactions.

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R.K. Narayan (1906-2001) was an Indian author and journalist. He is widely considered to be one of India's greatest English language novelists. He is known for his simple and unpretentious writing style.

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Swaminathan is a young boy less than 10 years old. This novel narrates his experiences with his parents, grandmother, friends, residents of Malgudi, and even his new-born brother when he is in second class. However, Swami and his friends are the prime focus of this novel.

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Deven Bhojani has performed the following roles:

Played Nitya (1987) in "Malgudi Days" in 1987.

Performed in "Jo Jeeta Wohi Sikandar" in 1992.

Performed in "Sunday" in 1993.

Played Petha in "Tara" in 1993.

Played Kareema (1993) in "Dekh Bhai Dekh" in 1993.

Performed in "Kranti Kshetra" in 1994.

Performed in "Naaraaz" in 1994.

Performed in "Sarhad: The Border of Crime" in 1995.

Played Akshay in "Chalo America" in 1999.

Played Patel (2000) in "Office Office" in 2000.

Played Dushyant in "Sarabhai vs Sarabhai" in 2004.

Played Hemraj - Hospital Patient in "Khichdi: The Movie" in 2010.

Played Patel in "Chala Mussaddi - Office Office" in 2011.

Played Narrator in "Padduram" in 2011.

Played Azhar Lala in "Agneepath" in 2012.

Played Kanoj Kumar aka Aatish Buland in "Namastey LA" in 2015.

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Books written by satyajit ray is very very interesting both for young and adults , specially the feluda series. secret seven series by enid blyton are also quute interesting. chronicles of Narnia are also good series. RK Narayans malgudi day are best for both children and adults. Indian writers are preferable for limited reading adults.

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Improving reading skills is mostly a matter of practice. Short, non-fiction books are often a good pick, if there is something that the person is interested in. Shorter books, like the Wayside stories, Amelia Bedelia, Charlotte's Web and others are often very manageable. I enjoyed fairy tales as an early reader, also. Make sure that the print is somewhat large, that there are pictures and white space on the pages. Don't forget magazines, comic books and other casual, interesting reading for practice.

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Total 18.1. Aadi Parv. 2. Sabhaa Parv..... 3. Van Parv or Aranya parv..... 4. Viraat Parv...... 5. Udyog Parv... 6. Bheeshm Parv..... 7. Drone Parv..... 8. Karn Parv...... 9. Shalya Parv..... 10. Sauptikaa Parv...... 11. Stree Parv........ 12. Shaanti Parv........... 13. Anushaasan Parv.... 14. Ashwamedh Parv........... 15. Aashramvaasik Parv......... 16. Mausal Parv......... 17. Mahaaprasthaanik Parv............. 18. Swargaarohanik Parv.............

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Margayya has a flair for minor financial transactions which are an integral part of Indian life. We first meet him sitting in the shade of a banyan tree, advising the people of Malgudi how to extract loans from the Co-operative Bank. A brush with the secretary of the bank, and an accident in which his spoilt son Balu throws his account book down a drain, cut short his career as a financier.Then his fairy Godmother comes in the form of Dr. Pal who gives him a manuscript of the book 'Bed Life' concerning marriage and sex. This on publication becomes an instant success and with the money Margayya starts a money lending business which makes him rich.But Balu again proves a nuisance. He doesn't pass his matriculation and once he even runs away to Mysore. So as all the parents do, he fixes Balu's marriage with Brinda to make him straight-headed. After the birth of his child, he demands his share; Margayya finds Dr. Pal working behind all this, and in anger beats him with his sandal. Now Pal is pissed off and he works against him. As a result of the rumours Margayya's depositors demand their money back, which makes him poor overnight.His family home is saved with the help of his brother. Margayya asks his son to sit under the banyan tree and start his former business but Balu is too dignified to do such a thing. So Margayya himself goes to his profession with the determination to continue it until his death.

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I remember My First Serial On Doordarsh to be Dada-Dadi Ki Kahaniyaan (Lucknow TV Station) The Others are as follows:

Aa Bail Mujhe Maar

Ados Padose

Alif Laila

Apna Apna Aasmaan

Bharat ek khoj

BodyLine

Buniyaad

Byomkesh Bakshi

Chanakya

Chandrakanta

Chitrahaar

Chunauti

Circus Doosara Keval

Ek Do Teen Char

Ek Ghar Aas Pass

Ek se Baadhkar Ek

Farmaan

Fauji,

Gul Gulshan Gulfam

Honee Anhonee

Hum Log

Hum panchchi ek chaal ke

Humraahi

Indradhanush

Intezaar

Kab tak pukaroon

Kacchi Dhoop

Karamchand

Kashish

Katha saagar

Khandaan

Lifeline

Lohit Kinarey

Lucy

Mahabarath

Malgudi Days

Mirza Ghalib

Mongeri Lal Ki Haseen Sapne

Mr. Yogi.

Mrignayani

Mujarim Hazir

Neem ka ped

Nukkad

Nupur

Potli Baba Ki Phir wahi Talaash

Rajani

Ramayan

Reporter

sansaar

Shanti

Sherlock Holmes

Show Theme

Shrikaant,

Space City Sigma

Star Trek

Superhit Muqabala

Swabhimaan

Talaash

Tehkikaat

That's Cricket- with Ravi Shastri

The Sword of Tipu Sultan

Trishna

Udaan

Vikram.. Betaal

Wagle Ki Duniya

Wah Janaab

Yatra

Yeh Jo Hai Zindagi

Yugantaar

Zaban Sambhal Ke

Zindagi

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Raju is a railway guide who becomes obsessed with Rosie, a neglected wife of an archeologist Marco. Rosie has a passion for dancing which Marco doesn't approve of. Rosie, encouraged by Raju, decides to follow her dreams and walks out on her husband. Raju becomes her stage manager and soon with the help of Raju's marketing tactics, Rosie becomes a successful dancer. By giving Rosie the opportunity to dance, Raju is also giving her freedom, freedom which Marco has suppressed by refusing to let her dance. Raju, however, develops an inflated sense of self-importance and tries to control Rosie. But a man should not live off a woman. On the other hand, what if she is successful only because of that man? The relationship between Raju and Rosie is strained. Marco reappears and Raju inadvertently gets involved in a case of forgery and gets a two year sentence. After completing the sentence, Raju is passing through a village when he is mistaken for a sadhu (a spiritual guru). Being reluctant to return in disgrace to Malgudi, he decides to play the part of the swami and makes the village temple his home. There is a famine in the village and Swami Raju, like the sadhu in one of his stories that he used to narrate to the villagers, is expected to keep a fast to get the rains. And he does go on a fast. Despite grave danger to his health, he continues to fast until he collapses. 'Can there be any connection between one man's hunger and the rains?' 'Is there someone up there and does he listen to you?' He is undergoing a spiritual transformation and the place has become a shrine. 'Will it rain?' Well, the villagers have faith in him and he has faith in their faith. Despite grave danger to his health, he continues to fast until he collapses. His legs sag down as he feels that the rain is falling in the hills. The ending of the novel leaves unanswered the question of whether he dies, or whether the drought has really ended.

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The story belongs to the imaginary town of Malgudi where lives Ramanujam, a senior clerk in Revenue Department, and lives Thanappa , the postman of the town who is a very caring and compassionate person. He is the most awaited guy for everyone because he is the man, who brings them their letters with the news of various moods and reads them aloud if needed. Thanappa takes sincere and genuine interest in the welfare of every resident of Malgudi and always tends to deliver them their letters with the coating of his own views, comments and advice of which nobody seems to feel otherwise. Thanappa too is quite free and comfortable with everyone and spends substantial time while he stops at their doorstep to deliver the post and that is why he takes nearly six hours to finish the round of his small beat which covers Vinayak Mudali Street and its four parallel roads.

Ramanujam is worried about his daughter Kamakshi's marriage. His father in law doubles his trouble by showing his displeasure on this matter through the constant shower of letters that he is not applying full force to find out a suitable match for Kamakshi. He has promised Ramanujam to give five thousand rupees for the purpose to lend him financial support. But despite his sincere efforts he has been unable to find a good match. Thanappa is well associated with the family of Ramanujam from the time when Kamakshi was born in her Grand father's village and at that time it was Thanappa only who had brought the good news to Ramanujam. Thanappa is like a family member and he too is equally concerned for Kamakshi. He feels sorry for Kamakshi that people reject her on petty pretexts like the horoscope doesn't match, the looks of the girl are not good and other times their demand for dowry is too high. Thanappa consoles frustrated Ramanujam and promises him to bring the horoscope of a Delhi based boy from Makunda of Temple Street whose daughter's matrimonial proposal was dropped due to money matters with this party. The efforts of Thanappa are realized and the groom's parents ask Ramanujam to bring Kamakshi to Madras for their approval. Ramanujam's wife and mother disagree with Ramanujam who wants to take Kamakshi to Madras to meet the boy's family. Thanappa counsels them wisely that what one cannot achieve by a year's correspondence one can do in an hour's meeting.

With God's grace the marriage is settled and Ramanujam is nervous as the boy's family is insisting to perform the function on coming 20th May which is the nearest and last auspicious date for the purpose. If the date is missed the marriage will have to be postponed for three years as the boy has to go away for some training. Thanappa boosts the morale of Ramanujam. He reminds him that Kamakshi"s grandfather has sent him five thousand rupees as had promised so his biggest problem is solved. Thanappa cuts short his habit of gossiping while distributing the post and devotes rest of his time to help Ramanujam in full swing to make arrangements for the marriage of Kamakshi. Ramanujam is still nervous that some hindrance might come his way on the last moment and if so happens he would be ruined forever as 20th May is the last auspicious date for the marriage. Thanappa cheers him up and infuses confidence in him.

The wedding is solemnized decently on the fixed date. Everyone is happy .Thanappa meets and admires the groom with folded hands and gives him a bundle of greetings from his well wishers. After ten days Thanappa comes again and hands over a letter to Kamakshi from her husband. She is happy and shies away at his jokes.

On a holiday, when he is sure that Ramanujam would be at home Thanappa hands him a card carrying the news of serious illness of Ramanujam's uncle. Ramanujam is upset and wants to go to Salem immediately to attend his uncle. Thanappa now hands over a telegram to him with the sad news of his uncle's death. The telegram bears the date of 20th May, the date when the marriage of Kamakshi was being held in Ramanujam's house.

Ramanujam is infuriated but Thanappa confesses his guilt and asks Ramanujam to make a complaint against him for which he might be dismissed as well. Ramanujam restrains himself and forgives him although he feels that Thanappa has done something grossly wrong.

The story 'The Missing Mail' is a mirror of the society of that era. It belongs to the first half of the last century. It tells us vividly about the life and psyche of the people of small town for whom the human relationship is always of top priority. The postman is concerned for the marriage of Kamakshi as she is his own daughter. He takes the unpardonable liberty to hide the telegram of the death of Ramanujam's uncle so that the wedding ceremony of Kamakshi is solemnized peacefully. This gives a human touch to the story. The simplicity of the characters of the story touches the hearts of the readers. It presents a sharp contrast of those times from the modern times.

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Velan was a poor village boy. He belonged to a village named 'Koopal'. One day an astrologer predicted that Velan would live in a three-storeyed building surrounded by a big garden. The villagers found it a joke and made fun of him. However the prediction came true about thirty or forty years later. When Velan was about eighteen years old he left his native village as his father had slapped on his face in front of others for bringing his mid-day meal late. Velan felt hurt and left his village for good. He walked for days and reached the town of Malgudi.

There an old man took him took him to assist him in laying out a garden. Velan was asked to clear a few acres of land which was covered by weeds and plants. For days he worked at his task with rare determination. Soon after this the old gardener with the help of Velan started laying the foundation of a big garden. Unfortunately the old gardener fell ill and died. Velan was therefore made the chief gardener. Velan put his heart and soul into the work and created in no time a beautiful garden. Meanwhile the work of the master's house had been completed. Since the plants were small Velan asked his beloved plants to grow faster and quicker. Nature responded to his call. The flower plants and the numerous trees he had planted grew up in size and beauty. The garden gave a beautiful appearance to the mansion. The mansion came to be known as 'Kumar Baugh'. Numerous varieties of plants grew up in Velan's garden. Velan was particularly fond of the Margosa tree which he had planted. The tree was like his own child. He showered upon it his best attention and care.

Velan lived in a thatched hut, happy and contended. Years quickly rolled by. Velan was becoming old. So too his master. The beautiful mansion by now had lost its glitter and charm. The master was ill and bed-ridden. After few years of suffering the master died. When Velan heard about the news of his master's death, he was greatly perturbed for he knew that his master's son wouldn't care for his garden. Soon the sons quarreled amongst themselves and went to live in another house. Thereafter, a few tenants came to stay in a big house but none of them stayed long in the house. Hence the house came to be known as a 'Ghost House'. Velan continued to live in his thatched hut. After some years the master's sons entrusted the key of the mansion to Velan. Hence, when Velan's hut began to leak, he began to live in the verandah of the big mansion. Thus the prophecy about Velan living in a three-storeyed building came true.

Source: http://www.shvoong.com/books/classic-literature/2100588-abstract-axe-narayan/#ixzz2CLV83fo9

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Shankar Nag has: Played Sanjay in "Geetha" in 1973. Performed in "Sarvasakshi" in 1978. Performed in "I Love You" in 1979. Performed in "Madhuchandra" in 1979. Performed in "Setta Ramudaithe" in 1979. Played Gandugali in "Ondanondu Kaladalli" in 1979. Performed in "Haddina Kannu" in 1980. Played Shivu in "Janma Janmada Anubandha" in 1980. Performed in "Mugana Sedu" in 1980. Performed in "Preeti Madu Tamashe Nodu" in 1980. Performed in "Ondu Hennu Aaru Kannu" in 1980. Performed in "Rustom Jodi" in 1980. Performed in "Arada Gaya" in 1980. Performed in "Bhari Bharjari Bete" in 1981. Performed in "Karinaga" in 1981. Performed in "Devara Aata" in 1981. Performed in "Jivakke Jiva" in 1981. Performed in "Kulaputra" in 1981. Played Sanju in "Geetha" in 1981. Performed in "Muniyana Madari" in 1981. Performed in "Hana Balavo Jana Balavo" in 1981. Performed in "Maha Prachandaru" in 1981. Played Katte in "Minchina Oata" in 1981. Performed in "Thayiya Madilalli" in 1981. Performed in "Karmika Kallanalla" in 1982. Performed in "Dharma Dari Tappitu" in 1982. Performed in "Archana" in 1982. Performed in "Auto Raja" in 1982. Performed in "Benki Chendu" in 1982. Performed in "Nyaya Gedditu" in 1983. Performed in "Nagabekamma Nagabeku" in 1983. Performed in "Gedda Maga" in 1983. Performed in "Rakta Tilaka" in 1983. Performed in "Akrosha" in 1983. Performed in "Keralida Hennu" in 1983. Performed in "Nodi Swamy Navirodu Hige" in 1983. Performed in "Chandi Chamundi" in 1983. Performed in "Asha Kirana" in 1984. Performed in "Apoorva Sangama" in 1984. Performed in "Thaliya Bhagya" in 1984. Performed in "Shapatha" in 1984. Performed in "Benki Birugali" in 1984. Played Sajjal in "Utsav" in 1984. Performed in "Indina Bharatha" in 1984. Performed in "Bedaru Bombe" in 1984. Performed in "Kalinga Sarpa" in 1984. Performed in "Ganda Bherunda" in 1984. Performed in "Pavitra Prema" in 1984. Performed in "Makkaliralavva Mane Thumba" in 1984. Performed in "Manava Danava" in 1985. Performed in "Vajra Mushti" in 1985. Performed in "Thayiye Nanna Devaru" in 1985. Performed in "Thayi Kanasu" in 1985. Performed in "Parameshi Prema Prasanga" in 1985. Performed in "Kiladi Aliya" in 1985. Played Ravi- journalist in "Accident" in 1985. Performed in "Na Ninna Preetisuve" in 1986. Performed in "Raste Raja" in 1986. Performed in "Samsarada Guttu" in 1986. Performed in "Bettada Thayi" in 1986. Played (1987) in "Malgudi Days" in 1987. Performed in "Lorry Driver" in 1987. Performed in "Huli Hebbuli" in 1987. Performed in "Antima Ghatta" in 1987. Performed in "Thayi" in 1987. Performed in "Ee Bandha Anubandha" in 1987. Performed in "Digvijaya" in 1987. Performed in "Navabharata" in 1988. Performed in "Thayi Karula" in 1988. Performed in "Dharmatma" in 1988. Played Sangliana in "S.P.Sangliana" in 1988. Performed in "Shakti" in 1988. Performed in "Antinta Gandu Naanalla" in 1989. Performed in "Maha Yuddha" in 1989. Performed in "Rajasimha" in 1989. Played Director in "Idu Saadhya" in 1989. Performed in "C.I.D. Shankar" in 1989. Performed in "Ramrajyadalli Rakshasaru" in 1990. Performed in "Aata Bombatta" in 1990. Performed in "S.P. Sangliana II" in 1990. Performed in "Maheshwara" in 1990. Performed in "Bhale Chatura" in 1990. Performed in "Hosa Jeevana" in 1990. Performed in "Nighooda Rahasya" in 1990. Performed in "Pundara Ganda" in 1990. Performed in "Punda Prachanda" in 1991. Performed in "Sundara Kanda" in 1991. Performed in "Nagini" in 1991. Performed in "Prana Snehitha" in 1993.

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A book which effectively deals with realistic issues and perfect embodiment of simplicity and values is found in Bachelor of Arts. R.K Narayan has this uncanny knack of portraying Indian values in the most authentic way. He handles it in a way that no author can do the same justice to the Indian conditions. Many foreign authors have tried and faltered to come to terms with the living conditions here. But, R.K. Narayan has repeatedly come up with books that essays deeply into the emotions of the common man, picking out little things from daily lives that makes a big difference to the reader when reading the book. Be it the masterpiece Swami and friends, where any reader can be attributed to have lead a life similar to that of Swami, The Financial Expert which brilliantly deals about the relationship between father and son or The English Teacher, which explores the intricate association between a husband and wife, and the subsequent agony of the husband after his wife’s departed soul, R.K. Narayan comes up with touching themes that leaves the reader in deep introspection. Bachelor of Arts is a walkthrough of a generation revolving around the main protagonist of the story, Chandran. Chandran is so ominously present in us that it doesn’t become difficult to get into his groove. There are times when the reader has to stir himself up with the feeling Oh!! Is this happening to me?!! A story starting from college days of a B.A, History graduate, progressing into that difficult phase where every student faces a huge roadblock in his life - whether to continue studies or not or rather What do I do next?, and then, falling unsuccessfully in love with the girl next door only to think that solitude is the best company before realising that family means a lot more than that of a girl’s love, and chalking out a career after the worn-out days of love is the walkthrough of this brilliant piece of literature by the greatest Indian writer of all times. Chandran’s college days are a gentle reminder of our days. Planning out a study schedule for the exams brings memories where we have planned more than we studied. The household of Chandran brimming with life, with his mother, father and brother is like any typical Indian family. The college activities of Chandran are superbly written. The debates of whether historians have to be slaughtered or not, is brilliantly depicted. His friendship with Ramu and their mutual admiration for each other is well handled. R.K. Narayan has also beautifully brought out the fact how college friends do not end up as friends for life. When Ramu loses all touch from him after a few years, R.K. Narayan through Chandran says People pretended that they are friends, but the fact is they are brought together by forces of circumstances. How true!!! His life changes when he sees a girl, Malathi in the town. He constantly ponders about her at home. His parents become distressed seeing his situation at home. They, to fulfill their son’s wish try their best to strike the alliance, but due to the conventional concepts of horoscope matching, ill luck has its claim on the alliance. Chandran is shattered with the developments, and all the more, when he sees his hearthrob getting married. He feels that running away from home is the best thing for him to do. He does run away to Madras, where he carefully eludes staying at his cousin’s house, and slips away to obscurity. There, he comes to face with circumstances that makes him realise how foolish it was of him to slip away from loved ones at home. He comes back to Malgudi to a relieved reception from his parents. He realises that he has to take up some responsibilities and chalks out a career, until he really falls in love with a girl and gets married. This forms the gist of Bachelor of Arts. The reader is constantly in a trance while reading this book not because he is elevated to fictitious situations, but because he is take to stunning reality that places him so close to this cherubic Chandan. I have read this book more than a couple of times and everytime it is a new message that gets embedded in my mind. A masterly book by a masterly writer

1 answer


In Gateman’s Gift by R.K. Narayan we have the theme of fear, paralysis, insecurity, suffering, social opinion, pride and identity. Taken from his Malgudi Days collection the story is narrated in the third person by an unnamed narrator and after reading the story the reader realises that Narayan may be exploring the theme of fear. Singh lives in fear of opening the registered letter that has been sent to him. So crippling is Singh’s fear that he believes himself to be going mad. Though the logical thing to do would be to open the letter and discover whether the letter holds good or bad news Singh isn’t able to do this. It is also interesting that Singh loses interest in his clay-modelling because of the fear he feels over the letter. This loss of interest is important as it highlights just how overpowering the fear is for Singh. It is also interesting that Singh never thinks about just getting over what may be in the letter if the contents of the letter are of a bad nature. It is as though he would rather not know whether the letter contains good or bad news. If anything there is a sense of paralysis in the story. Singh is unable to move forward as long as he leaves the letter unopened. Rather he believes himself to be going mad based solely on the opinions of others. Which may suggest that Singh may be somewhat insecure about his identity. He doesn’t appear to have the strength to trust his own mind and is swayed by social opinion.

The fact that some of Singh’s clay models are copies of his old work environment may also be important as it suggests that Singh remembers with fondness his time as a Gateman. It may also be significant that Singh fears he may have upset his old boss by bringing the models into the pension office when Singh was collecting his pension. As this suggests that Singh still respects his old boss and does not wish to upset him. Singh’s respect for his old boss is mirrored by his boss’ respect for him. Something that is noticeable when the accountant opens the letter for Singh and the reader realises that Singh’s old boss admires all his clay models. Admires them so much that he has given him an extra one hundred rupees. There is also no doubting that Singh suffers, because of his fear, throughout the story. However Singh’s wife also suffers and after the letter arrives and remains unopened she is careful. So careful that she stays out of Singh’s way.

It might also be a case that Narayan is exploring the theme of pride. Singh is proud of his job as a Gateman. While some critics might suggest that his role is at the lower end of the employment scale. Singh doesn’t look at things like that. He is happy to be able to be part of something. To have some responsibility and to get paid for it too. The village that Singh makes that reminds him of his father’s village also appears to be the one clay model that Singh is most proud of. It is as though the model of the village is part of Singh’s identity. Yet he destroys it in a moment of madness all because of his fear to open the letter. Though it is clear that Singh is not really mad he does through stress do things that would be deemed inappropriate. One of these things is the breaking of the bulb which results in Singh getting arrested. Which the reader suspects is out of character for Singh. At no other stage of the story has Singh been in trouble.

The end of the story is also interesting as Singh despite the praises of his boss, gives up making clay models. It’s difficult to say for certain as to why this might be but it is possible that Singh is equating the clay modelling to the madness he went through.

3 answers


Anant Boonnark has: Played Nueng in "Fan tid fai huajai tid din" in 1997. Performed in "18-80 Puan si maimee sua" in 1997. Performed in "Pun rock nah yon" in 2003. Played Krao Dang in "Seua khaap daap" in 2005. Played Song in "Perfect Killer" in 2005. Played Kitti in "Phii seua samut" in 2006. Performed in "Phii mai jim fun" in 2007.

2 answers


Master Bhagwan has: Performed in "Bewafa Ashq" in 1931. Performed in "Zaban" in 1943. Performed in "Nagma-E-Sahra" in 1945. Performed in "Dosti" in 1946. Performed in "Tumhari Kasam" in 1948. Performed in "Mala the Mighty" in 1948. Performed in "Lalach" in 1948. Performed in "Matlahi" in 1948. Performed in "Jalan" in 1948. Performed in "Shaukeen" in 1949. Performed in "Bigde Dil" in 1949. Performed in "Bhedi Bungla" in 1949. Performed in "Jigar" in 1949. Performed in "Pyaar Ki Raat" in 1949. Performed in "Bhole Piya" in 1949. Performed in "Joker" in 1949. Performed in "Khush Rado" in 1949. Performed in "Roop Lekha" in 1949. Performed in "Jeete Raho" in 1949. Performed in "Bhole Bhale" in 1950. Performed in "Bakhshish" in 1950. Performed in "Achchhaji" in 1950. Performed in "Babooji" in 1950. Performed in "Damaad" in 1951. Played Pyarelal in "Albela" in 1951. Performed in "Aflatoon" in 1951. Performed in "Goonj" in 1952. Performed in "Sindbad the Sailor" in 1952. Performed in "Baghdad" in 1952. Played himself in "Dharma Pathni" in 1953. Performed in "Char Chand" in 1953. Performed in "Bandish" in 1955. Played Badlu in "Jhanak Jhanak Payal Baaje" in 1955. Performed in "Flying Man" in 1955. Performed in "Char Minar" in 1956. Performed in "Mr. Lambu" in 1956. Played Bhagwan in "Chori Chori" in 1956. Performed in "Makkhee Choos" in 1956. Performed in "Kar Bhala" in 1956. Played Stage Actor in "Bhabhi" in 1957. Performed in "Miss Bombay" in 1957. Played Man with 7 deceased wives in "Gateway of India" in 1957. Performed in "Ustad" in 1957. Performed in "Son of Sinbad" in 1958. Performed in "Dulhan" in 1958. Performed in "Trolley Driver" in 1958. Played Bhagwandas in "Duniya Na Mane" in 1959. Played Gopal in "Kangan" in 1959. Performed in "Forty Days" in 1959. Played Brijpal (Birju) in "O Tera Kya Kahna" in 1959. Performed in "Mohar" in 1959. Performed in "Chacha Zindabad" in 1959. Performed in "Road No. 303" in 1960. Performed in "Zimbo Shaher Mein" in 1960. Played Lala Pakorimal Dhobiprasad in "Bhakt Raj" in 1960. Performed in "Lucky Number" in 1961. Performed in "Teen Ustad" in 1961. Performed in "Stree" in 1961. Performed in "Sapne Suhane" in 1961. Performed in "Shola Jo Bhadke" in 1961. Performed in "Salaam Memsaab" in 1961. Performed in "Pathan" in 1962. Played Ajay in "Tower House" in 1962. Performed in "Aalha Udal" in 1962. Played Sultan in "Rustom-E-Baghdad" in 1963. Performed in "Awara Abdulla" in 1963. Performed in "Dekha Pyaar Tumhara" in 1963. Performed in "Khooni Khazana" in 1964. Performed in "Hukum ka ekka" in 1964. Performed in "Tarzan and Delilah" in 1964. Performed in "Aandhi Aur Toofan" in 1964. Performed in "Char Chakram" in 1965. Performed in "Sindbad Alibaba and Aladdin" in 1965. Performed in "Tarzan Comes to Delhi" in 1965. Performed in "Sher Dil" in 1965. Performed in "Tarzan and King Kong" in 1965. Performed in "Chor Darwaza" in 1965. Performed in "Daku Mangal Singh" in 1966. Performed in "Chale Hain Sasural" in 1966. Performed in "Duniya Hai Dilwalon Ki" in 1966. Performed in "Ladka Ladki" in 1966. Performed in "Duniya Nachegi" in 1967. Performed in "Sangdil" in 1967. Performed in "Hum Do Daku" in 1967. Performed in "Albela Mastana" in 1967. Performed in "Chhaila Babu" in 1967. Performed in "Baghdad Ki Raatein" in 1967. Performed in "Gunehgar" in 1967. Played Albela Rangila Chabila in "Bai Mothi Bhagyachi" in 1968. Performed in "Gunda" in 1969. Played Magician Pasha in "Intaquam" in 1969. Performed in "Mangu Dada" in 1970. Played Lakhan in "Choron Ka Chor" in 1970. Performed in "Sasta Khoon Mehnga Pyar" in 1970. Played Bus Passenger in "Suhana Safar" in 1970. Performed in "A Night in Calcutta" in 1970. Performed in "Shri Krishna Leela" in 1971. Played Chotumal (Drunk) in "Mera Gaon Mera Desh" in 1971. Performed in "Saaz Aur Sanam" in 1971. Performed in "Aage Badho" in 1972. Performed in "Tangewala" in 1972. Played Constable Bhagwan in "Raaste Kaa Patthar" in 1972. Played Constable in "Do Chor" in 1972. Played Film Director in "Gaon Hamara Shaher Tumhara" in 1972. Performed in "Chhalia" in 1973. Played Dada in "Banarasi Babu" in 1973. Played Ram Bharose in "Kuchhe Dhaage" in 1973. Performed in "Imaan" in 1974. Played Motta in "Apradhi" in 1974. Performed in "Har Har Mahadev" in 1974. Played Dr. Goosawala in "Badhti Ka Naam Dadhi" in 1974. Played Bhagwan Das in "Resham Ki Dori" in 1974. Performed in "Balak Dhruv" in 1974. Performed in "Toofan Aur Bijlee" in 1975. Played Qawal in "Jaggu" in 1975. Performed in "Ganga Ki Kasam" in 1975. Played Bartender in "Kala Sona" in 1975. Played Constable in "Faraar" in 1975. Performed in "Daku Aur Bhagwan" in 1975. Performed in "Mazaaq" in 1975. Performed in "Maze Le Lo" in 1975. Performed in "Sangram" in 1976. Played Gopu in "Ek Se Badhkar Ek" in 1976. Played Shyamlal in "Bhoola Bhatka" in 1976. Played Havaldar Dhondu in "Shankar Shambhu" in 1976. Played Maharaj Chand Prachanda Ujandapal Singh in "Jay-Vejay: Part - II" in 1977. Played Gypsy camp sardar in "Agent Vinod" in 1977. Played Bhagwanbhai in "Chakkar Pe Chakkar" in 1977. Played Abdul Wahab in "Vishwasghaat" in 1977. Played Constable Pandu in "Khel Khilari Ka" in 1977. Played Constable in "Chacha Bhatija" in 1977. Performed in "Ram Ram Gangaram" in 1977. Played Ram Singh Bahadur in "Azaad" in 1978. Performed in "Main Tulsi Tere Aangan Ki" in 1978. Performed in "Phandebaaz" in 1978. Played Street Singer in "Kasme Vaade" in 1978. Played Last man to fall in the mud in "Darwaza" in 1978. Performed in "Toote Khilone" in 1978. Performed in "Arab Ka Sona: Abu Kaalia" in 1979. Performed in "Jaan-E-Bahaar" in 1979. Played Rahim in "Chor Sipahee" in 1979. Played Bajrang in "Aaitya Bilavar Nagoba" in 1979. Played Nightguard in "Jhoota Kahin Ka" in 1979. Performed in "Heera-Moti" in 1979. Performed in "Ahimsa" in 1979. Performed in "Prem Bandhan" in 1979. Played Traffic Policeman in "Shikshaa" in 1979. Played Mental hospital inmate in "Patthar Se Takkar" in 1980. Performed in "Chambal Ki Kasam" in 1980. Performed in "Andhera" in 1980. Performed in "Pyaara Dushman" in 1980. Performed in "Nazrana Pyar Ka" in 1980. Played Lance Naik in "Do Premee" in 1980. Played Photographer in "Bombay 405 Miles" in 1980. Played Elevator Operator in "Beqasoor" in 1980. Played Francis in "Jazbaat" in 1980. Played Mr. Pinto in "Aasha" in 1980. Played Gendamal in "Phir Wohi Raat" in 1980. Played Cook in "Naseeb" in 1981. Played Allah Rakha in "Kranti" in 1981. Played Twin Brothers in "Saajan Ki Saheli" in 1981. Played Drunk (in "Paise ka Khel Nirala") in "Biwi O Biwi" in 1981. Performed in "Kahani Ek Chor Ki" in 1981. Played Havaldar in "Sahhas" in 1981. Played Havaldar in "Katilon Ke Kaatil" in 1981. Played Bandit in "Aas Paas" in 1981. Played Man who was drinking and driving in "Fiffty Fiffty" in 1981. Performed in "Chhupa Chhuppi" in 1981. Played Dhaniram in "Rustom" in 1982. Played Accordian Player (song "Joggie") in "Kaamchor" in 1982. Played Singer in train in "Dharam Kanta" in 1982. Performed in "Honey" in 1982. Performed in "Sun Sajna" in 1982. Played Qawali Dancer in "Ustadi Ustad Se" in 1982. Played Bhagwan Dada in "Teri Maang Sitaron Se Bhar Doon" in 1982. Played Eunuch Bride in "Sanam Teri Kasam" in 1982. Played Train Master in "Badle Ki Aag" in 1982. Played Illegal Alcohol Seller in "Nastik" in 1983. Performed in "Siskiyan" in 1983. Played Havaldar in "Dard-E-Dil" in 1983. Played Havaldar in "Bindiya Chamkegi" in 1984. Played Havaldar in "Sunny" in 1984. Played Constable (song "Loot Gayi") in "Jhutha Sach" in 1984. Played Bhang drinker in "Love Marriage" in 1984. Performed in "Asambhava" in 1984. Played Bhiku in "Meraa Dost Meraa Dushman" in 1984. Played Train passenger in "Shapath" in 1984. Played Harold in "Yeh Desh" in 1984. Played Father of many kids (in song "Ato Mein Jo Par Gayo Ghato") in "Patthar Dil" in 1985. Played Havaldar Pritam Singh in "Ramkali" in 1985. Played Masood in "Alag Alag" in 1985. Performed in "Ganga Ke Paar" in 1985. Played Constable in "Lover Boy" in 1985. Played Pandu in "Kali Basti" in 1985. Played Dancer in "Mohabbat Ki Kasam" in 1986. Performed in "Vidhaan" in 1986. Performed in "Andheri Raat Mein Diya Tere Haath Mein" in 1986. Played Damberi in "Bijli" in 1986. Played Stage dancer in "Deewana Tere Naam Ka" in 1987. Performed in "Khooni Darinda" in 1987. Played Dancer (song "Pyar Milega") in "Hatya" in 1988. Performed in "Zalzala" in 1988. Played Inmate in "Ganga Tere Desh Mein" in 1988. Played Dancer (song "Hey Babua") in "Biwi Ho To Aisi" in 1988. Performed in "Main Tere Liye" in 1988. Played Cameo appearance, man in red turban in song "Maine Pyar Kiya" in "Maine Pyar Kiya" in 1989. Played Constable in "Gair Kaanooni" in 1989. Played (song "Mumbai Ki Kasam") in "Na-Insaafi" in 1989. Played Song "Pyar Karo Pyar Karo" in "Touhean" in 1989. Played Havaldar Pandu in "Farz Ki Jung" in 1989. Performed in "Navra Baiko" in 1989. Performed in "Hum Se Na Takrana" in 1990. Played Old man (song "Jeena Hai Humka..") in "Khatarnaak" in 1990. Played Cameo (song "Filmon Ke Saare Hero") in "Swarg" in 1990. Played Shashikant Dadokar in "Kasam Dhande Ki" in 1990. Performed in "Numbri Aadmi" in 1991. Performed in "Sagale Sarkhech" in 1992. Played Court Bailiff in "Yuhi Kabhi" in 1994. Performed in "Mera Damad" in 1995. Played Stage Actor in "Jai Vikraanta" in 1995. Played Dancer in bar in "Maahir" in 1996.

8 answers


45 Kung Mangarap Ka Nang Matagal(Kabanata Labingwalo)

KUMATOK SA PINTO SI KWANG MENG kahit nakabukas ang pinto at nakikita niya si Boon Teik na nakaupo sa sopa at nagbabasa.

"Tuloy, tuloy," sabi ni Boon Teik na tumayo't inilahad ang isang kamay. "Upo ka! Upo ka! Nasa kusina ang misis ko't tinatapos ang pagluluto ng ating hapunan. "Me-I!" tawag nito, "Narito na si Kwang Meng!"

Lumabas ang asawa nito, kasunod si Anne.

"Me-I, ito ang kapitbahay nating si Kwang Meng," at saka bumaling sa kasunod na nagsasabing , "Palagay ko'y magkakilala na kayo ni Anne, pinsan ni Me-I."

Binati ni Kwang Meng ang kabiyak ni Boon Teik. Maraming beses na niya itong nakita noon. Mukhang wala pa itong dalawampu, may maliit na pangangatawan at nakasalaming gaya ni Anne. Talagang namamana pala iyon ng pamilya, naisip niya na natutuwa. Nagulat siyang naroon si Anne.

"Iiwan muna namin kayong mga lalaki," humihingi ng paumanhin si Me-I. "Pasensiya ka na, Kwang Meng, may gagawin pa kaming mga babae sa kusina, kundi'y hindi tayo makapaghahapunan."

"Oo ba," sagot ni Kwang Meng.

Nahihiyang nginitian siya ni Anne, nasisiyahang nagulat siya sa pagkikita nila. Nagpunta na kapagkuwan ang mga babae sa kusinang nasa likod ng flat.

"Ano ang gusto mong inumin, Kwang Meng?" tanong ni Boon Teik.

"Tama na ang isang beer."

Kumuha si Boon Teik ng maiinom nila sa kusina. Iginala ni Kwang Meng ang mga mata sa buong salas. Simple ngunit may panlasa ang mga gamit doon. Light green ang pinta ng kuwarto. Nakasabit sa dingding ang ilang print ng Van Gogh at Cezanne at batik na gawa ng mga local artists. Palibhasa'y walang ibang nakasanayan kundi dingding na puti, naakit si Kwang Meng sa berdeng silid. May isang mahabang bookshelf na puno ng libro roon at saka isang record player na may katabing maraming long-playing records. Nagsabit ang asawa ni Boon Teik ng kurtinang batik na green at gold katerno ng mga cushoion covers para sa sopa at dalawang armchair. Sa itaas, isang malaking Japanese paper lampshade na puti ang nakabitin, at nakatayo naman sa isang sulok sa likod ng mga armchair ang isang lampstand na may pulang lampshade. Sa ibabaw ng maliit, makitid at papahabang coffee table ay nakasalansan ang mga magazine, kasama ng isang bowl na Ikebana, ang Japanese-style na pag-aayos ng mga bulaklak. Hindi na-imagine ni Kwang Meng kailanman na mapagaganda at mapaaaliwalas ang isang flat ng Housing Development Board. Ang bahay nila mismo'y sama-samang kuwarto lamang na mauuwian; walang pagtatangkang gawin itong isang lugar na matitrhan. Ang magagawa nga naman ng kaunting pagsisikap! Interes lamang iyon, ang pangangailangang magkaroon ng interes, isang pangangailang nagsasabi kung may interes sa buhay at pamumuhay ang sinuman, naisip niya.

Bumalik si Boon Teik na dala na ang mga inumin.

"Gusto ko ang pagkakaayos ng lugar n'yo, Boon Teik."

"Hindi kami gumasta ng malaki riyan," sabi ni Boon Teik. Si Me-I ang pumili ng karamihan sa mga furniture namin. Mahilig siyang mamili sa dating C.C.C. Junk Shop sa Newton Road gayundin sa mga tindahan sa Sungei Road na nagbebenta ng mga kung anu-anong luma. Alam mo siguro 'yon, kilala rin iyon bilang Thieves' Market."

Narinig na ni Kwang meng ang lugar na iyon, pero wala siyang nabalitaan kundi napakabaho ng mga kanal doon. Tiyak na enterprising si Me-I dahil hindi man lang siya napigil ng mabahong amoy. Aywan niya kung totoo ang balita na noong araw, ipinagbibili roon ng mga magnanakaw ang mga nakulimbat nila, kaya kapag may isang napagnakawan, nagpupunta na ito sa Thives' Market umagang-umaga kinabukasan upang mabawi ang ninakawa sa kanya. Siyempre pa'y binibili niya uli ito; ngunit sa mas murang halaga. Doon siguro nito nakuha ang pangalan.

Ilang nakapasong halaman na ferns at cacti rin ang nasa salas ni Boon Teik.

"Talagang dapat kong purihin ang panlasa mo. Parang kulungan ng baboy ang bahay namin kung ihahambing dito," sabi ni Kwang Meng.

"Pero hindi iyon ang talagang lugar mo! Hintayin mong makapa-asawa ka't magkaroon ng sarili mong flat. Natitiyak kong magagawa mo roon ang lahat ng gusto mong gawin. Parang kulungan din ng baboy ang bahay ng mga magulang ko, at tumira kami roon hanggang noong bagong ikasal ni Me-I. Noong nakatira pa ako roon, hindi ako gumgawa ng kahit ano liban sa mag-ayos ng kuwarto ko. Iba na ngayon. Bahay na namin ito."

"Maganda talaga ang pagkakaayos mo," bati ni Kwang Meng sa pangatlong pagkakataon.

"Sa palagay ko'y napakahalaga nito kung paano namumuhay ang isang tao. Ang isang bahay o tahanan gaya ng buhay, ay nababatay sa kung paano mo inaayos. Ganoon ang dapat maging pakiramdam natin para umayos pati ang sariling buhay natin. Nararamdaman kong hindi ganito ang ginagawa nating ngayong, lalo na tayong mamamayan ng postwar generation. Pasakay-sakay lang tayo, walng direksiyon. Sa eskuwela, ito ang pinipilit kong ituro sa aking mga estudyante. Mahalagang matutuhan nila ito."

"Magiging isang mabuting teacher ka, Boon Teik."

"Pinipilit ko. Lahat tayo'y dapat magpumilit. Anuman ang ginagawa natin, dapat natin itong pagbutihin."

"Kahit walang kahulugan ang trabahong ginagawa mo?" tanong ni Kwang Meng.

"Walang bagay na talagang walang kahulugan," pagpapalagay ni Boon Teik.

Napakalakas ng pagpapalagay na iyon kaya ibig tuloy maniwala ni Kwang Meng, bagaman hindi siya naniniwala. Pero sinabi niya iyon na parang kapani-paniwala, naisip ni Kwang Meng, tulad ng dapat gawin ng isang mabuting guro. Hindi naman talagang ang himig ng awtoridad ang nagdulot doon, kundi ang himig na nagsasaad ng katotohanan. Hinangad ni Kwang Meng na totoo na sana iyon.

Ngunit sa halip, sinabi niya, "Hindi ako lubos na naniniwala. May mga bagay at trabahong talagang walang kahulugan." Iniisip niya noon ang sariling trabaho niya.

"Maaaring walang kahulugan iyon sa tingin, pero hindi naman talaga. Depende iyan sa paraan ng pagtanaw mo. Naniniwala akong dapat itong tanawin mula sa malawak na pananaw ng lipunan. Isang social animal ang tao, dapat muna nating tanggapin ito. Nakabilang siya sa isang lipunan, at para makakilos ang lipunan, kinakailangang magkaroon ng iba't ibang uri ng gawain. Ngunit anumang kategorya o uri ng gawain, ang nagkakaakma silang lahat na parang isa-isang bahagi ng isang masalimuot na makinarya, gaya ng isang relos halimbawa. Sa gayon, makikita mong mahalaga ang kahit isang maliit na piraso, ang bawat bahagi ng kabuuan."

"Siguro nga. Pero hindi ba't ito rin ang simulaing ginamit ng mga tao noong unang panahon para pangatwiran ang pangangailangan nilng makapang-alipin? Parang ganito rin ang sinabi ng isang Greek philosopher, di ba? Hindi ko lang matandaan ang pangalan."

Pero hindi natin tinatanggap ang pang-aalipin ngayon," sabi ni Boon Teik.

"Tinatawag lang natin ito sa ibang pangalan, pero iyon din. Ang mapilitang gumawa ng mga tarbahong walang kahulugan sa lipunan ay parang sapilitang pagpasok sa isang uri ng pang-aalipin."

"Hindi naman," tutol ni Boon Teik.

Dahil walang hilig sa pakikipagtalo, nanatiling tahimik si Kwang Meng. Walang kabuluhan para sa kanya ang pagtatalo dahil bibihirang tanggapin ng isa ang katwiran ng isa pa; bibihirang makumbinsi ang isa at baguhin pagkatapos ang sariling palagay niya, tama man iyon o mali. Hindi, hindi ako maaakit na makipagtalo, pasya niya. Magiging dahilan lang iyon para mainis sa kin si Boon Teik o mainis ako sa kanya; at ayokong mainis kay Boon Teik.

"Dapat mong maunawaang napakakumplikado ng makabagong lipunan; at habang lalong nagiging makabago ang anyo ng lipunan, lalo itong nagiging kumplikado at sopistikado; at sa ganitong uri ng lipunan, napakaraming mahahalagang uri at kategorya ng mga gawaing itinatakda sa tao, mula sa pinakamababa hanggang sa pinakamataas. Tunay na ang kalawakan ng pagkakaiba-iba ang nagtatalaga ng antas ng pagkasulong ng isang lipunan."

Tumigil si Boon Teik, naghihintay marahil na ipagpatuloy ni Kwang Meng ang pakikipagtalo. Dahil sa walang tinanggap na sagot, nagpatuloy si Boon Teik, "Maaaring hindi makatarungan sa tingin itong theory of human function ng tagasibak ng kahoy at taga-igib ng tubig, pero ito ang talagang essence ng demokrasya."

Hindi ko sinasabing hindi ito tama; hindi ko rin tinututulang maaaring demokratiko ito; ang masasabi ko lang ay napakalungkot nito, sumaisip ni Kwang Meng ngunit hindi ito ipinarinig sa kaibigan.

"Alam kong malungkot ito ngunit hindi ito maaaring tutulan," sabi ni Boon Teik na parang nabasa ang nasa isip ni Kwang Meng. "Pero sa huli, ang talagang problema'y kung paano maipauunawa sa mga tao na sa kabila ng pagiging mababa at kabagut-bagot ng trabaho nila'y mahalaga't makabuluhan ito sa maayos na pagkilos ng lipunan," dagdag ni Boon Teik.

"Pero hindi pa rin 'yon makapagbibigay sa kanila ng anumang kasiyahan. Hindi pa rin no'n magagawang kawili-wili ang trabaho nila, di ba?" salag ni Kwang Meng.

"Hindi nga," sang-ayon ni Boon Teik. "Pero kung malalaman nilang makabuluhan ang trabaho nila, kung malalaman nilang may naiaambag iyon, kung makikita nilang nakatutulong sila sa pag-unlad at pagsulong ng lipunan, maaaring makatagpo sila ng kasiyahan sa katotohanang instrumental sila sa pagbabago ng lipunan, kaya magiging mas mainam na lipunan iyon para sa kanilang mga anak, at sa magiging anak ng kanilang mg anak. At kung hindi man kasiyahan ang matgpuan nila, kaunting ginhawa o pampalubag-loob ma lang."

"Paano iyon magagawa, Boon Teik?"

"Tungkulin iyan ng ating mga pulitiko. Kailangang bigyan nila ng edukasyon ang mga mamamayan upang malaman nila ito."

"Hindi ba't ginagawa na rin iyan ng mga pulitiko natin?"

"Oo."

"At babahagyang ginhawa ang natatagpuan natin."

Dumating sa bahaging ito ang mga babae mula sa kusina. Nakahain na ang hapunan.

Nakakahawig ng sa kanila ang flat, sa kusina rin inilagay ng mga Lim ang kanilang hapag-kinan, isang maliit na kuwadradong apatan ang silya. Ngunit malinis at masaya ang kitchen-cum-dining room nila, napipintahan ng lemon yellow. May mga sariwang bulaklak na nakalagay sa bote sa ibabaw ng mesa, ilang tangkay ng Golden Shower Orchids.

Ilang lutong nonya ang inihanda ni Me-I. Nalaman ni Kwang Meng pagkaraan na ito at si Anne ay buhat sa matandang angkan ng Pernakan, at naroon na sa poook na iyonang mga ninuno nila nang mahigit isandaang taon. Ang mga Pernakang ito na lalong kilala bilang nonya at baba ang matatandang Straits-born Chinese na lumuwas sa Malaya at Singapore maraming salinlahi na ang nakalilipas. Sa loob ng mga taon, nakabuo sila ng natatanging anyo ng kulturang bagaman ethnically Chinese ay may ilang impluwensiyang Malay sa paraan ng kanilang pagdadamit, pagsasalita at sariling uri ng maaanghang na pagkain. Naiibigang mabuti ni Kwang Meng ang huli, paborito niya ang nonya at laksa mula sa pulo ng Penang, ang nasi lemak o kaning may lasang buko, ang otak-otak, sambal at curry, at ang kuay. Nang gabing iyon, nasi lemak ang niluto ni Me-I.

"Gusto mo ba ng mga lutong nonya, Meng?" tanong ni Anne.

"H'mmmmmm! Ang sarap, Me-I," pagpupuri ng Kwang Meng.

"Oy, masarap ding magluto ni Anne," sabi ni Me-I.

Namula si Anne. "Hindi kasing-husay mo," nginitian ni Anne ang pinsan.

"Ikaw ang dapat magsabi niyan Kwang Meng," sabi ni Boon Teik. "Kailangang matikman mo ang luto ni Anne."

"Tama, sa susunod, si Anne ang paglulutuin namin para sa iyo," sabi ni Me-I.

Pagkahapunan, bumalik ang mga lalaki sa salas. Nagdala ng dalawang beer si Boon Teik samantalang naiwan para magligpit ang mga babae.

Dalawang taon na silang kasal, sabi sa kanya ni Boon Teik. Kaga-graduate lanl niya noon ng T.T.C. at kae-enroll ni Me-I bilang estudyante. Nang unang ilang buwan, nakipanirahan sila sa mga magulang ni Boon Teik pero hindi naging mabuti iyon. Wala silang privacy sapagkat napakalaki ng pamilya ng mga magulang niya. May mga tiyuhin, tiyahin, at iba pang nakikitira bukod sa talagang pamilya. Hindi talagang angkop iyon para sa pagsisimula ng isang kakasal na mag-asawa. Pagkaraa'y sinuwerte sila. Nag-apply sila at nakakuha ng sarili nilang flat. Naging napakasaya nila roon.

Dinama ni Kwang Meng ang kapaligiran sa flat ng kanyang kaibigan. Taglay nito ang tahimik na kapanatagan at kaluwagang sumasalamin sa mapayapang kalagayan ng pagsasama ng mag-asawa. Naniniwala niyang ang isang matagumpay na pag-aasawa ay higit na maganda kaysa alinmang bagay. Tunay na isang mainam na bagay ang pagkakaroon ng marital bliss; pero hindi lahat ng pag-aasawa ay nagiging maligay. Pumasok sa isip niya si Hock Lai at Cecilia. Kakatwa, ngnit laging nadarama ni Kwang Meng na hindi magiging mabuti ang darating na pag-iisang-dibdib ng dalawa. At lalo pang kakatwa, nadama niyang kapwa nararamdaman nina Hock Lai at Cecilia iyon, at mas nararamdaman ito ni Hock Lai kaysa kay Cecilia. Ngunit ipinapapatuloy nil ito, buong kasiyahan at buong pagwawalambahala! Napakasaya kahit sa harap ng panganib! Sa loob ng isang taon, kundi man bago dumating ang isang taon. Mambababae si Hock Lai, at sa loob ng ilang taon, makakasanayan ito ni Cecilia, tatanggapin niya ito ("Parang negosyo ito, alam mo namang kailangan kong mag-entertain," sasabihin iyon ni Hock Lai), hanggang sa matutuhan nitong magpalipas ng oras sa paglalaro ng mahjong.

Nagpatugtog ng isang plaka si Boon Teik. Isang Brahms' symphonoy iyon, sabi nito, at saka lumabas para kumuha ng marami pang beer. Tumayo si Kwang Meng at tumingin-tingin sa mahabang bookshelf. Marami-raming collection ng libro si Boon Teik, kramihan doo'y paperbacks sa literatura, history at politics.

"Masyado ka palang palabasa," sabi ni Kwang Meng kay Boon Teik nang makabalik na ito sa silid.

"Oo, enjoy ako sa pagbabasa. Gano'n din si Me-I. Hindi naman kami pala-labas, bihira rin kaming dumalo sa mga social functions. Kung minsan, nanonood kami ng sine. Wala rin kaming telebisyon. Parang takot kaming bumili. Nalaman kong nagiging addict doon ang mga tao. Masama iyon sa palagay ko."

"Sana marami na rin akong nabasa," sabi ni Kwang Meng.

"Hindi pa naman huli para magsimula ka, Kwang Meng. Welcome ka para hiramin ang mga libro ko. Kahit anong oras. Tutal, diyan ka lang nakatira sa katabiing pinto."

"Salamat. Pero tamad na tamad na akong bumasa."

"Wala iyon. Mabubuhos ang loob mo kapag nagsimula ka na. Magsimula lang ang dapat; at maiinam na libro lang ang dapat mong basahin. Sa gano'n hindi ka mababagot. Literature na ang pinakamagandang pagsimulan. Marami kang matututuhan sa literatura."

Agad namang namili ng ilang libro si Boon Teik para kay Kwang Meng. Crime and Punisment ni Dostoyevsky, To Have and To Have Not ni Hemingway, at ang The Maneater of Malgudi ni Narayan.

"Sus, aabutin ako ng siyam-siyam sa pagbabasa niyan!", sabi ni Kwang Meng.

"Huwag kang magmadali. Hindi mo naman kailangang isauli iyan agad. Unahin mo si Narayan," payo ni Boon Teik, "siguradong matatawa ka riyan."

Sinamahan na sila ng mga babae makaraang tapusin ang mga ligpitin sa kusina. Bawat isa sa kanila'y may dalawang maliit na puswelo ng black coffee.

"Hinihiram mo ang ilang libro ni Boon Teik?" tanong ni Anne. "Patingin kung alin-alin iyan."

Iniabot dito ni Kwang Meng ang mga libro.

"A, nakakatawa ang isang ito," sabi ni Anne na itinataas ang kay Narayan.

"Dapat tayong bumili ng iba pang libro niya," sabi ni Me-I sa kanyang asawa.

"Wala akong makita," sagot ni Boon Teik. "Napuntahan ko nang lahat ng bookshop dito, wala talaga. Sana mayroon ditong magagandang bookshops."

Hindi alam iyon ni Kwang Meng. pero talaga namang hindi pa siya nakapagbasa-basa sa isang bookstore kahit kailan.

"Tapos na ang plaka, Teik", sabi ni Me-I.

Lumapit si Boon Teik sa record player.

"Huwag ka nang magpatugtog ng bago," sabi ng asawa nito. "Kausapin na lang natin ang ating mga bisita."

Kaya pinalipas nila ang oras sa pag-uusap. Nakapagsalita nang mas marami si Kwang Meng kaysa karaniwan niya at hindi niya ito namalayan.

Pagkatapos, gaya ng inaasahan sa kanya ng lahat, nagprisinta si Kwang Meng na maihatid pauwi si Anne. Nagpaalam sila kina Boon Teik at Me-I at lumakad sa pasilyo pababa sa hagdanan upang hintayin ang lift pagkaraan.

Sa lansangan, malamig at nakakapresko ang hangin.

Naging matahimik si Kwang Meng sa oras na ito. Itinuro niya kay Anne ang kumpol ng mga punongkahoy.

"Rain trees", sabi nito. "Hindi ba matanda na sila't maganda?"

"Oo. Kung minsan, kumikinang sila kapag maliwanag ang buwan sa gabi."

"Gusto ko silang makita kapag maliwanag ang buwan," sabi nito.

Tumango siya. Sumakay sila sa isang bus papauwi sa bahay ni Anne. Walang laman ang bus. Abala ang konduktor sa pagbibilang ng mga baryang nakatago sa isang malaking bag na may strap na nakabitin sa balikat nito. Pagkaraang makuha ang bayad ng dalawa sa pasahe, hinid na sila pinansin nito. Kapwa sila nag-iisa, magkasama.

Nang papauwi na siya pgkaraan, naramdaman niya ang bigat ng mga libro sa kamay niya, nagbibigay ng kung anong katiyakan.Isang sakasisiyang gabi iyon para sa kanya, at nakipagkasundo siyang makikipaglaro ng badminton kay Boon Teik sa darating na Linggo ng umaga at isasama sa swimming si Anne sa sinusundang Sabado ng hapon. Pagdating ng bahay, humiga siya't madaling nakatulog.

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