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The Man-Eater of Malgudi
This is the story of Nataraj, who earns his living as a printer in the little world of Malgudi, an imaginary town in South India. Nataraj and his close friends, a poet and a journalist, find their congenial days disturbed when Vasu, a powerful taxidermist, moves in with his stuffed hyenas and pythons, and brings his dancing-women up the printer's private stairs. When Vasu, in search of larger game, threatens the life of a temple elephant that Nataraj has befriended, complications ensue that are both laughable and tragic.
241 pages, Paperback
First published February 28, 1961
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About the author
R.K. Narayan
143 books1,935 followersR. K. Narayan is among the best known and most widely read Indian novelists who wrote in English.
R.K. Narayan was born in Madras, South India, in 1906, and educated there and at Maharaja's College in Mysore. His first novel, Swami and Friends and its successor, The Bachelor of Arts, are both set in the enchanting fictional territory of Malgudi and are only two out of the twelve novels he based there. In 1958 Narayan's work The Guide won him the National Prize of the Indian Literary Academy, his country's highest literary honor.
In addition to his novels, Narayan has authored five collections of short stories, including A Horse and Two Goats, Malguidi Days, and Under the Banyan Tree, two travel books, two volumes of essays, a volume of memoirs, and the re-told legends Gods, Demons and Others, The Ramayana, and the Mahabharata. In 1980 he was awarded the A.C. Benson Medal by the Royal Society of Literature and in 1982 he was made an Honorary Member of the American Academy and Institute of Arts and Letters.
Most of Narayan's work, starting with his first novel Swami and Friends (1935), captures many Indian traits while retaining a unique identity of its own. He was sometimes compared to the American writer William Faulkner, whose novels were also grounded in a compassionate humanism and celebrated the humour and energy of ordinary life.
Narayan who lived till age of ninety-four, died in 2001. He wrote for more than fifty years, and published until he was eighty seven. He wrote fourteen novels, five volumes of short stories, a number of travelogues and collections of non-fiction, condensed versions of Indian epics in English, and the memoir My Days.
-Wikipedia & Amazon.co.uk
R.K. Narayan was born in Madras, South India, in 1906, and educated there and at Maharaja's College in Mysore. His first novel, Swami and Friends and its successor, The Bachelor of Arts, are both set in the enchanting fictional territory of Malgudi and are only two out of the twelve novels he based there. In 1958 Narayan's work The Guide won him the National Prize of the Indian Literary Academy, his country's highest literary honor.
In addition to his novels, Narayan has authored five collections of short stories, including A Horse and Two Goats, Malguidi Days, and Under the Banyan Tree, two travel books, two volumes of essays, a volume of memoirs, and the re-told legends Gods, Demons and Others, The Ramayana, and the Mahabharata. In 1980 he was awarded the A.C. Benson Medal by the Royal Society of Literature and in 1982 he was made an Honorary Member of the American Academy and Institute of Arts and Letters.
Most of Narayan's work, starting with his first novel Swami and Friends (1935), captures many Indian traits while retaining a unique identity of its own. He was sometimes compared to the American writer William Faulkner, whose novels were also grounded in a compassionate humanism and celebrated the humour and energy of ordinary life.
Narayan who lived till age of ninety-four, died in 2001. He wrote for more than fifty years, and published until he was eighty seven. He wrote fourteen novels, five volumes of short stories, a number of travelogues and collections of non-fiction, condensed versions of Indian epics in English, and the memoir My Days.
-Wikipedia & Amazon.co.uk
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Displaying 1 - 30 of 174 reviews
August 5, 2019
This is R.K writing in a completely different genre. Though still based in the fictional town of Malgudi the novel addresses the conflict between the established norms and a young rebel who decides to challenge these norms. The printer Natraj is a meek family fan, afraid to challenge the status quo while Vasu, the taxidermist is determined to have his way. Interesting read
May 1, 2018
There is a whiff of Wodehouse about Naryan; the dry, ironical sense-of-humour, furthermore the weak-willed and wimpy narrator is reminiscent a certain type of British humour. And herein lies my problem with 'The Man-Eater of Malgudi'-it's style and characters are too deeply-embedded within the conventions of British literature to really stand out, like it's narrator Nataraj, 'The Man-Eater of Malgudi' is nice if ineffectual, recycling the standard tropes, the bullish, bury blunder-head Vasu, the comical side characters and the languorous, lilliputian hero Nataraj.
That is not to say that 'The Man-Eater of Malgudi' isn't an enjoyable read. Indeed the prose and dialogue flow nicely, as the reader becomes slowly engrossed in the disagreement between Nataraj and Vasu, the toxic taxidermist who blunders into his life. Vasu's entry into Nataraj's life is seismic, he awakens Nataraj from hims slumber with a collection of stuffed animals (usually predators), destroys the quiet of his sanctum and his daily conversation with his friends, the journalist and the poet and forces his rather irrepressible personality on his household. Indeed, you would be hard-pressed to state that Nataraj is sincerely disappointed by the entry of Vasu into his life. Instead Vasu allows Nataraj to gain a sense of self-confidence and strength as he looks to, in his own haphazard manner, stop his rather convoluted and nefarious scheme involving an over-excitable elephant, a boisterous crowd, a second-rate dancing girl and a gun.
'The Man-Eater of Malgudi' may not be a masterpiece, but not every book can be a 'Ulysses', sometimes the dry, ironic style of Narayan are as necessary as James Joyce.
That is not to say that 'The Man-Eater of Malgudi' isn't an enjoyable read. Indeed the prose and dialogue flow nicely, as the reader becomes slowly engrossed in the disagreement between Nataraj and Vasu, the toxic taxidermist who blunders into his life. Vasu's entry into Nataraj's life is seismic, he awakens Nataraj from hims slumber with a collection of stuffed animals (usually predators), destroys the quiet of his sanctum and his daily conversation with his friends, the journalist and the poet and forces his rather irrepressible personality on his household. Indeed, you would be hard-pressed to state that Nataraj is sincerely disappointed by the entry of Vasu into his life. Instead Vasu allows Nataraj to gain a sense of self-confidence and strength as he looks to, in his own haphazard manner, stop his rather convoluted and nefarious scheme involving an over-excitable elephant, a boisterous crowd, a second-rate dancing girl and a gun.
'The Man-Eater of Malgudi' may not be a masterpiece, but not every book can be a 'Ulysses', sometimes the dry, ironic style of Narayan are as necessary as James Joyce.
May 6, 2015
Its hard to rate this book. The writing, as always with Narayan, is exquisite, each sentence adds to the next and its always visual, like watching a film in words. The setting and the characters take front stage and the story seems to be just the vehicle for them. And that's what makes it less enjoyable, this slowness of plot.
March 4, 2018
This is the first full length Malgudi novel I have read - there have been a few novellas and of course Malgudi Days, but this one is a little different.
Narayan is able to spend some more time, rounding things out - or maybe dragging things out. The whole time I was reading this I felt like I needed to rush to reach a disclosure, or to get to an important aspect. It is only a relatively short book, and yet I felt compelled to hurry. Perhaps Narayan had too much time to tell his story?
While I enjoyed it (and gave it four stars) I perhaps didn't enjoy it as much as I hoped. I have set it aside in my shelf for a little over a year, watching and waiting, and finally read it, so perhaps I built up my expectations in this manner.
I won't spoil an interesting plot, other than to say, it was certainly not on topic as I had preconceived it. My preconceived expectation of 'the man-eater' was a story around a tiger, or some other ferocious beast, terrorising Malgudi - but no, it was not this. Instead it is the story of a taxidermist who comes to live in the town, and his effect on Narataj, the printer.
I was interested to see that Narayan dedicated this book to Graham Greene - "to mark (more than) a quarter of a century of friendship", the man who wisely counselled Narayan to shorten his name to become more manageable for his English audience (from Rasipuram Krishnaswami Iyer Narayanaswami, to RK Narayan).
4 stars.
Narayan is able to spend some more time, rounding things out - or maybe dragging things out. The whole time I was reading this I felt like I needed to rush to reach a disclosure, or to get to an important aspect. It is only a relatively short book, and yet I felt compelled to hurry. Perhaps Narayan had too much time to tell his story?
While I enjoyed it (and gave it four stars) I perhaps didn't enjoy it as much as I hoped. I have set it aside in my shelf for a little over a year, watching and waiting, and finally read it, so perhaps I built up my expectations in this manner.
I won't spoil an interesting plot, other than to say, it was certainly not on topic as I had preconceived it. My preconceived expectation of 'the man-eater' was a story around a tiger, or some other ferocious beast, terrorising Malgudi - but no, it was not this. Instead it is the story of a taxidermist who comes to live in the town, and his effect on Narataj, the printer.
I was interested to see that Narayan dedicated this book to Graham Greene - "to mark (more than) a quarter of a century of friendship", the man who wisely counselled Narayan to shorten his name to become more manageable for his English audience (from Rasipuram Krishnaswami Iyer Narayanaswami, to RK Narayan).
4 stars.
May 8, 2013
“Any recommendations on a first Narayan book?” I asked the owner of Focus Books in Pondicherry. Without batting an eyelid she picked out “The Man-eater of Malgudi” and thrust it into my hand.
Narayan created the fictional town of Malgudi in the late 1930s. The endless attempts to identify its genesis miss the point – Malgudi is India’s anytown.
Narayan later said the discovery of it was “earth-shaking.” It is at once intimate and universal – India in a microcosm. The railway-station, the streets, the backdrop of the town are painted with a wonderful economy of words; the characters’ ideas, thoughts and spirited attempts to make sense of things seem to elucidate something eternal in Indian village life.
This was his 12th, published in 1961. At its heart is the relationship between Nataraj, the owner of a printing press in Malgudi, and Vasu, a larger-than-life taxidermist who arrives in Malgudi unannounced and becomes an unwanted (and unpaying) house-guest in the upper storey of Nataraj’s home. What follows is tragi-comic, revealing both characters’ strengths and weaknesses. Nataraj’s gentle existence (which, until Vasu’s arrival, revolved around and a poet, a journalist and a single employee) is disrupted by Vasu’s ebullience and refusal to accept Nataraj’s feeble attempts to make him leave. Narayan creates an unexpected denouement involving the publication of a book of poetry and the attempted murder of a temple elephant.
The influence of Indian myths in all their playfulness is on show here – Vasu is a “Rakshasha” – a demon often associated with man-eating. But as with all Indian myths, slaying the demon is never as easy as it seems – and the reader is left wondering which of the characters has really got what they wanted.
An excellent introduction to Narayan.
Narayan created the fictional town of Malgudi in the late 1930s. The endless attempts to identify its genesis miss the point – Malgudi is India’s anytown.
Narayan later said the discovery of it was “earth-shaking.” It is at once intimate and universal – India in a microcosm. The railway-station, the streets, the backdrop of the town are painted with a wonderful economy of words; the characters’ ideas, thoughts and spirited attempts to make sense of things seem to elucidate something eternal in Indian village life.
This was his 12th, published in 1961. At its heart is the relationship between Nataraj, the owner of a printing press in Malgudi, and Vasu, a larger-than-life taxidermist who arrives in Malgudi unannounced and becomes an unwanted (and unpaying) house-guest in the upper storey of Nataraj’s home. What follows is tragi-comic, revealing both characters’ strengths and weaknesses. Nataraj’s gentle existence (which, until Vasu’s arrival, revolved around and a poet, a journalist and a single employee) is disrupted by Vasu’s ebullience and refusal to accept Nataraj’s feeble attempts to make him leave. Narayan creates an unexpected denouement involving the publication of a book of poetry and the attempted murder of a temple elephant.
The influence of Indian myths in all their playfulness is on show here – Vasu is a “Rakshasha” – a demon often associated with man-eating. But as with all Indian myths, slaying the demon is never as easy as it seems – and the reader is left wondering which of the characters has really got what they wanted.
An excellent introduction to Narayan.
November 14, 2018
I was intensely involved with the fate of our narrator. I could hardly bear to read on, so terrified was I of what might next befall him through his own foolishness, yet at the same time I couldn't bear to lay the book aside. At points I cried with laughter at one or another character's words, though it would be impossible to explain why without reading large sections of the story aloud. I was helpless!
I wasn't keen on the introduction to this edition, but I agree with its author about the Narayan's efficiency - truly every detail contributes to the narrative, every word to the effect. I just wish he had turned some of his brilliantly economical characterisation to female characters...
I wasn't keen on the introduction to this edition, but I agree with its author about the Narayan's efficiency - truly every detail contributes to the narrative, every word to the effect. I just wish he had turned some of his brilliantly economical characterisation to female characters...
July 25, 2016
This had a bit of everything - Drama, Mystery, Comedy and a bit eccentric characters.
And the signature simplicity of RKN on top of all this.
So this was yet another RKN buddy read with Arpit ( his review ) and we both loved it.
And the signature simplicity of RKN on top of all this.
So this was yet another RKN buddy read with Arpit ( his review ) and we both loved it.
April 19, 2020
In stark and dramatic contrast to "Swami and Friends", which, regrettably, remains as the only novel by Mr. Narayan that I have read, "The Man-Eater Of Malgudi" is a darker, moodier piece of work that belongs clearly in the league of "Malgudi Days", the writer's most celebrated collection of short stories revolving around simple, congenial men and women and the humdrum situations of their mild-mannered, inoffensive existence. As in those deceptively understated stories, marked by their beautifully judged restraint, the focus here is on the archetype Narayan protagonist - a mild-mannered, meek yet not wholly sincere Malgudi man - who is trying to get by with a little help from his friends and save himself from potential scandal and embarrassment. And it is this ernest desire, all too believable and human, to live and let live, that, when rendered futile, makes this such a profound and poignant read from cover to cover.
Nataraja is that archetype Narayan creation, an unassuming but easily non-plussed owner of a conventional printing press with a little circle of loyal friends and customers doting on him. Into the field of his peaceful, largely uneventful existence, storms Vasu, a rough-mannered, rude and brutish taxidermist who, by fault of his own somewhat thuggish line of work, bullies and intimidates everyone around him into meek submission. Nataraja himself falls prey to Vasu's brutal onslaught of fury, unwittingly, or that is how it seems, and is soon driven, by unforeseen but gently orchestrated circumstances, to desperate measures to take a stand for human dignity.
Or that is what this novel seems to be on the surface and if you would believe the blurb at its word. Dig deeper (and that is always tricky with Narayan, a most deceptively gentle and perceptive storyteller) and you will find a sly-witted, devilishly clever, acutely observed and unexpectedly sardonic narrative of interplay, moral duality and unlikely camaraderie unfolding almost organically.
Vasu is indeed a rough and rude bully and yet when we encounter him later, about halfway into the novel, the writer, with his measured sleight of hand, has already lent him a sort of roguish dignity, a perverse commitment to his notorious trade that steers his character clear from any caricaturisation. On the other hand, Nataraja seems all ernest and unassumingly innocent in his actions and intentions but at around the same mid-way mark, he acquires some of Vasu's own pugnacity, even as he does not stop fearing or abhorring the man. It is this gradual erosion and fusion of these two utterly divergent personalities, at odds with each other, that forms the essential and wholly vital pleasure of reading "The Man-Eater Of Malgudi". At one level, Nataraja himself is conscious that he might morph into another monster as Vasu and this is also what propels him to bring things to a head.
Unlikely friendships and even stirrings of fellow-feeling inform much of Narayan's literature: the shady astrologer lying blatantly to give his latest customer - the very same man whom the former had nearly murdered in youth - some semblance of new hope or the aggressively defensive Brahmin who feels the pangs of inexplicable friendship for the very domineering opponent whom he defeats in a verbal standoff. They are also to be found in this novel; at a critical juncture, Nataraja almost contemplates approaching Vasu on guilelessly friendly terms to dissipate the terse atmosphere for everyone involved and this facet of the writer's work makes the story so compellingly real, in the vivid, all-forgiving vein of Anton Chekhov or, to come closer, Narayan's life-long friend and mentor Graham Greene.
What distinguishes Narayan clearly from these two legendary names, in a league of his own, is his unerring, wry and warmly beautiful and nuanced flair at describing Indian life, vividly, even a touch picturesquely but always affectionately, with all its little and large incongruities. Through his beloved fictional town of Malgudi, teeming with normal, utterly credible characters each more memorable than the previous, he paints a moving, mesmeric portrait of movement, embellished and decorated with the toil of daily work and bright festive colours, set to the rhythm of conversations and ceremonies and the melody of a raga or the hushed whispers of people's gossip. This is, then, unsurprisingly, the wondrous quality of his storytelling abilities. "The Man-Eater Of Malgudi", which, you can be assured, is not really about a man-eating tiger in the literal sense, stands as a glowing, charming and cleverly phrased testament to his undeniable prowess.
Nataraja is that archetype Narayan creation, an unassuming but easily non-plussed owner of a conventional printing press with a little circle of loyal friends and customers doting on him. Into the field of his peaceful, largely uneventful existence, storms Vasu, a rough-mannered, rude and brutish taxidermist who, by fault of his own somewhat thuggish line of work, bullies and intimidates everyone around him into meek submission. Nataraja himself falls prey to Vasu's brutal onslaught of fury, unwittingly, or that is how it seems, and is soon driven, by unforeseen but gently orchestrated circumstances, to desperate measures to take a stand for human dignity.
Or that is what this novel seems to be on the surface and if you would believe the blurb at its word. Dig deeper (and that is always tricky with Narayan, a most deceptively gentle and perceptive storyteller) and you will find a sly-witted, devilishly clever, acutely observed and unexpectedly sardonic narrative of interplay, moral duality and unlikely camaraderie unfolding almost organically.
Vasu is indeed a rough and rude bully and yet when we encounter him later, about halfway into the novel, the writer, with his measured sleight of hand, has already lent him a sort of roguish dignity, a perverse commitment to his notorious trade that steers his character clear from any caricaturisation. On the other hand, Nataraja seems all ernest and unassumingly innocent in his actions and intentions but at around the same mid-way mark, he acquires some of Vasu's own pugnacity, even as he does not stop fearing or abhorring the man. It is this gradual erosion and fusion of these two utterly divergent personalities, at odds with each other, that forms the essential and wholly vital pleasure of reading "The Man-Eater Of Malgudi". At one level, Nataraja himself is conscious that he might morph into another monster as Vasu and this is also what propels him to bring things to a head.
Unlikely friendships and even stirrings of fellow-feeling inform much of Narayan's literature: the shady astrologer lying blatantly to give his latest customer - the very same man whom the former had nearly murdered in youth - some semblance of new hope or the aggressively defensive Brahmin who feels the pangs of inexplicable friendship for the very domineering opponent whom he defeats in a verbal standoff. They are also to be found in this novel; at a critical juncture, Nataraja almost contemplates approaching Vasu on guilelessly friendly terms to dissipate the terse atmosphere for everyone involved and this facet of the writer's work makes the story so compellingly real, in the vivid, all-forgiving vein of Anton Chekhov or, to come closer, Narayan's life-long friend and mentor Graham Greene.
What distinguishes Narayan clearly from these two legendary names, in a league of his own, is his unerring, wry and warmly beautiful and nuanced flair at describing Indian life, vividly, even a touch picturesquely but always affectionately, with all its little and large incongruities. Through his beloved fictional town of Malgudi, teeming with normal, utterly credible characters each more memorable than the previous, he paints a moving, mesmeric portrait of movement, embellished and decorated with the toil of daily work and bright festive colours, set to the rhythm of conversations and ceremonies and the melody of a raga or the hushed whispers of people's gossip. This is, then, unsurprisingly, the wondrous quality of his storytelling abilities. "The Man-Eater Of Malgudi", which, you can be assured, is not really about a man-eating tiger in the literal sense, stands as a glowing, charming and cleverly phrased testament to his undeniable prowess.
January 10, 2008
A printing press. A rogue taxidermist. An elephant in trouble. What more could you ask of a book?
November 21, 2019
When I had started reading English novels - long, long ago - I bought a RKN book which was about a tiger that lodges itself in a guy's printing press and the ensuing confusion. I read half of it and didn't finish maybe coz something more inviting came along, most likely a Harold Robbins :) I thought it was this book and so I bought it again from a second hand bookstore. This is again a story about a guy with a printing press but it is not the same book if my memory serves me right.
That preamble aside, this is a wonderful book. Slightly bigger for an RKN book and I would say I liked it better than even The Guide coz this had a more engrossing plot. The guide works a little differently. Superb writing, typical RKN humour + an eye for detail, excellent characterizations, a super engrossing plot, and a bit unbelievable but nevertheless, a fantastic ending. Highly recommended.
That preamble aside, this is a wonderful book. Slightly bigger for an RKN book and I would say I liked it better than even The Guide coz this had a more engrossing plot. The guide works a little differently. Superb writing, typical RKN humour + an eye for detail, excellent characterizations, a super engrossing plot, and a bit unbelievable but nevertheless, a fantastic ending. Highly recommended.
March 4, 2022
This novel is considered by proficient critics to be the author’s finest work. It is an allegory or fable showing that evil is self-destructive.
The title is ironic for the man-eater in the novel is no tiger, but a mighty man, Vasu, who not only kills a large number of wild animals in Mempi forests, but can also kill a man with a single blow of his hammer fist.
The story is narrated in the first person by its tragi-comic hero Nataraj, a printer of Malgudi.
In his printing work he is assisted by Mr. Sastri who is a compositor, proof-reader and a machine-man all combined in one.
Among his steady companions are a poet who is engaged in writing the life of God Krishna, and Mr. Sen. the journalist, who is always criticising Nehru. The smooth and affable life of this small group is disturbed when, H. Vasu, M.A., taxidermist, comes to stay with them as a tenant in a room in the upper storey of the printing press.
This tall man of about six feet, bull neck, hammer-fist and uneven and destructive behaviour arouses fear in the hearts of Nataraj and his friends. Nataraj tolerates him in his room upstairs till he makes himself unendurable by robbing Mempi forest of its wild life and collecting dead animals in his room for stuffing them.
When even Nataraj’s neighbours complain to him about the insanitary conditions, he requests Vasu to find a new house for himself.
The taxidermist treats this as an insult and sues him for harassing him and trying to evict him by unlawful means.
The timely help from one of his clients, an old lawyer, his ability to prolong a case beyond the wildest dream of a litigant, saves Nataraj from the clutches of the law. Soon after Vasu starts bringing Rangi, a disreputable dancing woman and some other women like her, to his room, to the great annoyance of all concerned.
But Vasu does not care for their feelings.
The crisis, however, comes to a head when the pitiless taxidermist, threatens to kill Kumar, a temple elephant who, is to be taken in a festival procession organized to celebrate the poet’s completion of a portion of his religious epic. Nataraj is very fond of the animal. He naturally gets very much upset the moment he learns from Rangi, that Vasu intends to shoot it on the night of the proposed celebrations.
Nataraj instantly acquaints his friend, the poet, the lawyer, and other important people of the town with the taxidermist’s evil intentions. The matter is reported to the police authorities but they express their incapability to take any action against him until the crime has been essentially committed.
The very thought of Kumar’s murder, however, drives Nataraj crazy. Even while compelled to stay in his house owing to the agitated condition of his mind, he continues thinking of Kumar.
As the procession passes in front of his printing press, his heart begins to beat with fear. He waits every moment to hear the noise of gun shots and cries of panic-stricken people. He is surprised when the procession passes away without any untoward incident.
Relieved of a great worry, Nataraj goes to his office as usual in the morning. To his great shock and dismay, he learns that Vasu is dead. The police authorities of the town soon start investigations. Murder is suspected and Nataraj, his friends, and Rangi, the temple dancer, are interrogated by the police.
From the medical report it is gathered that Vasu has died of a concussion received on his right temple from a blunt instrument. When the police fail to find any clue of the culprit, the matter is dropped. Rangi, later, tells them that while striking a mosquito settled on his forehead, Vasu slapped his temple and died instantaneously. He thus died of a blow from his own hammer-fist.
The novel has a well-knit coherent plot, and a fine gallery of vivid, life like characters.
The character of Vasu, the central figure, is a masterwork.
The narration is enlivened by Narayan’s comic vision which normally fuses and mingles with tragedy.
The title is ironic for the man-eater in the novel is no tiger, but a mighty man, Vasu, who not only kills a large number of wild animals in Mempi forests, but can also kill a man with a single blow of his hammer fist.
The story is narrated in the first person by its tragi-comic hero Nataraj, a printer of Malgudi.
In his printing work he is assisted by Mr. Sastri who is a compositor, proof-reader and a machine-man all combined in one.
Among his steady companions are a poet who is engaged in writing the life of God Krishna, and Mr. Sen. the journalist, who is always criticising Nehru. The smooth and affable life of this small group is disturbed when, H. Vasu, M.A., taxidermist, comes to stay with them as a tenant in a room in the upper storey of the printing press.
This tall man of about six feet, bull neck, hammer-fist and uneven and destructive behaviour arouses fear in the hearts of Nataraj and his friends. Nataraj tolerates him in his room upstairs till he makes himself unendurable by robbing Mempi forest of its wild life and collecting dead animals in his room for stuffing them.
When even Nataraj’s neighbours complain to him about the insanitary conditions, he requests Vasu to find a new house for himself.
The taxidermist treats this as an insult and sues him for harassing him and trying to evict him by unlawful means.
The timely help from one of his clients, an old lawyer, his ability to prolong a case beyond the wildest dream of a litigant, saves Nataraj from the clutches of the law. Soon after Vasu starts bringing Rangi, a disreputable dancing woman and some other women like her, to his room, to the great annoyance of all concerned.
But Vasu does not care for their feelings.
The crisis, however, comes to a head when the pitiless taxidermist, threatens to kill Kumar, a temple elephant who, is to be taken in a festival procession organized to celebrate the poet’s completion of a portion of his religious epic. Nataraj is very fond of the animal. He naturally gets very much upset the moment he learns from Rangi, that Vasu intends to shoot it on the night of the proposed celebrations.
Nataraj instantly acquaints his friend, the poet, the lawyer, and other important people of the town with the taxidermist’s evil intentions. The matter is reported to the police authorities but they express their incapability to take any action against him until the crime has been essentially committed.
The very thought of Kumar’s murder, however, drives Nataraj crazy. Even while compelled to stay in his house owing to the agitated condition of his mind, he continues thinking of Kumar.
As the procession passes in front of his printing press, his heart begins to beat with fear. He waits every moment to hear the noise of gun shots and cries of panic-stricken people. He is surprised when the procession passes away without any untoward incident.
Relieved of a great worry, Nataraj goes to his office as usual in the morning. To his great shock and dismay, he learns that Vasu is dead. The police authorities of the town soon start investigations. Murder is suspected and Nataraj, his friends, and Rangi, the temple dancer, are interrogated by the police.
From the medical report it is gathered that Vasu has died of a concussion received on his right temple from a blunt instrument. When the police fail to find any clue of the culprit, the matter is dropped. Rangi, later, tells them that while striking a mosquito settled on his forehead, Vasu slapped his temple and died instantaneously. He thus died of a blow from his own hammer-fist.
The novel has a well-knit coherent plot, and a fine gallery of vivid, life like characters.
The character of Vasu, the central figure, is a masterwork.
The narration is enlivened by Narayan’s comic vision which normally fuses and mingles with tragedy.
February 12, 2012
I had glanced at this book many times in the shelves of bookstores but never actually bought it. Spotting it in my Anni's book shelf I lost no time in packing it to take it with me. And I liked it a lot!!
I've never read Narayan outside my school English textbooks and this book was wonderful. The humour is just amazing and I had a great time. The character of Vasu is the most interesting among all others and I think it is so well developed..we get curious about him even though he's not the good guy. The plot has a few lapses like Natraj worrying a lot about leaving fingerprints by touching stuff in Vasu's room but completely forgetting that he'd handled the man's gun the very previous night! The writing is simple yet it kind of draws you.
And Natraj irritates a lot of times but that's the way he is. The setting of the old Indian village when we were fresh out of becoming an independent nation is interesting to read now. Glad I read the book!
I've never read Narayan outside my school English textbooks and this book was wonderful. The humour is just amazing and I had a great time. The character of Vasu is the most interesting among all others and I think it is so well developed..we get curious about him even though he's not the good guy. The plot has a few lapses like Natraj worrying a lot about leaving fingerprints by touching stuff in Vasu's room but completely forgetting that he'd handled the man's gun the very previous night! The writing is simple yet it kind of draws you.
And Natraj irritates a lot of times but that's the way he is. The setting of the old Indian village when we were fresh out of becoming an independent nation is interesting to read now. Glad I read the book!
December 1, 2019
‘I have made a habit of collecting Golden Thoughts and I have arranged them alphabetically. I wish to bring them out in book form and distribute them to schoolchildren, free of cost. That is how I want to serve our country.’
September 16, 2022
Never have I been so personally invested in the life of a non-assuming printer from a small, idyllic village. Right from page one, R.K Narayan describes Nataraj the printer’s life and his ideologies, in a few succinct paragraphs, and then manages to turn it all upside down by the fatal arrival of one random taxidermist called Vasu.
Nataraj’s subtle humor is what took me by surprise though. I had forgotten how laugh-out-loud the dialogues in an R.K Narayan novel could be, and how wholly a character’s personality and mannerisms be captured. The struggles Nataraj went through were so close to the surface, that I also felt as helpless as him while he was at the mercy of Vasu, or the other villagers.
The vagaries of an Indian village were also described beautifully, immediately transporting oneself back to a deceptively simpler time. And akin to how I’ve noticed Japanese novels or films tend to focus on the little details of life, and are experts at turning something seemingly mundane into a complex and intricate story, so does Narayan excel at creating an emotionally charged and “action” packed narrative out of the simplest of elements, thereby not only providing a slice-of-life window into people’s lives but also weaving a plot with a somewhat conclusive ending.
Second to Swami & Friends, this would have to be my favorite of all his books!
Nataraj’s subtle humor is what took me by surprise though. I had forgotten how laugh-out-loud the dialogues in an R.K Narayan novel could be, and how wholly a character’s personality and mannerisms be captured. The struggles Nataraj went through were so close to the surface, that I also felt as helpless as him while he was at the mercy of Vasu, or the other villagers.
The vagaries of an Indian village were also described beautifully, immediately transporting oneself back to a deceptively simpler time. And akin to how I’ve noticed Japanese novels or films tend to focus on the little details of life, and are experts at turning something seemingly mundane into a complex and intricate story, so does Narayan excel at creating an emotionally charged and “action” packed narrative out of the simplest of elements, thereby not only providing a slice-of-life window into people’s lives but also weaving a plot with a somewhat conclusive ending.
Second to Swami & Friends, this would have to be my favorite of all his books!
August 12, 2024
An entertaining, interesting, humorous novel about Nataraj, owner of a small printing press in the city of Malgudi. He also is in possession of a large house. He is married and has a son. Nataraj is an easy going man who has many friends and no enemies, that is, until he meets Vasu, a large, strong man who is a taxidermist. Vasu invites himself onto Nataraj’s property and decides to live in the large attic. Vasu allows Vasu to live in his attic, rent free. Vasu hunts game, killing tigers, snakes and hyenas. When Vasu learns that Kumar, the elephant, will be paraded as part of Malgudi festivities, Vasu plans to kill the Kumar. Nataraj gradually becomes disenchanted with Vasu and is unhappy about Vasu’s plan to kill Kumar, particularly as Nataraj had gone to considerable lengths to help Kumar when he was unwell.
There are interesting characters and good plot momentum throughout this charming novel. R. K. Narayan fans should find this book a very satisfying reading experience.
This book was first published in 1961.
There are interesting characters and good plot momentum throughout this charming novel. R. K. Narayan fans should find this book a very satisfying reading experience.
This book was first published in 1961.
December 17, 2018
A short parable on civilization and bullies, among other things. Nataraj is mild-mannered printer who mostly has his shop so that he can talk to his buddies that hang around. Until a stranger comes to town. The stranger (Vasu) is an ex-sideshow strongman who peremptorily and impolitely demands things expecting everyone to obey him. If they don't do so quickly, he insults them and badgers them. Twitter was not invented as of 1961 in India or elsewhere, but I imagine the corollary to a certain weak man who pretends he is strong can be made here.
The Man-Eater of Malgudi is also a taxidermist who doesn't wait for clients bringing in specimens. Rather he poaches from the nearby nature preserve and preserves the remains in the attic of Nataraj's shop that Vasu bullied for no rent. The story very amusingly and drolly narrates the slippery slope that happens when Vasu has that one inch to launch his mile.
The climax comes when a beloved temple elephant (that Nataraj "saved" by getting a doctor) is chosen to lead a village celebration past Nataraj's house (and Vasu's window). Finally Nataraj must act - because now it is more than himself that may be at risk. How he acts and the results are dramatic and in character and totally fit in with the rest of the novel.
The last page has a poignant passage, with a ray of hope for those of us in America at this moment.
The Man-Eater of Malgudi is also a taxidermist who doesn't wait for clients bringing in specimens. Rather he poaches from the nearby nature preserve and preserves the remains in the attic of Nataraj's shop that Vasu bullied for no rent. The story very amusingly and drolly narrates the slippery slope that happens when Vasu has that one inch to launch his mile.
The climax comes when a beloved temple elephant (that Nataraj "saved" by getting a doctor) is chosen to lead a village celebration past Nataraj's house (and Vasu's window). Finally Nataraj must act - because now it is more than himself that may be at risk. How he acts and the results are dramatic and in character and totally fit in with the rest of the novel.
The last page has a poignant passage, with a ray of hope for those of us in America at this moment.
Every demon appears in the world with a special boon of indestructibility. Yet the universe has survived all the rakshasas that were ever born. Every demon carries within him, unknown to himself, a tiny seed of self-destruction, and goes up in thin air at the most unexpected moment. Otherwise what is to happen to humanity?
January 21, 2012
A classic from R.K.Narayan. As usual very recognizable yet interesting characters. The protagonist is a typical middle class man with timid character, never being able to say "No" or stand up firmly against what he despised. The dilemma in his mind as to what is right and what he could do presents an interesting picture common in our lives too. On the other hand the negative character is extremely strong and generates a loathing in the reader. You cant help hating him for what he does and how he does it. Sometimes you might even feel irritated that why he has so much power over the others. Also the other characters like the poet, journalist, lawyer or the teashop owner paint a beautiful picture of the small town and its quirky nature. This is where R.K. Narayan succeeds in presenting a fantastic painting, varied in colors and emotion. A must read.
December 31, 2021
The usual from R. K. Narayan - warm, nostalgia inducive, sometimes gripping, and all reminding us of the innocent life at Malgudi.
A beautiful book.
A beautiful book.
August 6, 2013
I read this a few years ago for a Uni class on Indian literature. It was one of the reasons I was glad I took that class. I found it very funny with the juxtaposition between Nataraj's 'put-upon' personality and the massive, bullying Vasu who rolls into town. A good read if you like 'odd couple' situations. I'm digging it out tomorrow for a re-read!
March 27, 2019
The earthy fragrance of Malgudi continues in this classic. Amazing plot!
November 11, 2018
Sheer genius of R.K. Narayan shines through in this masterpiece tragicomedy! ❤
July 22, 2022
RK Narayan- the only serious novelist of India.
It has been over an year since I have adulated any author out of sheer respect. Maybe because no one worthy have come to my mind. However now is the time I should end my silence. RK Narayan, he isn't a new name, I have often repeated his name and I can’t tire repeating it again, this man deserves all the adulation. For first he is my first love to the literature. It is said that you begin to really love literature only when you begin to find authors more interesting than works, and so my first love by this definition was RK Narayan. I can still remember that cold unmoved evening of January, I was left utterly disappointed by the novel I had finished then. Because of which the hunger for reading has aroused all the more within me. I want satisfaction. The absence of insatiating feeling had overcame all my thoughts, that's when I started reading "Two Goats and The horse" a 5 something page long story by RK Narayan. By then I have listened a lot of name of RK Narayan but I had never come to read any of his work yet.
When I set reading I wasn't expecting much of the story. And initially I was being almost right. The story started on a very lazy note a familiar village setting, a character who was poor and his antics to uphold his life; I was afraid to think this story might lead to a familiar path of any other typical Indian author's story - focused on poverty and struggle of Indians and all. But I keep reading. Well, by the third page the tone changed subtly, I was laughing hysterically. By the time I ended reading the story I was engrossed entirely into the plot, I can picture everything very clearly. I felt fulfilled, extremely satisfied. Well, I thought, at least there seem one author from our nation who isn't too political. When I thought back of the story, I was stupefied by the grain of depth the author has induced in such a simple act; only a very skilled author can have wrote like this.
That's how I was introduced to the author RK Narayan and fall for the first time in love with any author. I continuously read one after anotherof his novel. When I read something around five, a thought came haunting me - What after I will finish reading all of Narayan's works. And so on a good note I let off RK Narayan for the time. He is my future deposit, a reservoir, I was happy to keep at my back for safety reason some work from my loved author, so that I can use this reserve whenever circumstances turn so.
As it happened recently I was loosing my nerve at the literature, then I remembered my savior RK Narayan.
'The Man-Eater Of Malgudi" for no particular reason caught my attentions. I sat up reading it three days ago, and just four lines, yeah, that's the time it took me to feel back home. It's Malgudi, the beloved Malgudi. The time, the pace, the taste all started from the same point I had leave it. Malgudi with all the character come in full view to me. The simple minded very practical and meek characters of Narayan's universe come floating around to remind me again that literature isn't something that you can have by writing all the exaggerating stories - of impossible heroes, with their impossible dreams, lurking unimaginable danger, and a villian morally corrupt and mighty, of adventures we can only fancy- which is by far has nothing to do with our simple, almost stranded life, but literature can also mean to write very simple act and turn them into magic.
I took on to admire this man again and I will do it again if my mood sets on the act. He meant a lot to me. Hats off for him and I bow all I can to respect what he had provided to Indian literature.
All I can say for now is: Malgudi has started to feel like a lost home to me. Whatever Narayan had written of this town or rather whatever he had written ever I will be loving it.
It has been over an year since I have adulated any author out of sheer respect. Maybe because no one worthy have come to my mind. However now is the time I should end my silence. RK Narayan, he isn't a new name, I have often repeated his name and I can’t tire repeating it again, this man deserves all the adulation. For first he is my first love to the literature. It is said that you begin to really love literature only when you begin to find authors more interesting than works, and so my first love by this definition was RK Narayan. I can still remember that cold unmoved evening of January, I was left utterly disappointed by the novel I had finished then. Because of which the hunger for reading has aroused all the more within me. I want satisfaction. The absence of insatiating feeling had overcame all my thoughts, that's when I started reading "Two Goats and The horse" a 5 something page long story by RK Narayan. By then I have listened a lot of name of RK Narayan but I had never come to read any of his work yet.
When I set reading I wasn't expecting much of the story. And initially I was being almost right. The story started on a very lazy note a familiar village setting, a character who was poor and his antics to uphold his life; I was afraid to think this story might lead to a familiar path of any other typical Indian author's story - focused on poverty and struggle of Indians and all. But I keep reading. Well, by the third page the tone changed subtly, I was laughing hysterically. By the time I ended reading the story I was engrossed entirely into the plot, I can picture everything very clearly. I felt fulfilled, extremely satisfied. Well, I thought, at least there seem one author from our nation who isn't too political. When I thought back of the story, I was stupefied by the grain of depth the author has induced in such a simple act; only a very skilled author can have wrote like this.
That's how I was introduced to the author RK Narayan and fall for the first time in love with any author. I continuously read one after anotherof his novel. When I read something around five, a thought came haunting me - What after I will finish reading all of Narayan's works. And so on a good note I let off RK Narayan for the time. He is my future deposit, a reservoir, I was happy to keep at my back for safety reason some work from my loved author, so that I can use this reserve whenever circumstances turn so.
As it happened recently I was loosing my nerve at the literature, then I remembered my savior RK Narayan.
'The Man-Eater Of Malgudi" for no particular reason caught my attentions. I sat up reading it three days ago, and just four lines, yeah, that's the time it took me to feel back home. It's Malgudi, the beloved Malgudi. The time, the pace, the taste all started from the same point I had leave it. Malgudi with all the character come in full view to me. The simple minded very practical and meek characters of Narayan's universe come floating around to remind me again that literature isn't something that you can have by writing all the exaggerating stories - of impossible heroes, with their impossible dreams, lurking unimaginable danger, and a villian morally corrupt and mighty, of adventures we can only fancy- which is by far has nothing to do with our simple, almost stranded life, but literature can also mean to write very simple act and turn them into magic.
I took on to admire this man again and I will do it again if my mood sets on the act. He meant a lot to me. Hats off for him and I bow all I can to respect what he had provided to Indian literature.
All I can say for now is: Malgudi has started to feel like a lost home to me. Whatever Narayan had written of this town or rather whatever he had written ever I will be loving it.
October 9, 2020
This book is a must read for a visually enchanting experience. Events of Malgudi come alive before your eyes -but then that is the forte of Narayan .
R K Narayan was my first stepping stone in Indian English and it is difficult to review his writing without bias. The story has its twists and turns .It meanders like a lazy river at times and seems to speed up in the second half. Although the town is same as in Swaminathan's Malgudi but here we see the same town through the eyes of an observant adult. The characters have their own layers and they all make up a diverse bunch of cast.
The ending is allegorical .
4.5/5 . :)
R K Narayan was my first stepping stone in Indian English and it is difficult to review his writing without bias. The story has its twists and turns .It meanders like a lazy river at times and seems to speed up in the second half. Although the town is same as in Swaminathan's Malgudi but here we see the same town through the eyes of an observant adult. The characters have their own layers and they all make up a diverse bunch of cast.
The ending is allegorical .
4.5/5 . :)
December 19, 2025
It was an immense joy to read this book by RK Narayan and to enter his ‘enchanted city’ of Malgudi. The affectionate warts and all description of a mid twentieth century village in Southern India, unpolluted by technology, is a delight. However that does not mean life there is not without its trials and tribulations for Nataraja’s printing press and his attempt to organise a festival around his local shrine with an elephant as its centrepiece. Especially as bully, unhinged hunter and taxidermist Vasu is let loose locally. Narayan dresses his critiques of feudal and poverty stricken Indian village life in a loveable prose.
Overall a wonderful book and I am looking forward to my next trip to Malgudi!
Overall a wonderful book and I am looking forward to my next trip to Malgudi!
January 7, 2025
Unexpected ending.. enjoyed it a lot though.
June 2, 2024
His works have its own charm
August 6, 2024
A funny story about our guy Nataraj, a printer who just wants to work and nothing more and his life is interrupted by Vasu, the man-eater who makes everyone run. There's the poet and the cast of other characters who hang around but man are they ready abandon ship especially after the plot twist at the end.
I really love Narayan's style and reading about this far-away land. It was a breath of fresh air in this Western world-focused society I live in. Have to reach out to these books from far away lands so I get to learn about other cultures too.
I really love Narayan's style and reading about this far-away land. It was a breath of fresh air in this Western world-focused society I live in. Have to reach out to these books from far away lands so I get to learn about other cultures too.
July 26, 2016
I've read many of Narayan's works: The Vendor Of Sweets (https://www.goodreads.com/review/show...) and Talkative Man to a number of short stories. In reading The Vendor of Sweets, I had an experience of familiarity and nostalgia, much like Pico Iyer describes in his introductory essay to my edition of The Man-Eater of Malgudi, "Midnight's Uncle." But my experience with this novel was rather different. Rather than focusing on the background of the stories, the fictional every-town of Malgudi, Narayan seems to go right into the complexities of the human mind.
Nataraj, the town's printer and the novel's protagonist, is a man who exemplifies in many ways the weakness of will that many people experience when confronted with the kind of distress that men like the unwelcome guest and taxidermist Vasu brings into his life. He reminded me of Bertie Wooster, accompanied by his faithful servant (the powerful and often-real-master Reginald Jeeves). Nataraj's Jeeves is, of course, his compositor and assistant Sastri. Perhaps it isn't all that coincidental that like Jeeves (whose first name was apparently not revealed for fifty-six years into the publication of those stories, and the very existence of which surprised Bertie Wooster the most ("'Hullo, Reggie,' he said, and I froze in my chair, stunned by the revelation that Jeeves's first name was Reginald. It had never occurred to me before that he had a first name." (Much Obliged, Jeeves, chapter four.)), Sastri doesn't have a first name either. Everyone who meets him calls him Sastri, even those much older than him, in a culture where that would be highly unlikely.
Narayan also weaves in Wodehouseian humour into every fibrous bit of his novel. In trying to find examples, I realised that quoting just would end up meaning putting together entire pages of text. Rather it would be more productive to talk about examples of such humour. The episode where Nataraj gets stranded at Mempi, and the expedition of his return home via bus in a soiled dhoti and buttonless shirt, or the situation in which Nataraj is forced to dodge a small boy whose grandfather he promised a dog for the one shot by Vasu, or the moment where he contemplates going back to the temple procession but fears that he'd be bundled off to the Madras Mental Asylum by the five o'clock express train—each of these is done with such craft that it is hard not to admire the quirky humour that Narayan brings to the table.
I can only imagine how entertaining a conversation with the author must have been, because as with Talkative Man, The Man-Eater is told in first person by the protagonist. I am tempted to imagine, especially because of the introductory essay's thesis that Narayan puts himself into each of his stories, that Nataraj, the Talkative Man, or a million other Narayan characters must have been reflections of parts of the author's own personality, like an image in the shards of a shattered mirror.
In conclusion, this book comes highly recommended. It's by turns hilarious and serious, weaving in a profound human psychology with the most absurdist humour.
Nataraj, the town's printer and the novel's protagonist, is a man who exemplifies in many ways the weakness of will that many people experience when confronted with the kind of distress that men like the unwelcome guest and taxidermist Vasu brings into his life. He reminded me of Bertie Wooster, accompanied by his faithful servant (the powerful and often-real-master Reginald Jeeves). Nataraj's Jeeves is, of course, his compositor and assistant Sastri. Perhaps it isn't all that coincidental that like Jeeves (whose first name was apparently not revealed for fifty-six years into the publication of those stories, and the very existence of which surprised Bertie Wooster the most ("'Hullo, Reggie,' he said, and I froze in my chair, stunned by the revelation that Jeeves's first name was Reginald. It had never occurred to me before that he had a first name." (Much Obliged, Jeeves, chapter four.)), Sastri doesn't have a first name either. Everyone who meets him calls him Sastri, even those much older than him, in a culture where that would be highly unlikely.
Narayan also weaves in Wodehouseian humour into every fibrous bit of his novel. In trying to find examples, I realised that quoting just would end up meaning putting together entire pages of text. Rather it would be more productive to talk about examples of such humour. The episode where Nataraj gets stranded at Mempi, and the expedition of his return home via bus in a soiled dhoti and buttonless shirt, or the situation in which Nataraj is forced to dodge a small boy whose grandfather he promised a dog for the one shot by Vasu, or the moment where he contemplates going back to the temple procession but fears that he'd be bundled off to the Madras Mental Asylum by the five o'clock express train—each of these is done with such craft that it is hard not to admire the quirky humour that Narayan brings to the table.
I can only imagine how entertaining a conversation with the author must have been, because as with Talkative Man, The Man-Eater is told in first person by the protagonist. I am tempted to imagine, especially because of the introductory essay's thesis that Narayan puts himself into each of his stories, that Nataraj, the Talkative Man, or a million other Narayan characters must have been reflections of parts of the author's own personality, like an image in the shards of a shattered mirror.
In conclusion, this book comes highly recommended. It's by turns hilarious and serious, weaving in a profound human psychology with the most absurdist humour.
October 6, 2013
I had a "tiger/lion" in mind when I picked this book so was quite excited to see how they catch it but it turned out to be a "man" who has been termed as the Man Eater of Malgudi! And that is where half of my interest was lost! Having said that it is again a typical RK's story where you get to see how the characters develop in the mythical town of Malgudi :-)
It is a story which is a depiction of the eternal war between good and the bad; battle between goodness and evil where one character "The Man Eater" is a perfect picture of all evil you can think of in a human being! The character has been shaped so well that you have a real demon in your mind who is terrorizing almost the entire Malgudi.
His books are bound to mesmerize everyone in own special way and the narrative is so real that you can see the entire story like a movie. This is a common feature in all the books that I have read so far.
Although this book did not turned out to be as good as his previous ones for me and hence the low rating but like I said it can turn out to be very special for someone else because you never know what ends up touching and having an impact that would last.
It is a story which is a depiction of the eternal war between good and the bad; battle between goodness and evil where one character "The Man Eater" is a perfect picture of all evil you can think of in a human being! The character has been shaped so well that you have a real demon in your mind who is terrorizing almost the entire Malgudi.
His books are bound to mesmerize everyone in own special way and the narrative is so real that you can see the entire story like a movie. This is a common feature in all the books that I have read so far.
Although this book did not turned out to be as good as his previous ones for me and hence the low rating but like I said it can turn out to be very special for someone else because you never know what ends up touching and having an impact that would last.
August 21, 2015
For me this book is a let down. The enthusiasm with which I started reading the book, subsided with each turn of the pages. True. There were enjoyable moments in the book. But those moments were few and far between. Apart from two main characters, the author doesn't give much look into the other characters (there are a lot of characters by the way). Some characters were left hanging. I feel like the author didn't do justice to those characters. Their characters could have been molded to make the book much more entertaining.
Climax is disappointing. In fact, after giving a lot of build up to the two main characters, the way he ended the book was like a 'WTF' moment for me. The incidents from climax would occupy maybe 10 pages of the book max. He could have given a bit more description on the incidents.
Why did I still give a 4 star? Because I am like a guy who got recently dumped by his longtime girlfriend. I always admired R K Narayan for his works on 'Swami and his friends'. I am overly attached to him because of the way he takes me to the pre-technological era. And I can't believe that he disappointed me with this book. In spite of all this, I still love him. :(
Climax is disappointing. In fact, after giving a lot of build up to the two main characters, the way he ended the book was like a 'WTF' moment for me. The incidents from climax would occupy maybe 10 pages of the book max. He could have given a bit more description on the incidents.
Why did I still give a 4 star? Because I am like a guy who got recently dumped by his longtime girlfriend. I always admired R K Narayan for his works on 'Swami and his friends'. I am overly attached to him because of the way he takes me to the pre-technological era. And I can't believe that he disappointed me with this book. In spite of all this, I still love him. :(
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