In Search Of An Unique Gift, A Father Writes About His Son

By Shevlin Sebastian

Photo: Characters in the story. Photo by Mithun Vinod. 

A few days ago, while I was walking with my 12-year-old son, Subin, he told me, “Baba, from the back, your head looks like the top of a cashew nut with bits of hair on the sides.”

“Should I wear a wig,” I said.

“No, it's fine,” he said.

This talented boy always has an interesting take on the world. And a big heart. One of my unforgettable memories of Subin was when his mother was unwell and was lying in bed. And she wanted to eat something.

Subin, who was in Class 4, went to the kitchen, broke an egg, pored the yolk into a bowl, added salt, and stirred it. Then he pulled up a chair, lit the gas stove, placed a pan, and made an omelette, which he gave to his mother.

And so, sometime ago, when his First Holy Communion ceremony was going to take place, I wracked my brain on what unique gift to give to him.

And then the idea struck me: why not write an article about my son. After all, as a journalist, I write about all sorts of interesting people, from Edmund Hilary at a hotel in Darjeeling to a beggar outside St Mahim's church, Mumbai, who, astonishingly, turned out to be a Malayali.

So here is the gift of thoughts and reflections:

“When Subin was small he would look at the sweets placed in a glass bottle on our dining room table [at Kochi],” says Rani Vadakel, Subin's grand aunt. “He would never take it without getting permission. To get it, Subin would knock on the table, and get our attention. When we give it, he would take not only for himself but for [his sister] Sneha also.”

Classmate Aaron Joseph Pramod says that Subin is a good boy. “He reads a lot,” says Pramod. “Among our friends, Subin is the smallest. Sony, who is taller than Subin, carries him around. Subin does not like it much and says, ‘Put me down’. When the class teacher is there, he is very quiet. But when we have a free period, he talks a lot.”

Says Molly Isaac, maternal grandmother: “Sometimes, Subin will ask me whether I miss my husband [who died in 2003]. Compared to other children, he has the ability to understand people far better than most. This is a gift from God. If I tell him I am going to the shop, he will immediately say, 'Grandma, don't go alone. I will come’.”

To cousin Aneesha Jose, Subin is an extremely fun-loving and jovial person who knows how to tickle the funny bone of even the most serious person. “He has the greatest dance moves and can remember the lyrics of a hundred songs,” says Aneesha. “He can lighten the mood in any situation. Everyone loves being around him. Even though his size may be small, he has the biggest heart.”

As for Subin’s mother, Sini, she remembers getting a letter one day from Subin.

On the cover, it was written, 'A Sorry and a Thank You note'.

Inside, Subin wrote:

Thank you

1) For ironing our clothes

2) For washing the dishes

3) For praying for us

4) For sweeping the house

5) Loving and taking care of us

Sorry for:

Not helping you

Hurting you

Not doing things on time

This exercise was an eye-opener. At the end of it, I realised that, like all parents, I hardly knew my son, even though he is living right next to me. So, what is the possibility that I will know anything when Subin grows up and moves away?

And this also proved, once again, that the immortal words of Kahlil Gibran in 'The Prophet' are absolutely true:

‘Your children are not your children.

They are the sons and daughters of Life's longing for itself.

They come through you but not from you,

And though they are with you, yet they belong not to you.’ 

(Published as a middle in The New Indian Express, South India editions) 

Celebrity Cricket Club gives money to endosulfan victims

By Shevlin Sebastian

Photos: (From left: Vijay Yesudas, Kunchacko Boban and Asif Ali); Kunchacko Boban giving a chequ of Rs 4.5 lakh to Munisa, representative of the Sneha Veedu organisation 

A few years ago, singer Vijay Yesudas and his friend Nikhil Menon would play cricket outside the Jawaharlal Nehru Stadium, Kochi, as members of the Kochi City Tigers. “”We would play matches now and then,” says Vijay, at a press conference today. “I have warm memories of that time.” Thereafter, there arose a desire to involve the members of Mollywood. Soon, Indrajit Sukumaran and Prithviraj and others joined in, and they played at a ground at Thevara.

In 2008, the Celebrity Cricket Club (C3) was formed. “It is a brotherhood of actors, singers, directors, producers and the like,” says Vijay, the secretary of C3. Adds Kunchacko Boban, the chairman, “All of us have a passion for the game. By playing together, it strengthened our friendships. But over a period of time, we realised that we would also like to contribute to charity. ”

So, the C3 team played charity matches at Sharjah and in London. 

Fast forward to March 9. The C3 gave a cheque of Rs 4.5 lakh to the Sneha Veedu organisation, which looks after endosulfan victims. The cheque was collected by the representatives, Kunjikannan and victim, Munisa. The idea came after Kunchacko went to Wayanad to act in the film, ‘Valiya Chirakulla Pakshikal’’’, which is based on the endosulfan issue. “I met many victims and was moved by their plight,” says Kunchacko. ”We have plans to help more people.”

Adds Asif Ali: “ We are now planning to play matches in South Africa, Australia and the US. And we request sponsors to come forward. ” In fact, the England match was generously sponsored by the Malayalis living there. They also have plans to set up a music band. Alongside matches, they will do shows, to generate funds for their charity initiatives. The C3 team includes actors Nivin Pauly, Unni Mukundan, Saiju Kurup, Jojo George, singers Afsal and Madhu Balakrishnan, and directors Lijo Jose Palliserry, Deepan and others. 

(The New Indian Express, Kochi and Thiruvananthapuram)

A Jeep Accident That Almost Became A Tragedy

COLUMN: LOCATION DIARY

Prem Prakash talks about his experiences as a producer in the films, 'Koodevide', 'Akasha Dootu' and Peruvazhiyambalam'

Photos: Prem Prakash with his wife Daisy. Photo by Rajeev Prasad. Film psoter of 'Koodevide'  

By Shevlin Sebastian

At 7.30 p.m. on a day in August, 1983, the day's shooting for the film, 'Koodevide', concluded in the mountainside town of Doddabetta in Ooty.

A little while later, actors Mammooty and Maniyanpilla Raju were returning in a jeep. There were a few other crew members sitting at the back. They were being followed by another jeep which consisted of producer Prem Prakash, actor Suhasini, director P. Padmarajan and camera person Shaji N Karun.

“Since Mammooty drives very fast, he went ahead quickly,” says Prem. “It was also a foggy night. But after a while, we saw a shocking sight. The jeep, which Mammooty had been driving, had overturned.”

Maniyanpilla Raju was lying on the ground. Apparently, a lorry was coming from the other side, and Mammooty braked suddenly, at high speed. As a result, Maniyanpilla Raju slipped and fell to the ground.

They rushed him to the Ooty General hospital. Water was splashed on his face, but he continue to remain still. “We felt that Maniyanpilla had died,” says Prem. “Because he remained without responding in any way.”

Meanwhile, Mammooty was walking up and down the corridor and said, “What do we do?” Says Prem: “I have never seen Mammooty so scared and worried.”

After a long time, Maniyanpilla Raju opened his eyes and said, “Where am I?” That was when the crew suspected that he had a brain injury. “However, in the end, it turned out okay,” says Prem. “But for some time we thought the worst had happened. And Mammooty was so worried that he would have been the cause of his death.”

There were no such tensions in the making of the film 'Akasha Dootu' (1993). However, when the melodrama, directed by Sibi Malayil, was released, Prem heard that that there was a lot of crying in the hall. It is the story of a widow, who is dying of leukamia, who gives away her four children for adoption.

“So, as a producer, I decided that when a patron bought a ticket, he would also get a handkerchief,” says Prem.

Anyway, to watch the effect of the film, Sibi and Prem went to a theatre in Nooranad, in Alleppey district. They stood at the back of the balcony. In one of the seats sat Jacob Thomas, 34, his wife Maria, 27, and a six-year-old boy, Rony (names changed).

Very soon into the melodramatic film, Maria started crying. Jacob said, “Why are you embarrassing me by crying? This is only a film, not real life.” But Maria continued to weep when other sad scenes came up. And Jacob continued to scold her.

“However, when the last scene came up, and the youngest boy, who is physically challenged, is finally adopted, Jacob burst out crying,” says Prem. “Now Maria said, 'What is happening? Why are you crying like this? And all along, you told me not to cry'.”

Prem and Sibi burst out laughing, at this point. “That was an experience I will never forget,” says Prem.

Another experience which Prem will not forget was at Balaramapuram, in Thiruvananthapuiram district where the shooting was going on for P. Padmarajan's debut film, 'Peruvazhiyambalam'. The year was 1979. At 2 a.m., Ashokan, who plays a fifteen-year-old by the name of Raman, kills the town's bully Prabhakaran Pillai (Azeez) because the latter raped Raman's sister. And then he runs away.

“It is but natural in a film that the townspeople chase him,” says Prem. “But at 2 a.m., there were no people around. And so it happened that to form part of the crowd, for the first time in Mollywood, Padmrajan and myself, director and producer, ran to be part of the crowd. It gives you an indication of Padmarajan's commitment.” 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode) 

“In Coming Years, More Women Will Be In Positions Of Leadership”

Says Mollywood star Lena, as she reflects on what it is to be a woman these days

By Shevlin Sebastian

In late 2014, Lena was on the sets of the Tamil film, 'Anegan', at Chennai. She was playing a psychiatrist by the name of Dr. Radhika. The villains are looking for the heroine, Madhumita, who is supposed to come to Radhika's clinic. However, there is a fight between the hero, Dhanush, and some villains.

“There is one scene where I was supposed to be pushed back by one of the goons,” says Lena. “The glass door of the clinic was supposed to remain open. And I had to move out of the scene. But the door closed accidentally. When I was pushed back against the door, the entire structure came crashing down. And the fighter fell on top of me.”

But the crew reacted with speed. “Within moments, they had lifted me and put me back on my feet, led by the fighter,” says Lena. “I was immediately rushed to the hospital. There was a small cut under my arm. A doctor put a stitch on it. I was ready to carry on shooting, but the director said it was pack-up time.”

Women have always been treated well in the film industries of the South. “I have been in Mollywood since 1998,” says Lena. “The men have always been considerate towards us. If I want to change costumes, and there are no facilities, they will go out of their way to find a suitable place. It is a family-like atmosphere. But in the Telugu and Tamil industries, we are treated like goddesses. So, on Women's Day, there is nothing to celebrate. I am already free and following my dreams.”

Her family members have been the inspiration. “My grandmother married the man she loved,” says Lena. “My mother left home [in Kochi] and went and worked in Chennai. She also married the man she loved and lived the life she wanted. In my family, the women have enjoyed a lot of freedom. Increasingly, this is happening all over the world.”

However, Lena does admit that in rural and backward areas, many women lack freedom, and are forced stop their education or get married against their wishes.

But the pendulum is moving towards women. “Since the end of the Mayan calendar [used by countries in Central America] in December, 2012, it has predicted a shift of power from the male to the female,” says Lena. “Feminine authority will increase. And there will be more women in positions of leadership worldwide. Women will enjoy their lives more. But, don't worry, guys will also like it when women enjoy life.”

Asked about the one drawback that women continue to have, Lena says simply, “Physical strength. For example, when I am alone, on a deserted road, at 7 p.m., I would experience fear because I don't have the physical strength to hold off a man. You also need strength to do simple things like carrying a suitcase to the third floor. Instead, I take a man's help. If God had given women physical strength, she would have become invincible. Maybe, that is why He did not give that attribute to her.”

When told that women have other negatives like mood changes and crankiness, a smiling Lena says, “Trust me, I know of many men who are equally cranky and short-tempered. So why blame women for that?” 

(Women's Supplement, The New Indian Express, Kerala)

To have impact at Mrs. World, Iris Maju (Mrs. India), opts for kalaripayattu

By Shevlin Sebastian

Photos by Melton Antony 

At 5 p.m., on most evenings, Iris Maju, 37, arrives at the Bal Bhavan in Panampilly Nagar, Kochi. In the large hall, she starts to stretch her arms and legs. Soon, under the guidance of Sivan Gurukal, of Sree Agasthya Kalari, she leaps up and kicks with her right leg. Owing to the high humidity, perspiration drips down her face. For the past three months, Iris has been training in kalaripayattu. And there is a specific reason for it.

For the Mrs. World competition, on March 12, at Dongguan, China, Iris is representing India, after she won the Mrs India competition, at Pune, in September, 2015 . “For the talent competition, I wanted to do something different,” she says. “Since kalarayapayittu is a martial art of Kerala, I want to take it to the international platform, with the message on how women can protect themselves.”

There is a myth that kalari is only about using weapons. In fact, you can use a dupatta, and with the right kalari technique, you can protect yourself from attack. “You can also use the umbrella, like a stick, poking and hitting the attacker,” says Iris. “The ladies bag is a weapon, too. Learning kalari is also beneficial for one's health. It relaxes the mind, strengthens the abdomen, as well as the lower parts of the body.”

During the day, Iris is practicing wearing the gown. This is of a metallic gold colour, with an intricate handwork on the sleeves and train. This has been sponsored by the Kochi-based designer Priya Varma. Iris will also be wearing a traditional hand-woven Kanjeevaram saree, which is being sponsored by Beena Kannan of Seemati. “It has peacock and mango symbols,” says Iris. “Peacock is the national bird, while mango is the national fruit.”

Iris will also highlight the fact that she is a green activist. “Cycling is my way of supporting a green environment,” says Iris, who cycles 15 kms a day. The wife of a Shillong-based Army colonel, Maju Joseph, Iris has done a lot of social service through the Army Wives' Welfare Association. “I have conducted English-speaking courses and taught bag-making to the wives of jawans,” she says.

And for Women's Day, Iris has a message. “Most women in Kerala give up too easily on their career options and do not take care of their health,” she says. “My message to them is simple: go out and pursue your dreams. There is nobody to stop you except yourself.” 

(Page 1, New Indian Express, Kerala editions)

Being And Nothingness

The New York-based artist Jayanthi Moorthy, at her first solo exhibition in Kochi, focuses on loneliness as well as the need to be part of a community

Photo by Ratheesh Sundaram

By Shevlin Sebastian

The New York-based artist Jayanthi Moorthy felt her heart thud against her rib cage. On the morning of October 27, 2012, Hurricane Sandy had hit with devastating force, bringing in its wake fierce winds and rain. Jayanthi immediately wondered whether her 12 ft. high painting, 'Wisdom', which was part of an outdoor installation, at The Jacques Marchais Museum of Tibetan Art, in Staten island, would survive.

But survive, it did. Three-and-a-half years later, at the OED Gallery at Mattancherry, Jayanthi looks up at the work, hanging on the wall, and says, with a smile, “It was amazing the way the canvas withstood the hurricane. Knowing that it would be outdoors, I had put several coatings of paint.”

Indeed, the work, 'Wisdom', looks as good as new. It shows a nude man and woman, placing their hands around each other’s waist. “When there is limitless love between two people, it is then that you understand the wisdom of being together,” she says.

Jayanthi's first exhibition in India (February 13-26) is called 'Together Alone'. And there was a reason behind the title. “Whenever I would come to India I wanted to be part of a community,” she says. “But after a while, I felt a yearning for solitude. I see this mixed reaction with a lot of people.”

This aspect can be seen in a striking work which has 12 small canvases. On one is written, 'Me' and on the other is 'You'. It is placed in the shape of a Y on the wall. So the 'Me' and 'You' start from far away and intersect at the bottom. “Two strangers meet and then sparks fly and they end up being together,” says Jayanthi. “At the same time, if you look from the bottom upwards, they can also end up going away from each other.”

In another work, a faceless woman, in a red saree and purple blouse, is making a garland of flowers. This garland is real and sticks out from the painting. All across the painting is the Sanskrit sentence: 'Karmanye Vadhikaraste Ma Phaleshu Kadachana (Work is worship)'.

Three years ago, Jayanthi had seen several women making garlands in a market in Chennai. “Something about the activity was so beautiful,” she says. “They were smiling, while doing their work. Sometimes, people get themselves into a routine to be free from thought. On the other hand, when you do routine work, it makes you calmer and fulfilled. It could be a meditative experience.”

What is unusual about Jayanthi's works are the threads of paint that run through the canvas. This has happened because of her unique method of painting. She puts paint in cones of plastic paper, and squeezes it out. Thereafter, she uses her hand, instead of a brush, to draw the image. As a result, the paint looks like single threads. “I am obsessed with lines,” she says.

As for the lines in Jayanthi's life it runs like this: born in Kolkata, she grew up in Kochi. After her graduation, in commerce, she moved to Chennai where she worked for several years in design, animation and digital media. Then, in 2004, she met Sri Kaushik, a New-York based professional, fell in love, got married, and moved to the United States. And it was while there that she became a full-time artist.

Meanwhile, at Mattancherry, people were enjoying the interactive installation, ‘What is your worst fear?’

On the floor, Jayanthi has done a drawing, of lines, in black and white, using charcoal and rice flour. “Black represents darkness while white is the light,” she says. In the middle is a circle of unlit terracotta lamps. “These black lamps, found in temples, can contain your fears,” she says. “And when you light them, your distress is overcome.”

Next to the work is a wooden box, where you can write your worst fear on a piece of paper, fold it, and slide it through a narrow opening. Later, these worries are projected on the ground, as sentences, which move from one side to the other. The fears include, ‘Not being interesting’, ‘being lonely’, ‘losing a loved one’, ‘taking risks’ and ‘the human capacity for cruelty.’ 

Of Dud Artillery Shells And Bomb Blasts

COLUMN: LOCATION DIARY

Major Ravi talks about his experiences in the films, 'Keerthi Chakra', 'Kurukshetra', and 'Mission 90 Days' 

Photos: Major Ravi; Mohanlal in 'Keerthi Chakra' 

By Shevlin Sebastian 

It was a cold morning in March, 2006. In the village of Magam, Major Ravi sipped a cup of tea, while an unit member of the film, 'Keerthi Chakra', brought him the day's English newspaper. Major Ravi was taken aback when, on the front page itself, he saw a news item: 'Major Ravi is back in Kashmir. But this time, he does not have a AK-47. Instead, he has a camera.' 

Major Ravi felt worried. “Usually, these newspapers are read by militants,” he says. “So, this meant that they knew we were there.”

But he decided to go ahead with the shoot. The 100 member crew had come all the way from Kerala. “I told crew members not to show the paper to Mohanlal,” he says.

At 9 a.m. Mohanlal arrived at the location. An over-excited Army person, who was helping in the logistics, immediately showed the newspaper to the superstar. When Lal met Major Ravi, he said, “I read the news item about you.”

Major Ravi was shocked and surprised. Then Lal said, “There is nothing to worry. If anybody bursts a bomb, let them do so, but we should go ahead with the shoot.”

An overwhelmed Major Ravi said, “That's Mohanlal for you. Gutsy and totally committed to his work.”

But that did not prevent Major Ravi from giving a scolding to the officer who gave the newspaper.

On another occasion, in June, 2008, Major Ravi was in Kargil for the shoot of the film, 'Kurukshetra'. He wanted to do a scene of a mortar firing by the Army during a practise session.

“We put cameras at four points,” says Major Ravi. One camera was just ten metres away. Major Ravi stood next to the soldiers as they fired a round. The shell, instead of travelling a distance of one kilometre, fell two feet away from the camera.

But, luckily, Major Ravi noticed that the arrow-head remained parallel to the ground. As a result, the shell did not burst. So, he, as well as the soldiers, remained where they were. But all the crew members, including the cameramen, ran away. “I saw the camera rolling and went and switched it off,” says Major Ravi. “Later, the cameramen told me, 'Sir, you have the experience about all this. We were more interested in saving our lives.'”

Once again, lives were in danger during the shoot of 'Mission 90 Days' starring Mammooty. This took place at a house near Thakoodam Bridge, Kochi, in July, 2007. “We were told that the house would be torn down,” says Major Ravi. “So we got permission to show a bomb blast.”

So Major Ravi asked for a petrol bomb to be placed inside. “I told the Tamil workers to put six litres of petrol,” says Major Ravi. Two cameras were placed at strategic positions. However, when the bomb burst, there was a huge sheet of fire. Two crew members got injured, while a young actor called Shaan, who played a commando, has his entire hand burned. He was rushed to hospital.

Later, Major Ravi came to know that one Tamil worker, in order to increase the impact, decided to put 20, instead of six litres, without informing the Major. When the blast took place, he ran away. 

“One crew member told me that he saw the Tamilian running, at full-speed, by the side of the highway towards Vytilla,” says Major Ravi. “Three days later, he returned, grabbed my legs, and begged forgiveness. By then my anger had cooled down. Nevertheless, I warned him never to do such dangerous mistakes again.” 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode) 

Doubling Her Impact

Bollywood actress Manisha Koirala plays a double role in the Malayalam film, 'Edavapathi'

By Shevlin Sebastian

When director Lenin Rajendran approached Manisha Koirala to play a double role in his Malayalam film, 'Edavapathi', the latter agreed, but on one condition. She would come to the set, with full make-up, at 9 a.m., and return to the hotel by 7 p.m.

Rajendran agreed. However, on the first day of the shoot, Rajendran told her, “I usually work from 7 a.m., and finish at 9 p.m.” A smiling Manisha sportingly agreed. “To my surprise she was on the set every day at 7 a.m.,” says Rajendran. “And, on some days, when the shoot was extended till midnight, during a chilly period in Munnar, Manisha never complained.”

‘Edavapathi’ (Map of Tears and Blood), which will be released on April 1, is about the lives of the Tibetans, who have a large settlement in Bylakuppe, Karnataka. Rajendran had spent a few days there some years ago, and had been moved by their plight.

“I realized that although they have been living in India for 57 years, their hearts are in Tibet and, more specifically, in the capital, Lhasa,” says Rajendran. “This feeling was there even among those who have never been to Tibet.”

Manisha plays the wife of an estate manager, who abandons her, and she has to bring up her daughter on her own. Along with the main theme, there is a parallel story about Vasavadatta, a renowned dancer during the time of Lord Buddha, which is based on a poem by legendary Malayali poet Kumara Asan.

“Manisha plays the mother of Vasavadatta,” says producer Ravi Shankar.

Asked about her preparations, Manisha says, “Rajendran Sir had a clear idea about the looks, costume, jewellery and hairstyle of Vasavadatta's mother. I followed to the letter whatever he told me to do. The other role was about a modern-day woman in a broken marriage. That was easy for me.” Adds veteran cinematographer Madhu Ambat, who worked in the film, “Manisha was able to bring out the emotions of the characters very well.”

One reason for her good work is that Manisha enjoys working in the South. “I have always admired the strict discipline on the sets,” says Manisha. “I remember when I did 'Bombay' with [director] Mani Ratnam, one day the shoot was fixed at 4 a.m. And everybody was ready and shooting began on the dot.”

Meanwhile, 'Edavapathi' is a comeback of sorts for Manisha, following her successful two-year battle against ovarian cancer. And it has changed her as a person. “It has made me realise that life is short,” she says. “I now take joy in the simple things in life. And, as an actor, I am hoping that the difficult experiences I had while fighting cancer will reflect in a better quality in my work.”

That is likely, since Manisha has always been known as a good actress. Asked for tips to pass on to aspiring actors, Manisha says, “An upcoming actor should watch a lot of plays and films. He should become aware of different acting styles. To do well, actors need passion, dedication and focus. My grandmother also told me that one should always work from the heart. This will enable you to become the best you can be.” 

(Sunday Magazine, The New Indian Express, South India and Delhi)

Making Things of Beauty

Rumana Jaseel's intricate cake designs have received international appreciation

Photo by Ratheesh Sundaram 

By Shevlin Sebastian

Rumana Jaseel, 37, felt a moment of tension as she watched the legendary singer Yesudas tuck into a cake she had made. The occasion was Yesudas’ niece’s wedding at Tiruvalla. After he ate it, Yesudas said, “I have eaten cakes everywhere, but I have not eaten one as tasty as this.” The flavour was banana walnut, while the decoration was pink and white icing, with flowers. “I felt thrilled when Yesudas said that,” says Rumana.

She has been going through other thrilling moments. In November, 2015, Rumana was a finalist in the wedding cake category in a competition organised by the UK-based Cake Masters Magazine. This is regarded as the Cake Oscars. “There were 64,000 participants from all over the world,” says Rumana. “This number was winnowed down to four finalists in 15 categories.”

Some of the categories included the Royal Icing Award, the Cupcake Award, Sugar Flower Award and Wedding Cake Award.

The selection was done online based on the photos sent by the artist. “Cake designing is more about the looks,” says Rumana, who runs the ‘IncrEDIBLE Art – Artisan Cake Boutique’ in Kochi. “If it is a wedding cake, they look for the elevation, the arrangements of the flowers, the colour combinations and the perfection of the work.”

At the awards ceremony, at the National Exhibition Centre, in Birmingham, Rumana was able to meet the Indian-origin editor, Rosie Mazumdar, who said, “You have no idea how close you were to winning.” The eventual winner was Faye Cahill from Australia.

Asked the secret to making good cakes, Rumana says, “People look for flavour and visual appeal.”

To ensure she gets a good result, Rumana works closely with her customers. Kerala State Finance Minister KM Mani’s granddaughter Shruti wanted an aqua-coloured cake, for her engagement, to match the theme that she had on the stage at the Le Meridien hotel, Kochi. So Rumana made a cake with a dolphin ring on top that looked like a wedding ring, and the five-tier cake ran on a gradient from the lightest to the darkest shade of blue. “This represented the colours of the ocean,” says Rumana.

For the wedding reception of Mollywood star Meera Jasmine, she made an English-style cake. “I used pearls, vintage-looking flowers and pastel shades,” says Rumana. “Meera liked it a lot.” Incidentally, her prices start from Rs 1500 per kilo and goes up according to the intricacy of the design.

Customers are fulsome in their praise. “Rumana is an incredible cake artist,” says Susheela Stephen, who runs ‘Supermomskitchen’, a food and grocery store at Kumily, Kerala. “God has blessed her with talent and patience. All her cakes are perfect. And the finish is beyond words.”

But Rumana’s secret passion is for French pastries, which she has been making since 2009. “The demand is not high at Kochi as people still prefer the fresh cream style,” says Rumona. “I want to make them aware that pastry is not only about fresh cream cakes. There are so many tasty products that can be made using fresh and natural ingredients.” So, instead of chocolate loaded with hydrogenated fat, Rumana uses pure chocolate, and almond flour, instead of refined flour.

To increase her knowledge, last November, Rumana attended a masterclass at the Asian Pastry Forum in Kuala Lumpur. It was conducted by Stephane Glacier, who is one of the highest-ranked pastry chefs in France. “Doing the course was such a good experience,” she says. “I got some important tips.”

And Rumana generously passes on these tips during her regular classes in Kochi, as well as a recent one, at Bangalore, where she taught the Advanced European desserts workshop. And the participants were happy. Says Anita Pradeep: “I could not take my eyes off those beauties. I can well imagine the time and energy and love Rumana gives to each one of them. God bless her.” 

(Sunday Magazine, The New Indian Express, South India and Delhi) 

The Lights of Benyamin

The Malayali author's novel, 'Yellow Lights Of Death', is a murder mystery, a far cry from his best-selling 'Goat Days'

Photos by Albin Mathew 

By Shevlin Sebastian

In 1502, Andrew Pereira, his wife Catherina, and son Diego embarked from Portugal, in the company of the famed explorer Vasco Da Gama and reached Kozhikode. Thereafter, Pereira decided to settle down in Kochi.

Initially, the King of Cochin appointed Pereira as a treasurer and later, as the chief trainer of the Army. Following the death of Pereira on January 9, 1520, his son Diego was given the same positions. In 1545, the King made Diego a 'Madambi' (a local chieftain). And he was the only Christian among 71 Madambis.

The Andrappers [a corruption of Andrew Pereira] married Portuguese women, but in 1786 Kochandy Andrapper married a local woman called Anna. It was then that the integration of the family to Kerala became complete. Over the years, some members moved to Pondicherry, Diego Garcia and Africa.

In 2005, Benyamin read, with rising excitement, the family's history in a Malayalam magazine. This became the spark behind the novel 'Manjaveyil Maranangal' or 'Yellow Lights of Death', which has just been published in English by Penguin Books.

In the novel, Benyamin does a fictional exploration of the history of the family. He also writes about the history of Kerala in the past 500 years, including the life of Thoma of Villarvattom, the head of India's only Christian dynasty in Udayamperoor.

At the same time, the book is a murder mystery. A killing in a restaurant in Diego Garcia sets in motion a series of events that has the reader gripped. “I had deliberately written a thriller, because I did not want to repeat myself,” says Benyamin, at his home in Pathanamthitta. “In every book, you should try a new style, theme and story.”

Benyamin's earlier book, 'Goat Days' (‘Aadujeevitham’) had been a big bestseller. It tells the story of a shepherd who lives like a slave under a cruel landlord at a farm in a desert at Saudi Arabia. “'Goat Days' was liked by many ordinary people, because it is a simple book,” says Benyamin. “Anybody could understand it. But 'Yellow Lights' will not be accepted by all.”

Nevertheless, the book has done well. Publication Manager AV Sreekumar of DC Books, one of Kerala's leading publishers, says, “The Malayalam version has already crossed 50,000 in sales. We are very happy.”

Interestingly, Benyamin says that the Malayalam edition has got a new readership. “The young generation has embraced this novel,” he says. “One reason is that I have written about social networks and other contemporary subjects.”

One great attraction about 'Yellow Lights', ably translated by media person Sajeev Kumarapuram, is the clear and lucid writing. Benyamin says that it is a deliberate decision. “This is the only way to lure people, who are hooked onto the visual media, to start reading,” he says. “The era of literary gimmicks is over. We have to attract a reader within the first five pages, otherwise we will lose him or her forever.”

Benyamin would feel the loss of readers since he is a full-time writer. Two years ago, he gave up a job in Bahrain, after working there for twenty years, and returned to Kerala.

Asked about his current life, Benyamin says, “It is much more pleasant being a full-time writer. For one I can devote more time to literature. Secondly, it has become easy for me to travel, as I am not working for anybody. I am able to attend a lot of literary meets in Kerala, and abroad.”

In November, last year, Benyamin went to attend the annual conference of the Literary Association of North America in New York. “The drawback is that there are a lot of literary meets which take place, and it is difficult to say no,” he says. “But truly the writer should be always at his desk writing.”

Today, Benyamin is doing research for a historical novel which will be set in Central Travancore, from the 1970s to the 90s. “For me, research is a basic tool of writing,” he says. “It is necessary to have historical supports for a novel.” 

(Sunday Magazine, The New Indian Express, South India and Delhi)