This book is more a memoir and less a history of the performative artform. True, there is a quick mention of its various possible origins and early proponents. I find it fascinating that Kaimaparampan , while listing out the latter, does not include V. Sambasivan - who is unquestionably the biggest name associated with Kathaprasangam in modern Kerala. It seems too jarring to not have been deliberate.
The author puts forth arguments about the social upliftment processes that the artform played a crucial role in, but does not elucidate enough. Add to it, the repetition, the not-so-sparse self-appraisal, and his conservative view that politics and sex should not feature in Kathaprasangam, which pulled me away.
I enjoyed the few lines of poetry, both English and Malayalam, that were peppered in between.