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Kaatru Veliyinile
210 pages, Paperback
First published April 1, 1984
2 people are currently reading
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About the author
Jayakanthan
130 books677 followersDhandapani Jeyakanthan, otherwise known as 'JK' among his friends and comrades, is a multi-dimensional personality, well known in the literary circle as a prolific writer, commentator, pamphleteer, film-maker and critic. He has won acclaim for wielding his pen against social injustices and economic inequality. Jeyakanthan was born in a family of agriculturists in Manjakuppam, a suburb of Cuddalore of the erstwhile Madras Presidency. Brought up by his mother and maternal uncles, he got interested in politics at a young age as his uncles were actively involved in it. Jeyakanthan dropped himself out of school after completing fifth grade, as he thought studies would hinder his political activism.
In 1946, he left for Chennai in search of livelihood, where he performed odd jobs, before ending up as a compositor in the printing press of Communist Party of India (CPI). His association with the CPI instilled the ideas of the movement, where he got to accompany leaders such as P. Jeevanandham, Baladandayutham and S. Ramakrishnan. The leaders of the party encouraged him to write. After graduating to an active member of the party, he got to learn about topics pertaining to world literature, culture, politics, economics and journalism. It was during this time, Jeyakanthan started writing for pro-communist magazines. Over the next few years, he established himself as one of the top-most writers in the party. His early works were first published in the party newspaper Janasakthi, and soon other magazines like Sarasvathi, Thamarai, Santhi, Manithan, Sakthi and Samaran published his works. His early works focused on the plight of slum-dwellers who were settled in and around the party office.
Jeyakanthan was married to his cousin. The couple had two daughters and a son. Jeyakanthan wrote his first short story for a Tamil magazine titled Sowbakiyavathi, which got it published in 1953. Following early success, Jeyakanthan started writing for mainstream magazines such as Ananda Vikatan, Kumudam and Dinamani Kadir, who published a number of short stories, particularly in the 1960s. In 1964, Jayakanthan entered films by co-producing and directing a venture titled Unnaipol Oruvan, based on his novel.
His writings reflect his views on the morals, ethics and the societal norms as a whole. His writings are vivid portrayals of life and relationships, with all the intricacies and beauty of reality, and with a profound love for humanity. He is one among the few of the original writers of the Tamil Literature. He is a man of insight, pride and scholarship whose writings expressed with unparalleled courage and utmost honesty speaks for all the generations to come. A winner of Sahitya Acadamy Award and Fellowship, Jnanpita Award, Soviet Land Nehru Award, the Russian Federation's Order of Friendship and the Padma Bhushan.
In 1946, he left for Chennai in search of livelihood, where he performed odd jobs, before ending up as a compositor in the printing press of Communist Party of India (CPI). His association with the CPI instilled the ideas of the movement, where he got to accompany leaders such as P. Jeevanandham, Baladandayutham and S. Ramakrishnan. The leaders of the party encouraged him to write. After graduating to an active member of the party, he got to learn about topics pertaining to world literature, culture, politics, economics and journalism. It was during this time, Jeyakanthan started writing for pro-communist magazines. Over the next few years, he established himself as one of the top-most writers in the party. His early works were first published in the party newspaper Janasakthi, and soon other magazines like Sarasvathi, Thamarai, Santhi, Manithan, Sakthi and Samaran published his works. His early works focused on the plight of slum-dwellers who were settled in and around the party office.
Jeyakanthan was married to his cousin. The couple had two daughters and a son. Jeyakanthan wrote his first short story for a Tamil magazine titled Sowbakiyavathi, which got it published in 1953. Following early success, Jeyakanthan started writing for mainstream magazines such as Ananda Vikatan, Kumudam and Dinamani Kadir, who published a number of short stories, particularly in the 1960s. In 1964, Jayakanthan entered films by co-producing and directing a venture titled Unnaipol Oruvan, based on his novel.
His writings reflect his views on the morals, ethics and the societal norms as a whole. His writings are vivid portrayals of life and relationships, with all the intricacies and beauty of reality, and with a profound love for humanity. He is one among the few of the original writers of the Tamil Literature. He is a man of insight, pride and scholarship whose writings expressed with unparalleled courage and utmost honesty speaks for all the generations to come. A winner of Sahitya Acadamy Award and Fellowship, Jnanpita Award, Soviet Land Nehru Award, the Russian Federation's Order of Friendship and the Padma Bhushan.
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Displaying 1 - 2 of 2 reviews
February 6, 2017
A very good read . Transformation of Raji's character and her perspective towards men, life and society are impressive .
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May 8, 2025The novel is set in post-independence India, during the period when the Marxist party was banned for two years. Kalyani is portrayed as a lower-middle-class "new woman," aware of the socio-cultural oppression predominant in the male-dominated society. She is able to look beyond the religious and class-dictated ideological discourse prevalent in post-independent India and abhors the caste and class discrimination practiced in her own family. Inspired by Athmanaban, she joins the Marxist party as a member and works her way up quite diligently.
I was very disappointed with Jeyakanthan's obsession with Raji, a negative character. I kept wondering until the end why he wasn't drawing out Kalyani's character in more detail. Raji is portrayed as a vain woman making selfish choices, and it was quite difficult to empathize with her. She is shallow, and I wonder how she could be self-reflexive. Towards the end, Jeyakanthan shows that she seems to be changing her perspective and personality, but I found this development hard to follow. yes, she sends money to her parents, and gives importance to freedom than to earning money towards the end...she can observe and analyse all her actions yet ...☹️
However, I got the answer to my question towards the end through Athmanaban's explanation. Athmanaban, the male protagonist, is portrayed as a reflective, self-aware, and sensitive young man. He explains how unjust societal norms push women to make unethical choices. But after pondering it for two days, I understand the importance of not judging women too harshly for their actions.
I was very disappointed with Jeyakanthan's obsession with Raji, a negative character. I kept wondering until the end why he wasn't drawing out Kalyani's character in more detail. Raji is portrayed as a vain woman making selfish choices, and it was quite difficult to empathize with her. She is shallow, and I wonder how she could be self-reflexive. Towards the end, Jeyakanthan shows that she seems to be changing her perspective and personality, but I found this development hard to follow. yes, she sends money to her parents, and gives importance to freedom than to earning money towards the end...she can observe and analyse all her actions yet ...☹️
However, I got the answer to my question towards the end through Athmanaban's explanation. Athmanaban, the male protagonist, is portrayed as a reflective, self-aware, and sensitive young man. He explains how unjust societal norms push women to make unethical choices. But after pondering it for two days, I understand the importance of not judging women too harshly for their actions.
Displaying 1 - 2 of 2 reviews