Melppalam (The Fly Over)
In this novel, Vatsala has taken an out of the way, though I haven’t read all of her works. The narration does not entangle within a plot. The break through is liberally celebrated. Hence the change reveals as well as the traditional concepts cool of the hereditary life images. , which is but the novel is not being lost for ever. The idea of the Express High way had aroused a voluminous approval and disapproval in the media. Yet, the novel is not infected with or eloquent in relation with the theme. The sensors of creativity reach to the degenerating life, Innumerable images from the rustic life, enriches the novel, as revealed by, S.K. Pottekkat, before. I am surprised by this.
The transparency to the narration is outstanding. Ordinarily, a writing which starts with first person, becomes a n obstacle to the flow of the work. Here the hindrance does not appear at all. Keeping in control of the onward journey, through the establishment of enough space, the point of view of Balamani, a major character, the emotional stream is being kept up in a balanced treatment. There is a different attitude from those conventional feminist authors those female characters, including Balamani, who rush to an independent life, hesitatingly or willfully are severing, from the orthodox feminism
There is one like Rugmini, who miss steps. That is important. It is meaningful.
Then there is Kali, the most important character. As one of Vatsala’s s “The
Wild Ducks: and the “Kuttippuram Palam” by Edassery, remains in my memory, an echo repeated.
I may depict a lesson, I got from the novel. It is the more important; Kali is the person who has increased the depth of it. “The mother tongue is not to be written, but to be spoken. Nobody cooks and, fills mother’s milk in a feeding bottle. “