The tone of the story is captivating...

(Indian Literature మాజీ సంపాదకుడు, త్రిపురనేని గోపీచంద్ రెండు నవలలు అసమర్థుని జీవయాత్ర,, మెరుపులు-మరకలు ఇంగ్లిష్ లోకి అనువదించిన డాక్టర్ దుగ్గిరాల సుబ్బారావు గారు చింతకింది మల్లయ్య ముచ్చట కథాసంపుటి మీద నాకు నవంబర్ 11, 2017న ఈ-మెయిల్ ద్వారా పంపిన అభిప్రాయం ఇది. ఆయన అనుమతితోనే ఇక్కడ పోస్ట్ చేస్తున్నా.)

Raji Reddy Garu,

I have read all the twelve stories in Chintakindi Mallayya Muchchata, Itara Kathalu.

The one I liked most is ‘Rendadugula Nela’: Telugu satire at its comic best, without a Mulk Raj Anand gibe, ‘They think we are mere dirt because we clean their dirt’ (Untouchable, 89), but with a delicious Swiftian bite: ‘Inni vyavasthalu okkasaariga stambhinchipote desaaniki zarige nashtam gurinchi pramukha aardhikavetta Ananda Sen vishleshistunnattu’ (97); ‘entavaarikaina tappadu, anna headingto lota pattukunna Soundarya Roy photonu Midnightpatrika prachurinchinattu’ (97).

The tone of the story is captivating from the very beginning: ‘Dinchi vunna lungini eththi kattaadu. Malli eththi kattina lungini kindiki dinchadhu’ (83), leading through comedic desperation:  ‘Aidaaru software sambandhalu chooste kaadannaru; evaraina paakivaallunte cheppandi’ (99), to ultimate equality: ‘Manushula madhya ellalu karigipotunnattuga, samajam oka anoohya samatasthitiki cherukobotunnattuga anipinchindi’ (99).

Some of the lines I loved are: ‘Waste ata waste… ee sunnitamaina vishayam artham kaani vaallato vaadinchadam waste’ (88); ‘Mari aa panilo vunna kashtam, asahyam, jugupsa gurtinchaana? Koti iste maatram nenu chestaana aa pani?’ (93); ‘Viluva rahitam ga kanbadutoone ardhavantamaina pani, jeevitam laage. Viluva unnattu kanabadutoone, ardhamleni pani, malli jeevitam laage’ (94).

The metaphors in ‘Rekkala Pellaam’ continue to haunt me: wings, plumes, horns; imagination, romance, ego; besides overlapping layers of desire, despair, reality. The story treads a welcome middle path between ancient Indian way and western magic realism, inviting a comparison to Tolstoy’s ‘Porcelain Doll’.

Experiments with language, particularly regional variations, with a natural mix of the local with English, add spice to the dish, reminiscent of the Hyderabad biryani.

The book is beautifully produced, with the stories well placed, opening with ‘Aame Paadaalu’, a romantic invocation of her feet, ending with ‘Srimati Certificate’, an understanding of the homemaker.

While suicide theme in ‘Marana lekhalu and ‘Tammudi maranam 1’ is a trifle repetitive, a welcome foray into the stream of consciousness relieves ‘Manta’.

Wishing you a fruitful, creative, literary career,

DSRao.