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B henb H¶nsâ `mKamhWw.

Statement and ownership and particulars of TECVOICE 13Government engineering college,Thrissur.{form 4, se rule 8}

Place of publication : ThrissurPeriodicity of publication : AnnualPublisher’s name : Mahipal DNationality : IndianAddress : Lecturer,Dept.of Mechanical Engineering

I Mahipal D,hereby declare that the particulars above are true to the best of my knowledge and belief.sd/-Mahipal D

Staff editor

Student editor

Editorial board

Mahipal D

Ramees ThattarathKrishnaraj U,Sanjay Gopal,Anjali N Balan,Nidhin Varghese,Abhinav,Winshi Raphael, Midhun C B , Vineesh O.V,Vivek M,Harikrishnan Varma,Shyam P,Swetha

Layout and design | Asif Rasheed Illustration | Hari Venugopal Cover Page Design | Hemanth RS

Special ThanksAjith K George, Anoop P, Binu M, Yanov P, Sreekumar E, Dhananjayan G S ,Sohrab,Swaminathan E, Ashwin Vinay, Krishnakumar R, Aneez C P, Thensiha A.V, Nithya G,Haripriya, Nithin C.K,Rohith B, Rahul M.V, Ananthu, Rafi, Renjith, Swalih, Shabeer, Dipin, Asna, Pranav P, Binoy Anil, Sinan, Gokul,Prabhu B,Najad K.K,Sugathan E A

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Ccpfn³ sRcp¡ambv \o t]mbnsb¦nepw

klPoh\w: kmwkvImcnI Ncn{Xw.......................02NhäpsIm«..................................................................03B\µss`chn............................................................04apdnthev¸n¡s¸Sp¶ _meyw.................................05Cì Rm³ \msf \o...............................................07

XeapdIÄ IS¶ kwKoXw.........................................42cmLh³ amÌÀ:HtcmÀ½çdn¸v...............................44]m«nsâ am\kssa\.....................................................46EXpZm:BßhnizmkXnsâ BÄ cq]w.................48\ndt`Z§Ä.......................................................................50\oÀçanf...........................................................................51amUn_................................................................................52Pzenç¶ jmthkv kvacWIÄ.............................54

100 years of indian cinema..........................10aebmf kn\na : C¶se,C¶v...................14th«bpsS AIw ]pdw...................................16tamlw..................................................................19N{IhmfXnte¡v Hc¼v,Xncn¨pw................20apçän¸q¡Ä...................................................21Life of a day...............................................22ssZh¯nsâ XqenI.....................................24sNdpImSnsâ PohnX]mXbnepsS...........26Fsâ Iq«pImÀ.................................................27Bcm¨msc ASp¯dnªt¸mÄ...............28lcnXw.................................................................30Caught by the catch.................................33Swansong..................................................34\·sbgp¯v......................................................35Hope..........................................................40

XIÀ¡s¸« kvamcIhpw XIÀ¶ kwkvImchpw......................60kzbw`cWw:Nm«w D¶Xnbntet¡m ]Spægnbntet¡m ? ...62]Xn\mtdm? ................................................................................................64tZhn...............................................................................................................66\nimKÔn...................................................................................................66

CsXsâ am{Xw hoSÃ...........................................................................68kzmÀY{]Wbw........................................................................................69hnem]w........................................................................................................69ChnSw \cIamé....................................................................................70Cu cm{Xn ]pecmXnês¶¦nÂ...........................................................72Still I live.......................................................................................74Redemption..................................................................................74The dream speech ...................................................................................75]W¯në aosX ]dç¶hÀ..............................................................77th\epWÀ¶ ]IenÂ...........................................................................78A]lcnç¶ \bXX{´ _Ô§Ä..............................................82In conversation with Madhav Gadgil........................................84

Guilt.....................................................................86k¨n³: tZiob kmwkvImcnI _nw_w ........90Mangalyaan .......................................................94Dyuthi'13 ...........................................................96Xncn¨pt]m¡v ............................................................98]n³hnfn ......................................................................98cà¯nsâ aª \ndw .......................................99College sports teams ......................................101College union report .....................................102College union .................................................104Muniyara: the mythical realm of Marayur .105I\yI IY ]dbpt¼mÄ ...................................109HmÀ½acw ..................................................................111sktâm^v .................................................................113Unkw_dnsâ \jv«w ..........................................114]cnWmaw ...................................................................116tXmÂhn .....................................................................117PohnX]mTw ..............................................................118Fgp¯v .......................................................................119

The Last Embrace.......................................................................67

I am happy to see that the college union is bringing out the college magazine for the year 2011- 2012. Magazine provides opportunities to the staff and students to exhibit their creative talent to literacy, artistic and technical contributions. Magazine reflects curricular and extra curricular activities conducted in the campus during the year. I wish you all the best in the years to come and call upon you to contribute enthusiasti-cally to take these publication to greater heights.

Dr. K Vijayakumar, Principal

It gives me immense pleasure to associate with college union magazine for the year 2012- 2013. I hope this magazine will serve as mirror to the happenings of the pres-ent world and campus life. I congratulate each and everyone who had involved to bring out this magazine into reality. Wishing you enjoyable reading...

Prof. D Mahipal , Staff editor

It gives me immense pleasure to see that the college union is bringing out the col-lege magazine for the year 2012 - 2013. This magazine covers wide spectrum of con-temporary subjects and also serves as a mirror to the present day campus. I con-gratulate the magazine committee for the laudable work it did. Wishing you enjoyable reading.

Prof. Jayan , Staff advisor

MESSAGE

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klPoh\w: kmwkvImcnI Ncn{XwKrishnaraj U | CSE

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Ifªpt]mb Ft´m H¶nsâ tijn¸pIÄ!

AXn\nSbn Rms\sâ `qXImes¯ Xncbpt¼mÄ,

\n§sfs¶ F´mWv hnfn¡pI,

NhäpIp«sbt¶m?

Ashwathy M.A | ECE

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B\µss`chnAthira P.S | ECE

4

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Nidhin Varghese | ECE

5

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6

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The story of Indian cinema is like that of a thrilling movie with new protagonists appearing in between , unexpected twists taking place ,a lot of cameos and some melodrama scenes in be-tween . After all these years, the movie still keeps rolling with the same thrill and the same excite-ment. If I am to write of the Indian cinema which is five times my age now ,that would not get me any-where other than the Wikipedia article on the same . So what am I to say about the multitude of Indian movies that were made and are still being made that would give my readers a peek into the vast cultural and social treasure which we possess? That was a big question I had to address to when I started writing this article. Having watched only a small percentage of Indian movies I hardly possess any right to criticize them ,but what I can do is to share my enthusiasm and the amusement which I have always felt about all those movies .We shall also examine the growth of Indian movies through

the pages of history .

Merchants of Dreams History of cinema starts at a time when theatre was the sole medium of artistic expression. Many of the earlier theatre activists like Dadasaheb Torne were fascinated by the new medium. J F Madan, a Parsi businessman saw the amazing potential this medium carried and he transformed his theatres into theatres of a different kind, which the social milieu of India had not experienced yet. Madan owned over 175 theatres all over the coun-try. It was in 1912 that Dadasaheb Torne made “Pundalik”. Even though it was made a year before Raja Harishchandra (1913), film historians find it difficult to call it the first Indian movie. The reason being that it was premiered along with the English movie “A dead man’s child” and that the post pro-duction works were done abroad .Also historians point out that it was only a capturing of the play of the same name and there was nothing “cinematic”

about it. Dadasaheb Phalke, known as the “Father of Indian Cinema” was the first one to make a purely indigenous movie. After Raja Harishchan-dra, he still worked on mythological movies and the public were fascinated in getting to see their fairy tales come to life on the silver screen. For them the movies became a source of deep rooted fantasy and it bore a dream like quality. Rapidly, the filmmakers became glorified merchants of dreams.

A Nationalistic perspective The response that cinema was receiving from the public, interested the national leaders of the coun-try. The impacts of the Swadeshi movement are clearly seen in Phalke’s later works. Phalke envi-sioned the nationalization of cinema. He believed that by reminding the public of their glorious past they would rise up against the colonialist powers. His long standing association with Bal Gangadhar Thilak made a strong impression in his movies. It

The Grand Movie Called

Indian CinemaSreeram | EEE

10

The Grand Movie Called

Indian Cinema

was a time of repressed emotions in the country. The vernacular press act and the strict censorship that the government had imposed on the theatre and press which got extended to cinema made it extremely difficult to make a movie. A play called “Kichakavadh” which depicts the Mahabhara-ta story of the slaying of kichaka by Bhima was presented with strong political overtones and was shelved .The Cinematograph Act of 1918 was salt in the wounds for aspiring filmmakers. The first movie released by Kohinoor pictures “Bhakta Vidura” (1921) was also shelved because of the

portrayal of Gandhiji as Vidura .The movies bore explicit symbolisms and thus faced the spite of the censor board.

The first wordsIt was in the year 1928 that “Vigathakumaran” by J C Daniel was made. The readers would be familiar with the trials and tribulations that the director of the first ever Malayalam movie faced thanks to the recent Malayalam movie “Celluloid”. Early 1930s saw the birth of a new technology. World’s first talkie “The Jazz Singer” (1927) had its impact on the subcontinent by 1931 when Ardeshir Irani made the first talkie “Alam ara”. Cinema to the public now became something that

had to be seen as well as heard. Before the advent of the talkies, there used to be a narrator in the cinema halls. Noted malayali novelist P. Kesha-vdev was one among them. Sadly, Talkies were not able to generate the furor they were supposed to initially because they were not exploited to their fullest then. The themes also took a strong deviation during this time. Instead of the cinema with mythological proportions, movies started catering to the sensibilities of the common man. They dealt with social problems like sati, female infanticide, poverty etc. Sant

Tukaram, a 1936 film based on the life of Tukaram (1608–50), a Varkari Sant and spiritual poet, was screened at the 1937 edition of Venice Film Fes-tival and thus became the first Indian film to be screened at an international film festival. The film was subsequently adjudged as one of the three best films of the year in the World. The Indian People’s Theatre Association (IPTA), an art movement with a communist inclination, began to take shape through the 1940s and the 1950s. They made movies on social subjects like the Bengali famine of 1943 and they promoted film making in India. It was also during this time a series of feminist films “Nirbhay Nadia” with a female protagonist became popular. Even this movie had convoluted

political subtitles.

The real new waveAfter the independence and the partition, a new and fresh change took place in the film industry. The partition became the theme of many movies in the decades to come. People became disillu-sioned with the urban life and their frustration came in the form of movies. Italian neorealist

movement found its influence in our country. Chetan Anand’s “Nee-cha Nagar” (1946) which dealt with

social realism won the grand prize at the Cannes film festival. This was a time when the parallel cinema gained momentum. This movement was lead by Satyajith Ray, Ritwik Ghatak and Mrinal sen. When asked to analyse the history of Indian cinema, film historians resort to dividing the years as “Cinema before Pather Panchali and cinema after it ”. Such was the impact that the Ray magic had in the world. It bought Indian cinema on the global map. “Indian Cinema never started with Phalke. In my book there’s another name.’Pather Panchali’. That’s where the real Indian cinema began”- Mrinal Sen.Owing to the huge reception the movie received, Ray went on to make two more movies based on

11

the protagonist Apu, of which “Aparajito” won the Golden Lion at the Venice Film Festival. Guru Dutt’s “Pyaasa”,“Kaagaz ke Phool”, Raj Ka-poor’s “Aawara”,Ghatak’s “Megha Dhaka Tara” all were gems of the time. The word “new wave” has been used to death at present, but the actual new wave cinema began during this period where it took on many strong topics and much experimen-tation was done regarding filming techniques. The present new wave can be called as only ripples of

the past.Meanwhile in the south, the movies were made with strong political motives. The parties saw the movies as a means of popularizing their political propaganda.The movies like Parashakthi, Chattrapathi shi-vaji in the Tamil industry created path breaking political responses. The filmstars were given godly proportions throughout the country .They later turned to politics with widespread popularity. The Thoppil Bhasi Dramas were made into movies. They proved instrumental in the strengthening of the communist party in Kerala.

Modern Indian Cinema Some filmmakers such as Shyam Benegal contin-ued to produce realistic Parallel Cinema through-out the 1970s, alongside Satyajit Ray, Ritwik Hatak, Mrinal Sen, Buddhadeb Dasgupta and Gautam Ghose in Bengali cinema; Adoor Gopal-akrishnan, Shaji N. Karun, John Abraham and G. Aravindan in Malayalam cinema; Nirad Mohapa-tra in Oriya cinema; and Mani Kaul, Kumar Sha-hani, Ketan Mehta, Govind Nihalani and Vijaya

Mehta in Hindi cinema.The parallel cinema in India suffered severe blows during this time and the commercial cinema gained widespread popularity. The landmark of Indian cinema “Sholay” (1975) saw the rise of Amitabh bachchan to superstardom. Another cult movie during this time was “Deewar”. 1980s onwards, commercial cinema gathered strong momentum and, as the famous cliché goes, rest is history.Malayalam and Bengali movies had emerged as the two strong film industries in the country. They were able to do so because of the affluent literary

culture they had. The establishment of The Film Institute in Pune also encouraged many people to take it up as a serious profession.

Indian Film Music In India, music has always had some religious attachment. It was always built under the strict social fabric of caste. However, the film music acted as a brilliant and necessary equalizer in the public. Now everyone had a song to sing

without being held up by any social stigmas. Films in general acted as a great equalizer in the society. In Malayalam film industry, the scores composed by Raghavan master and Dakshin-amoorthy Swamy were different in nature but were well received by the public. The duo of Vayalar-Devarajan gave the audience many im-mortal hits which were characterized by strong lyrical quality and simple soulful music. Baburaj started a different movement in the Malayalam music industry with the usage of Hindustani ragas. When the two ends of the nation met on the silver screen, it gave audience something

12

inexplicable and truly novel. The songs in the 1979 Telugu movie “Sankarabharanam” reinstated the popularity of Carnatic music in general public. Pt. Ravishankar who began his journey as a film com-poser in the Chetan Anand’s “Neecha Nagar” went on to compose many soulful scores in multitude of movies . Composers like Noushad, Salil Choud-hary and Hemant Kumar received international acceptance for their scores. They also featured seasoned Carnatic vocalists and musicians in

their songs which led to popularization of the cultur-al heritage the country had. In Tamil industry, the actors used to be great sing-ers too. Stal-warts like G N Balasubrah-maniam and M S Subbu-lakshmi were

the Nala-Damayanti couple on-screen. It was a pre requisite to sing well in order to be a movie star at that time. Inspiration from the western style of music had been there all along in the Indian film music. Composers like Ilaiyaraja took the best from both worlds to render “out of the world” music. Pres-ent day composers like the genius A R Rahman, have taken inspiration from these adaptations and evolved film music into a new realm of delight.

Main Stream Cinema In the documentary “Love in India” by Q the director makes an interesting observation that the classic commercial movies from the early nineties onwards have their protagonist inspired from the character of Krishna. The one, who can woo the ladies, appear naughty yet charming at the same time, slay the villains and save the heroine, can sing and dance with a group of people etc. The recent mainstream movies are a reference to that too. If we look closely into this we can see that the protagonists of the recent mainstream masala movies have been inspired either from Krishna as said before or Rama where he abandons every-thing for his family and suffers losses only to come out victorious in the end . Such movies have failed in one fundamental aspect of their inspirations. They have taken only the superficialities of the characters and nothing more. Nonetheless, great movies are still being made in the country and we are one of the strongest powers in the world when it comes to film industry. Some things can be done from the part of the government to promote the growth even more like enabling the develop-ment in the technical side of movie making by providing courses at the premier technical insti-tutes of the country like the IITs and NITs.The DVD revolution and the “Torrent revolution” that followed it ,has made the present generation finding the Indian treasure trove vastly repug-nant. Even when the whole world lauds the Indian movie industry, the youth these days find them repulsive. With proper understanding , expo-sure to great movies will definitely make them change their opinion about it. I hope the article has helped you have some understanding of the

growth of Indian movies over the years and I hope that I could transfer a bit of my excitement to the readers regarding the same. I had to cut short on many things due to the con-straints of the space but I request my readers to carry on the exploration to satiate your curiosity. If you have done that, the purpose of the article is served. I conclude by quoting the great critic Rog-er Ebert’s comment on Ray’s “Mahanagar” which can be directly attributed to Indian cinema in gen-eral. “I have so much trouble approaching Ray’s films as ‘foreign’. They are about Indians,and I am not an Indian,but Ray’s charac-ters have more common with me than I do the comic-strip characters of Hollywood”

13

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t¸mse kn\na sNbvXm C¡me¯v Bcpw

ImWnÃ' F¶v At±l¯n\dnbnÃtÃm Hcp

Ime¯v aebmfkn\na Adnbs¸«ncp¶XpXs¶

ASqcnsâ t]cnemsW¶v. kvacWIÄ, Ahbm-

Wv apt¶m«pÅ hgnbnse hnf¡pIÄ.

15

Bh-iy-¯n\pw A\m-h-iy-¯n\pw IYm-h-

kvXp-X-IÄ Xncp-In-I-b-äp¶ t]m¸p-eÀ kn\n-am-co-

Xn-Isf \ncm-I-cn-¨p-sImÊv \nb-{´n-X-ambn am{Xw Ah\v/AhÄ¡v kn\n-a-bn-te-¡pÅ {]th-i\w

km[y-am-¡p¶ BJym\ coXn-bmWv ]e-t¸mgpw

arthouse F¶v hnfn-¡-s¸-Sp¶ kn\n-am-hn-`m-K-

¯n IÊp-h-cm-dp-ÅXv. BJym-\-¯n-te¡v Ff-p ¸w Cd-§n-sN-Ãm-\pÅ Cu XSÊw Xs¶-bmWv

A¯cw kn\n-a-I-fpsS P\-{]o-Xn-tbbpw _m[n-¡p-

¶Xv. NeNn{X-§sf kq£va-ambn \oco-£n-¡m

\pw ]Tn-¡m\pw Xm¸-cy-apÅ asämcp hn`m-Ks¯

D¶w-h-¨mWv Ah \nÀ½n-¡-s¸-Sm-dp-ÅXv BZy-

ambn ImWp¶ Hcm-fn hnIm-c-§Ä P\n-¸n-¡m³

C¯cw kn\n-a-IÄ¡v Ign-bmsX ht¶-¡mw.

CXn\p ]pdta hnIm-c-§sf mute sN¿m³ kwhn-

[m-b-I-cpsS `mK-¯p-\n¶pw t_m[-]qÀÆ-amb CS-

s]-S-ep-Ifpw ItÊ-¡mw. Cu t{iWn-bnse anI¨ Nn{X§Ä Hcp XpS-¡-¡m-c\v hg-§n-s¡m-Sp-¡nÃ

F¶ bmYmÀ°yw t{]£-Is\ IqSp-XÂ AI-äp-

¶p. t{]£-I-\n \n¶v Imcy-amb ]¦m-fn¯w

Bh-iy-s¸-Sp-¶n-sÃ-¦nepw hfsc anI-¨-sX¶v

Xs¶ ]d-bm-hp¶ Hcp Nn{X-s¯-¡p-dn-¨mWv Cu

teJ-\w.

tXm-aÊv hnâÀ

_ÀKv (Tomas Vinterberg)kwhn-[m\w sSbvXv 2012

Im³ Ne-Nn-{X-ta-f-bn-eqsS

]pd¯v h¶ Um\njv

Ne-Nn-{X-amWv The Hunt (Jagten). BJym-\-ssien-

sImÊv t{]£-Is\ shÃp-hn-fn-¡m³ Dt±-in¨v \nÀ½n-

¡-s¸« Hcp Nn{X-aà lÊv. tlmfn-hpUv kn\n-a-I-fnÂ

IÊp-h-cp¶ BIväp-IÄ B¡n-¯n-cn-¨pÅ BJym\

L-S-\-tbmSv t]mepw sNdnb

tXmXn-se-¦nepw

ASp¸w ]peÀ¯p-¶pÊv {]kvXpX Nn{Xw. (ae-bmfn

t{]£-I³ IY-bpÅ kn\na

F¶v Hma-\-t¸-cn«v hnfn-¡p-

¶Xv C¯cw LS-\-bpÅ

Nn{X§-sf-bm-sW-¶mWv

Rm³ a\-Ên-em-¡p-¶-Xv)

sN¿m¯ Ipä-¯nsâ t]

cn \nb-a-\-S-]Snbpw,

th«-bpsS AIw-]pdw

Vishnu C.P | EEE

16

kmaq-lnI \S-]-Snbpw t\cn-tSÊn hcp¶ "eq¡m-

kv' BWv kn\n-a-bn \mb-I-Øm-\¯v DÅ-Xv. {]

Xn-\m-b-I-Øm-\-¯m-Is« Hcp a\p-jys\ Iq«-ambn

B{I-an-¡p¶ kaq-l-hpw.

ImgvNbv¡v ]n¶nÂ:km-t¦-Xn-I-ambn Gsd ap¶n \n¡p¶

Hcp Ne-¨n-{X-am-Wn-Xv. t{]£-Isâ hnIm-c-amWv {]

[m\ e£y-sa-¶-Xn-\m Xs¶ kwhn-[m-b-I\pw

Ombm-{K-l-Ibpw tNÀ¶v Xnc-sª-Sp-¯n-cn-¡p¶

Color template IÄ {]tXyI ]cm-aÀiaÀln-

¡p-¶-Xm-Wv. {]iv\-§Ä¡p-Ån-te-¡v eq-¡mkv Cd-

§n-sN-Ãp-¶-Xn\pw ap³]pÅ IYm-]m{X \nÀ½n-Xn-

bp-tSbpw aäpw cwK-§-fn kt´m-j-hm\pw kzX-

{´\pw Bb \mb-I-t\m-sSm¸w Iyma-dbpw

kzmX{´yw A\p-`-hn-¡p-¶p-Êv. Handeld Bbn

sNdn-sbmcp shake HmsS-bmWv Cu cwK-§-fnÂ

an¡-hbpw Nn{Xo-I-cn-¡-s¸-«n-«p-Å-Xv. {]iv\-§-fnÂ

AI-s¸-Sp¶ \mb-I-t\m-sSm¸w Iya-d-bp-tSbpw

kzmX{´yw \jvS-s¸-Sp-¶p. ]Ým-¯e kwKo-

X-¯nsâ A`mhw kn\n-a-bnse sshIm-cn-IX

t{]£-I-\n-te-s¡-¯n-¡m³ Ipd-s¨m-¶p-aà klm-

bn-¡p-¶-Xv. ]e-t¸mgpw kwKoXw D]-tbm-Kn-¡-s¸-

Sp-¶Xv BËm-Z-th-f-I-fn-em-Wv. \mb-I³ Hä-s¸-Sp¶

kµÀ`-§-fn AbmÄ¡v Iq«m-bp-ÅXv Zriy-§Ä

am{X-am-Wv. A¯cw cwK-§-fn t{]£-Isâ {i²

hyXn-N-en-¸n-¡m³ am{Xta kwKoXw D]-Im-c-s¸-Sp-

¶p-Åq.

kmt¦-XnI hn`m-K-¯nsâ ssI¿-S-¡-t¯m-

sS-bpÅ {]hÀ¯-\-t¯m-sSm¸w FSp-¯p-]-d-tbÊ

asäm¶v A`n-t\-Xm-¡-fpsS {]I-S-\-am-Wv. {]tXy-In-

¨pw eq¡mkv Bbn A`n-\-bn¨ Mads MikkelsentâXv. Cu Nn{X-¯nse {]I-S\w Im\nse anI¨

\S-\pÅ ]pc-kv¡mcw AbmÄ¡v t\Sn-s¡m-Sp-¡p-

I-bp-Êm-bn.

kn\n-a-bpsS IYm-X-´p-thm, DÅ-S-¡tam Ad-n

ªm ]ns¶ kn\na ImWp-¶-Xn AÀ°-an-

söv Icp-Xp-¶-hÀ¡v XpSÀ¶v hmbn-¡m-Xn-cn¡mw

ImgvN-bn ]Xn-bp-¶Xv:kplr-¯p-¡-tfm-sSm¸w Ifn-¨pw, Nncn-¨pw,

BtLm-jn¨pw Øes¯ \gvkdn kv¡qfnÂ

A[ym-]-I-\mbn tPmen-sNbvXpw PohnXw apt¶m«v

\bn-¡p-¶-h-\mWv kn\n-a-bnse \mb-I³ eq¡m-

kv. eq¡mknsâ kplr-¯mb Xntbm-bpsS

aI-fpw, eq¡m-knsâ injy-bp-amb ¢mc-bmWv

asämcp {][m\ IYm-]m-{Xw. eq¡m-knsâ {]

iv\-§Äs¡Ãmw Imc-W-am-Ip-¶Xv ¢mc ]d-bp¶

IÅ-am-Wv. eq¡m-knsâ kzImcy `mK-§Ä IÊp F¶ IÅw ]e-cp-tSbpw PohnXw Xs¶ amän-a-

dn-¡p-¶p. Ip«n-IÄ IÅw ]d-bn-sö `qcn-]-£-

t_m-[-amWv eq¡m-kns\ Hcp s]tUm-ss^³

B¡p-¶-Xv. Akm-[m-c-W-amb `mh-\-bpÅ Ip-

«n-bmWv ¢mc F¶v ]d-bp-¶-hÀ t]mepw Cu s]m

Xp-t_m-[-¯nsâ t]cn A`n-{]mbw amäp-¶p-Êv. Xm³ ]d-ªpt]mb IÅw Xpd¶v k½-Xn- ¡m³

{ian-¡p¶ ¢mc-tbmSv Ah³ ]d-bp-¶Xv "\nsâ a

\Êv AXv Xnc-kv¡-cn-¡m³ {ian-¡pw, ]t£ B

kw`hw \S-¶n-«pÊv' F¶m-Wv. Mi-chael HanekeNn{X-§-fn-teXv t]mse Ip«n-Isf kwi-bn-¡m-\Ã

Hunt ]d-bp-¶-Xv. F¦nÂt¸mepw Ip«n-Isf F{X-

am{Xw hniz-kn¡mw F¶ tNmZy-

sa-¦nepw Nn{Xw apt¶m«v hbv¡p-¶p-Êv. kw`hw ]pd-¯-dn-bp-¶-tXmsS IqSp-XÂ Ip«n-IÄ CtX

Btcm-]-W-hp-ambn apt¶m«v hcp-¶p. Ip«n-IÄ ]o

U-\-¯n-\n-c-bmbn F¶-Xnsâ sXfn-hmbn NqÊn- ¡m-Wn-¡-s¸-Sp¶ e£-W-am-Is« "Ah³ Dd-¡-

¯n Zpkz]v\w ImWpw' F¶-XmWv. {]iv\-

¯nsâ BZy L«-§-fn Xsâ BZy-`m-cy-bnse

aIs\ hosÊ-Sp-¡m³ Ign-bm-¯-Xnsâ hnjaw am{Xta eq¡m-kns\ Ae-«p-¶p-Åq. B[nIw

sshImsX Xs¶ B \m«n Pohn-¡m³ ]äm¯

Ah-Ø-bn-te¡v Abm-fpsS PohnXw sNs¶-¯p-

¶p-Êv. kn\n-a-bpsS Ah-km-\-¯n PohnXw Xncn-

sI t\Sm³ AbmÄ¡v km[n-¡p-¶p-Êv. F¶m "\njv¡-f-¦-X-bpsS acWw' kw`-hn-¨n-cn-¡p-¶p.

]qÀ®-amb aS-§n-h-chv Akm-[y-sa¶v HmÀ½-s¸-

Sp-¯n-s¡m-Êv, eq¡mkv A£-cmÀ°-¯n th«-bm-S-s¸-Sp-¶n-S-¯mWv Nn{Xw Ah-km-\n-¡p-¶-Xv.

FÃm AÀ°-¯nepw sshIm-cn-I-amb

Catharsis Xs¶-bmWv {]£-I\v Cu Nn{X-¯n-

eqsS e`n-¡p-¶Xv. \nÈ-_vZ-amb Zriy-§-fnepsS,

\nb-{´n-X-amb {]I-S-\-§-fn-eqsS kwhn-[m-b-I³

AÛpXw km[n-s¨-Sp-¡p-¶p. A¸-sa-¦nepw

£a-bp-Å, kn\n-asb kvt\ln-¡p¶ FÃm-hcpw

IÊn-cn-t¡Ê Nn{X-amWv The Hunt.

17

'Rms\´në t]mIWw?

hn«pt]mIms\\n¡v aSnbpÊv.

Fsâ ]IepIÄ¡nSbneqsS Hê cm{Xn hfêì

s]bvXp XoÀ¶ kz]v\§fn au\¯nsâ apdnhpIÄ

\n{ZmclnXamb bm{XIfnte¡v Rm³ hens¨dnbs¸Spì.

ZpÊz]v\§fpsS hcÊ `qanbnte¡v, ZpcnX§fnte¡v

Cu {Kma¯nsâ hcÊpW§nb I®pIfnÂ

Rm³ ]ns¶bpw Fs¶ Isʯp¶Xp t]mse

]t£ ZpÈæ\§fpsS ]mXbneqsS ISì t]mæhm³

Rm³ i]n¡s¸«ncnçì.'

A½ Adnbm³(1986)

'Rms\´në t]mIWw?

hn«pt]mIms\\n¡v aSnbpÊv.

Fsâ ]IepIÄ¡nSbneqsS Hê cm{Xn hfêì

s]bvXp XoÀ¶ kz]v\§fn au\¯nsâ apdnhpIÄ

\n{ZmclnXamb bm{XIfnte¡v Rm³ hens¨dnbs¸Spì.

ZpÊz]v\§fpsS hcÊ `qanbnte¡v, ZpcnX§fnte¡v

Cu {Kma¯nsâ hcÊpW§nb I®pIfnÂ

Rm³ ]ns¶bpw Fs¶ Isʯp¶Xp t]mse

]t£ ZpÈæ\§fpsS ]mXbneqsS ISì t]mæhm³

Rm³ i]n¡s¸«ncnçì.'

A½ Adnbm³(1986)

tamlw

taLambv,lhnÊnsâ DSembv þ

Xocphm³, Hcp sIm¨pImämIphm³

XgpIm³ \s½bqänsbSp¯n

«dnbmsX \n¶ ac§sf

]ns¶bpw XtemSphm³ \½Ä

hnX¨n« Ipªpss]X§sf

kJo \mw hgnbnemWtÃm !

F¦nepam tamlaXptIÄ¡p¶tÃm !

XncIsf ]pÂIt , Aeþ

sa\ªnSt , ]ns¶bpw bm{XbmtIs !

sImXnsIm p Rm\n¶p

kz]v\§Ä ImWp¶p ap¯pNn¸nIsf

kJn \o tIÄ¡p¶ntà Fsâ

taml¯needp¶p XncameIÄ !

\nc sXänsbmgpIp¶ ]pgIÄ \½Ä

\\hp hänb DdhIÄ \½Ä

FhntSs¡¶dnbmsX ]mbp¶p

]ns¶bpw AeXÃnbednSp¶p.

Hcp am{X \n¶nSm³, Hcp t\m¡p ImWphm³

tamlapsÊ ¦nepwkJo... \nesXäntbmgpIp¶p,

Aedn¡pXn¡p¶p, \pcIfpXnÀ¯nSp¶p hgnbnse¼mSpta ]q¯ hr£§Ä

H¶padnbm¯t]m \ni_vZw

AIse apg§p¶p, Infni_vZaÃXv, tamln¡pw BÀ¯nc¼w

hnfn¡p¶p ]ns¶bpw ]ns¶bpw

BÀ¯ntbmsSmcp t\m¡p ImWphm\mbv

Xncbmbv amdnbm Xocs¯

XgpInsbm¶Iephms\´p tamlw.

kJn,Rm³ ]dbs« \½fn¶Iseþ

bmsW¦nepw tIÄ¡matÃm !

\mahnsS¯pt¼mÄ Ccp«pw ]Iepw

CSIeÀs¶hnsS t]mIpw !

\½fn \s½bdnbmsXbt¸mÄ

\mw a\aenªnSIecpw

]ns¶ \mw c Ãsbm¶mInepw

C\nbpsamcp ]p\ÀP\vaap v

Raji V.R | MCA

kz]v\mSIcmb a\pjyÀ,

X¶nept]£n¨

F®aä s\SphoÀ¸pIfpsS `mcw

XncnsI Icbnept]£n¡m³

XncIfm asämcp {iaw \S¯p¶ ISÂ,

Fsâ ap¶nepÊv.

InX¨pXmgp¶ AkvXabkqcy³

asämcp kmbmlv\w tcJs¸Sp¯pt¼mÄ,

ISÂIm¡Ifpw £p{Z{Kl§fpw hn[n]dbp¶

aWÂt¡mSXnbn Rm³

{]Xn¡q«nembncp¶p.

""Ch\v hbÊv Ccp]Xv

`qans¡¶psamcp `mcw,

Ccp]XvhÀjw izkn¨ HmIvknP³

Ch³ \in¸n¨pþ

ChnsS ImÀ_¬ssUHmIvsskUv \nd¨p.

Ccp]Xv hÀjw Ch³ Xn¶papSn¨pþ

ChnsS amen\yw \nd¨p.

Ccp]XvhÀjw Ch³ `qanbpsS

Hcp`mKw k¼¯v A]lcn¨pþ

C¶phsc Hcp \ÃImcyw sNbvXXmbn AdnhnÃ

Chs\ hfÀ¯nb kabhpw DuÀPvPhpw,

Hcp ac¯n\p \ÂInbncps¶¦nÂ,

N{Ihmf¯nte¡v Hc¼v,

Xncn¨pw

\jvSapÊmhnÃmbncp¶p''

""Chs\´p in£???

Chs\´p in£????''

""sImÃWw, sImÃWw''

At¸mÄ,

tNmc In\nbp¶ hmÄXe¸pt]mse,

N{Ihmfw Hcp Nph¶ t\ÀtcJbmbn,

icnsXäpIsf thÀXncn¨p\n¶p.

s]mSp¶s\,

A\´hnlmbÊn \n¶vþ

APvRmX{]]©¯n \n¶v,

sImÅnbm³t]mse ]mªph¶ Hc¼v,

N{Ihmfw XIÀ¯pþ

ZnK´§Ä \Sp§pamdp¨¯nÂ,

Hcp ]fp¦p]m{Xw IWs¡ AXv XIÀ¶p.

icnsXäpIÄ AhyIvXamb B \nanjw,

£p{Z{Kl§Ä t]Sn¨v `qanhn«p,

ISÂIm¡IÄ NnXdnsXdn¨p ]d¶pt]mbn.

Ifn¸n¨pIgnª Ifn¸mht]mse Hcn¡ÂIqSn

Rm³ Xe Ip\n¨p\n¶p.

At¸mgpw s\SphoÀ¸pIfpw t]dn h¶ XncItfmSv,

Rm³ a{´n¨pþ

""Rm³ ssZh¯nsâ aI³''

Jbs | Mechanical

20

Cu hÀjw ]XnhnÃmsX Hcp]mSp ap¡pän¸q¡Ä

hncnªp. kzÀ®\ndapÅ ap¡pän¸q¡Ä....

ap¯Èn¡YIfpsS ]p\cmhÀ°\sa¶t]mse,

GtXm hk´Imes¯ hcth¡ms\¶t]mse,

Adnªp XnanÀ¯p s]bvX ag \ÂInb DÄ]pf

Iw apgph³ ]q¡fmbn hnSÀ¯n im´bmbn

`qan ]p©ncn¡p¶p.

]sÊmcp acWho«nencp¶pw C§s\ im´ambn Nncn¡p¶ ]q¡sf

IÊXhtfmÀ¡p¶p. acn¨Xv ANvO\mbncp¶p. thÀ]msS¶ achn¸v asämcp XWp¸mbn ]SÀ¶p

XpS§nbt¸mÄ Hcmizmk¯n\mbn, BfpIfpsS

KZvKZ§Ä \ndª BIpSpkpapdnbnÂ

\n¶pw AhÄ ]pdt¯¡v t\m¡n. apä¯v

ANvO³ \« A©nXÄ sN¼c¯n ]mXnhncnªv

Nncn¡p¶pÊmbncp¶p. ""t\m¡q aItf Cu {]IrXn¡v Hcp hyXymkhpw kw`hn¨n«nÃ.,

acWsa¶Xv km[mcW ]cnhÀ¯\w am{Xam-Wv.

C¶p Rm³ \msf \o F¶p ]dbp¶Xpt]mse

FÃmw acW¯n\mbn Xsâ Dugw

Im¯ncn¡p¶p..''A¶msN¼c¯n ]dªpX¶Xv

Hcp henb kXy-ambncp¶p.

Ime§Ä¡n¸pd¯v Cu I¸ShpIfnÂ

Hä¡ncp¶v `qantbmSv ]änt¨À¶ncn¡p¶ ap¡pän

ImSpIfnte¡v t\m¡n \nÂt¡, F´n\mWv

C¶o ^ntemk^n IS¶ph¶Xv?

""Cu agtbmSpIqSn F\ns¡mcp

]p\ÀP\vaw thWw,

Pohn¡ms\mchkcw''.

UbdnbpsS XmfpIfnsehntStbm Hcp

I\secnbp¶pÊv

I®S¨ncp¶medndbdmw AXnsâ NqSv ...

Nnet¸mÄ I¯n I¯n AXv izmktImi¯nsâ

]mXnhsc F¯n \n¡pw...

izmk¯n Fcnhp Iecpw...

Pohhmbp e`n¡msX Nne \nanj§Ä

]n¶oSv Ihnfn ]Scp¶ D¸pIeÀ¶ \\hv..

""]ecpw ]eXmbn ]dªp.. \n§Ä¡n\n F´m-

Wv ]dbm\pÅXv.??'' Ahsfmcp s\SphoÀt¸msS

apJw ssIIÄsImÊv AaÀ¯n XpS¨p..

AhfpsS ImepIfn ]Xps¡ Xsâ

IpªpapJapcknsImÊncp¶ Hcp ap¡pän¸qhv

ap¡pän q¡Ä

]Xps¡ Nncn¨p ... F¶n«v ]dªp... ""I®p

Xpd¡q Iptª, \o ImWp¶Xv \ns¶ am{X-

amWv... kzmÀ°XbpsS N«¡qSpIÄ¡pÅnÂ

\n¶p t\m¡pt¼mÄ Npcp§nt¸mIp¶ \nsâ

temI¯n\¸pd¯v \nsâ \³aIfmÂ

]cnhÀ¯n¡s¸Sm³ asämcp temIw

Im¯ncn¡p¶p''. ..Ipªp]q¡Ä Xebm«n. Imäv

B hm¡pIsf hoÊpw sNhnbnse¯n¨p. ]pXnb ]cnhÀ¯\¯nsâ shfn¨w hoinb

NmcnX-mÀ°yt¯msS B ]p¡Ä

hoÊpw ]p©ncn¨p.

Anjali N Balan | ECE

21

The policestation was shifted to the old building. It was midnight when we reached there. That was the longest day of my life. A uniformed policeman led us through a dimly lit path where walls were closed on either side and ceiling low.Jessica always had an aversion to closed spaces. The claustropho-bic girl held my hands tighter than ever. My mask of bravery was beginning to move off . No! fear is one’s greatest enemy. Let it not conquer me. Fight back... deal with this,I thought.

The incapacious path opened to a room painted in drill beige. It was wider than I antici-pated. The cracks of paint fallen down from the wall suggested the place was unkempt and old. The chief will arrive shortly. “Stay here”,the police-man had said.As we waited there my mind drifted to the beginning of the day.

It started just like any other day in my hostel. Jessicca’s birthday celebration that lasted till the day’s dawn made my eyelids impossible to open.“Shriya! wake up, it’s 7.30”,Jessica’s voice was irritating me in my sleep. “Hey girl are you gonna

get up?” “Jess shut up... Don’t take away my sleep from me”, I mumbled under my breath, my eyes slightly opening.“Ok then, take my pillow”,Jess picked up her pillow and threw it right on to my back.It hit me straight on my head .‘This was it’ I thought. A fight with Jess wasn’t something I could miss. I took the pillow and threw it on to her stomach. After the pillow fight that lasted for a few minutes and the boring breakfast from the hostel mess, we headed to our college.

We were the final year engineering stu-dents at one of the most prestigious institutes of the nation.We went to our classroom to find Liya, our best friend waiting for us. Since the classes during the afternoon session was suspended for some reason, the three of us planned to visit Liya’s home after the morning class. Her home was situated in a rural village. When Liya’s popular yellow truck roared to life with the three of us in it, it was twelve noon. She started driving so fast that I felt I left my stomach somewhere behind . ‘What is wrong with this idiot girl and her mor-

Life of a day Manasi D Nair | EEE

22

bid speed? I thought. As an answer to my silent thought,she further accelerated the engine. And then it happened... the vehicle was moving in some unanticipated ways. I remember something hitting my head and slowly closing my eyes.

When I opened them , I found myself lying on a bed inside a white cubicle,‘Where am I?”,I thought. The fan right above the bed was rotat-ing with high speed. ‘Speed’... the speed of Liya’s truck... then I could remember its wild move-ments. Suddenly many questions flooded into my mind. ‘Where am I,? What about Liya and Jess? What happended to us?,I needed answeres. Then a lady dressed in white evidently a nurse, entered the room. I shouted my questions at her. Her eyes were kind when she answered me. ‘You had a road accident.“Jessica is fine... she is waiing outside, and Liya...”,the nurse paused for a mo-ment to stroke my head and then continued,‘She is no more’. That was more than my mind could take.Her words plunged into my heart like sharp spears and the pain was unbearable. I tore off my glucose supply and hurried to the door. Jess was attempting to control her sobs. When she saw me she again bursted into tears.I couldn’t find a way to calm her down for I was in no state of mental stability. While a bed was rolling towards our way... it stopped in front of us and someone lifted a blanket from the bed. I saw her... Liya was sleep-ing now and forever. I stood there like a stone... without a word to speak, without a drop to shed.

“Please let the concerned people know ”,said the nurse. The only close relative known for Liya was her father. She was immensly intimate to him, and unraveling such a catastrophe to him was worrying.But we lie in difficulty here, in this old

building to meet her father who works as the chief in this Police Station. We waited.. and waited. But no one came. After a long time which equalled so many hours ,the uniformed man we earlier met entered the room. “We had an information about the chief.He encountered a road accident this noon nearby the AB Junction. It was a yellow truck. And he passed away”,he said,impassively.Jess repeated the words ‘noon’, ‘AB junction’ and ‘yellow truck’ as if she had suddenly awaken from a sleep. I collapsed to the chair in agony, making sense of the images in front of me.

Her father died in the same accident . That was a cruel blow. A moment of overconfidence... a moment of carelessness.. the overspeed destroyed everything, shattered a family. Is God so merciless at times? Couldn’t he have prevented this? Some questions have no answers.

23

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ssZh¯nsâ XqenIWinshi Raphael | EEE

24

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25

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Ithihas Davis | EEE26

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Fsâ Iq«pImÀBaiju K.B | EEE

27

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`mcysbt¸mepw sImÊph¶p. FÃm {]XnIqe kmlNcy§fnepw Ahsf ]n³XpWbv¡m\p Rakendu S Rajeev | ECE

28

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ImÀ¯nIns\ \nÀ¯n tNX\ ImWn¨pXcp¶

Zn\w.... F¶m Igpachpw Ibdpw ]cntim[n¨

tNX\bpsS adp]Sn, Cu Ipcp¡n\p tNÀ¶Xv

ImÀ¯nInsâXà adn¨v kRvPbpsS Xe Xs¶bm

sW¶mbncp¶p. ]n¶oSv \S¶Xv A{]Xo£nX

ambncp¶p. Igpac¯ntednb kRvPbvIpamÀ

an{Xsb Ipcp¡nem¡n enhÀ hen¨psImÊv tNX\ ]p

dt¯¡nd§n.

AtXkabw

Hcnäp Po-

hhmbphn\m

bn kRvPbv

IpamÀ an{X B

Igpac¯nÂ

]nSbpIbmbn

cp¶p.

At¶ hsc

AbmÄ sNbvX

FÃm sX-

äpIÄ¡pambn

AhÄsIm-

Sp¯ in£.

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Ahsfbpw Im¯v k½m\hpambn HcmfpÊmbn cp¶p-, ss{XtemIy tZhn. ]pcpjsâ Al¦mcw

AenªnÃmXm¡p¶ thiymeb¯nsâ ]Sn¸pcbv

¡pap¶nse a®v. ]hn{Xamb ZpÀKvKmjvSanbnse

tZho hn{Klw \nÀ½n¡p¶ AtX a®v. ]t£

tNX\bpsS A`n{]mb¯n Igpac¯n In-

S¶p]nSbpt¼mgpw AXnÃmXmIpsa¶mbncp¶p.

A§s\ IYmImcnbpsS `mjbn tNX\ Xsâ

{]Wb¯nsâ t]cnepw, tPmenbpsS t]cnepw

\maw A\izcam¡n.

29

"\izc\µIW§Ä R§þ

f\izctX! \n³ kwKoX¯nÂ

\nivNnXamw kzchn\ymk¯n\p

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a®nsâ a¡fpsS IYbmWv hnjI\yI.

F¶m a®ns\ tXm¸n¨v kzbw tXmähcpsS

IYbmWv F³aIsP. BZyt¯Xv \ne\n¸n

\pw A¶¯n\pw thÊnbpÅ t]mcm«ambncp¶p

F¦n cÊmat¯Xv Ahsâ Al¦mc¯nsâ

D³amZ\r¯ambncp¶p.

XncphnXmwIqdn \n¶pw aäpw

ae_mdnsâ hnimeamb h\{]tZi§fn

semfnªp InS¡p¶ \n[n tXSn h¶ Ip-

Sntbä¸mÀ¸pImcpsS ImgvN¸mSnsâbpw ITn

\m[zm\¯ntâbpw IYbmWv hnjI\yI.

PohnXk¼mZy§Ä apgph³ AhÀ a®n\p

thÊn apS¡n, tNmcbpw \ocpsamgp¡n ]p

jvSns¸Sp¯n, AhcpsS a®ns\bhÀ ImbvI\n

IÄ \ndª acXIXmehpta´n \n¡p¶

A]vkckpIfm¡n amän. kz]v\¯nÂt]mepw

AhÀ a®ns\ am{Xw IÊp.

ae_mdnte¡v AhÀ h¶Xv kz]v

\§fpsS `mWvU§Ä \nd¨psImÊmbncp¶p.

ae_mdnsâ [m\y_oP kv]Àita¡m¯ ]

cnip²amb `qI\yIbn B ]mhw IpSntb

äIÀjIÀ AÔcmbn, A\pcIvXcmbn. \sÃmcp

\msf kz]v\w IÊv, AhÀ sabv ad¶p F¶n«pw

I¶na®hsc NXn¨p. Im«parK§fmbpw,

ae¼\nbmbpw, {]IrXnt£m`§fmbpw AhÄ

AhÀ¡pta hnjw Noän. {]IrXnbpsS ]

co-£W§Ä¡pap¶n tXmäpsImSp¡msX

F¶n«pahÀ AZzm\n¨psImtÊbncp¶p.

Xt±ihmknIfmb Ipdp¸³amcptSbpw ]nÅamm

cptSbpw ]mgv\ne§Ä XncphnXmwIqdn \n¶pw

h¶ tN«³amÀ Inf¨padn¨v ]pjvSns¸Sp¯n.

AhcpsS IrjnbnS§fn AhÀ kz]v\§fpsS

hn¯p]mIn. F¶m apf¨ph¶ kz]v\§Ä

]q¡pw apt¼ IcnªpW§nt¸mIp¶Xv IÊp\n

¡mt\ AhÀ¡v km[n¨pÅq.

hb\mS³ h\`qanbmWv hnjI\y

Ibnse \mbnI, HcÀXvY¯n am[hnbpw. ]u

tcmlnXzw sImXn¨p\S¡p¶ At´mWnsb¶

bphmhnsâ ]cnip²n¡v If¦ta-¸n¡p¶

am[hn Ahs\ kw_Ôn¨v hnjI\yIXs¶bm-

Wv. At´mWnsb IpSntbäIÀjIcpsS sam¯w

{]Xn\n[nbmbpw am[hnsb hb\mS³ hnf\n

e§fpsS {]Xn\n[nbmbpw IW¡m¡mw.

`qanbpw am[hnbpw ChnsS DS¸nd¸pIfmIp¶p.

BenwK\w sN¿p¶hsc hnjta¸n¨psImÃp¶

lcnXw Sruthy Kochunni | MCA

30

hnjI\yIbpsS k´Xn]c¼cIÄ.

F³aIsPbnte¡v hcpt¼mÄ kmlNcy§fpw

kµÀ`§fpw hyXykvXamWv. PohnXbmYmÀXv

Yy§fn \n¶pw Hfnt¨mSm³ thÊn ImSpIbdn

b \oeIWvT\neqtSbpw tZhbm\nbneqsSbpam-

Wv F³aIPbpsS IY ]ptcmKan¡p¶Xv. tXm

äpsImSp¡phm\njvSanÃm¯ {]IrXnbpsS \mtf

¡pÅ apXÂIq«v.

F³aIsP kXy¸SnIfptSbpw \mSmbn

cp¶p. F¶m kXy¸SnIÄ XIÀ¯n«mWv

hnIk\¯nsâ tXmSpIÄ AhÀ hgnamän Hgp¡n-

bXv. B tXmSpIfnse shÅamWv ]e ssIh-

gnIfmbn ]ncnªv F³aIPbnsem¶S¦w hnjw

hln¨psImsÊmgpIp¶ \oe Rc¼pIfmbn Im-

Ws¸«Xv. þ HcÀXvY¯n F³aIsP tXmSpIfp

sS am{Xw \mSmbncp¶p.

F³aIsPbpsS Ip¶pIfn \ns¶mgpIn

hcp¶ shÅw At\Iw tXmSpIfneqsS {]

hln¨p. F³tUmkÄ^m³ Xfn¡p¶Xn\pap¼v

Pet{kmXkpIsfÃmw aqSnbncn¡Wsa¶ \n

baw ]men¡s¸Sm¯Xn\m InWdpIfnÃm¯

F³aIsP¡mÀ hnjabamb tXmSpIfnse

shÅs¯ btYjvSw IpSn¨pXXv^eambn

F®nbmsemSp§m¯ hnNn{XtcmK§Ä ]

SÀ¶p ]nSn¨p. AhnsS P\n¡p¶ Hmtcm

Ipªpw hnIrXcq]§fmWv ctÊm aqt¶m

hbÊnsâ icocapÅ bphm¡sfsImÊv

F³aIsP \ndªp. AhnSs¯ A½amcpsS

ape¸m t]mepw hnjabambv. Nn{Xie`§fpw

]dhIfpw A{]Xy£ambn.

a®n\pw a®nsâ a¡Ä¡pw thÊnbm-

Wv F³aIsP¡mÀ t]mcmSnbXv. PbcmP\pw,

{iocmabpw, tUmIvSdpw, {]Imibpw Achnµbpw

t]mepÅ At\Iw t]À \oeIWvTt\msSm¸w

B t]mcm«§fn ]¦ptNÀ¶p. temIs¯ Hfn

¨v ImSpIbdnb \oeIWvT³ \m«nte¡mZyambn

Cd§nbXv ]co£n¯n\pthÊnbmbncp¶p.

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\nbmWv \oeIWvT\nse¯n¨Xv. \m«n ]

co£n¯ns\t¸mse At\Iw Ip«nIfpsʶv

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Xs¶bhÀ \nivNbn¨p. F¶n«pw Ahkm\w

AhÀ¡v tXmäpaSt§Ên h¶p. hnjI\yIbpw

F³aIsPbpw a®nsâ KoXI§fmIp¶p.

BZyt¯Xv hnPbImlfsa¦n ASp¯Xv

timIKm\hpw

F³tUmkÄ^m³ F¶ amcI hnjw IoS\m

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Ahkm\w kzbw ebn¨ptNÀ¶ At\Imbncw

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hIbn IpXnÀ¶v Ime¯nsâ cmk{]{Inbbn

 sImSnb hnjambn F³tUmkÄ^m\m

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kq£n¨ph¨ {]XnImc¯nsâ s]bv¯v!!.

.

IiphÊnt¯m«§Ä¡v IoS\min\nsb¶ t] cn F³aIPbpsSbpw ]cnkc{]tZi§fptS

bpw BImi§fneqsS AtX `qI\yIb-psS

amdntes¡mgn¨psImSp¯ F³tUm-kÄ^m³

F¶ sImSnb hnjs¯¸änbpw B

hnjhocy¯n acn¨p achn¨v Pohn¨p-

sImÊncn¡p¶ AhnSps¯ ]mhw P\§sf¸ änbmWv F³aIsP ]dbp¶Xv. IYbn-Â

kqNn¸n¡p¶Xpt]mse Xs¶ F³aIsP¡v

31

khntijXIÄ At\IamWv. IYbpsS

Hmtcm L«¯nepw F³aIsPbpsS IYm

\mbI³ Xncn¨dnbp¶Xv Hmtcm Xc¯nemWv.

F³aIsPsb Ip¶pIfpsS \mSmbpw F«v kwkv

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F³aIsP hnNn{XPohnIÄ ]mÀ¡p¶ \mSmWv

F¶ Xncn¨dnhmWv thZ\mP\Iamb kXys¯

Xpd¶pIm«p¶Xv.

tImSmIcn¡p¶pw PUm[mcnaebpw

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IWvT¯nteänb PUm[mcnbpsS ae\ndsb

Bcyth¸v F¶Xv Hcp hntcm[m`mkamImw.

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`qI\yI Xsâ KÀ`]m{X¯nsemfn¸n¨psh¨ ]

cnWma{]{InbbpsS \mtf¡pÅ IcpXnshbv¸v.

þ `qI\yIbpsS hnip²KÀ`w....!!!

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bcpfnb ape¸m IpSn¨p sXgp¯hÀþ

s¡mcpZmlapÊmbv (HSp¡s¯ Zmlw!)

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CXv ]mSpt¼mgpw BapJambn Ihn ]

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{]`mXIp¦paw XpSn¡p¶XvImWm\mWv Xm\n

jvSs¸Sp¶Xv.

""Hmtcm bpK§Ä Ignbth X³Imenþ

temtcm¶p sh«napdn¡bmte

Häbmw Imen X]n¨p\n¡pw

almZp:JnXbmw [À½sa¶t]mse''

Ihn Xncn¨dnbp¶p. F³aIPtbmsSm¸w hnjI

\yItbmSpw tNÀ¯v hmbn¡pt¼mÄ H¶pIqsS

kmÀXvYIamIp¶p. `qansbm¶msI \in¡phm³

t]mhpIbmsW¶dnªn«pw AÃ X\n¡mbn

IcpXnbsXt´m_m¡nbpsʶ tXm¶Â. ]p Xnb \sÃmcp \mtfbpsS IhnbpsS {]Xo£Ifm-

Wv \manhnsS ImWp¶Xv. \ap¡pw {]Xo£n¡mw

F³aIPbpsS IYmImc\pw Ahkm\n¸n¨Xp

t]mse, `qantZhn Xsâ ]qÀÆmtcmKyhpw buÆ\

Im´nbpw hosÊSp¯v kucbqYhoYnbn kÀÆm`cW hn`qjnXbmbv Fs¶¶pw hncm

Pn¡psa¶v, B kpZn\w Gsdsbm¶pw

AIsebsö..v

32

War is the last situation where you wouldexpect to find humour. When negotiations

collapse, disagreements arise over geographical borders or sensitive issues are aggravated, then we find the masterminds reeling with joy as they gear up for the time of their lives, it’s time for war! Hurray folks, gather around, grab your armours, load your weapons, let’s demolish all that comes our way! Now that’s some serious entertainment business. Finding it difficult to sink in? Perhaps you should grab a copy Catch-22. Bodies blown to smithereens, debris strewn all over the places, hopes and lives shattered- that’s what our idea of war is. Syria, South Sudan, Af-ghanistan- they are all fuming with unrest at pres-ent. Reports of havoc unleashed in these regions reach us every now and then. You never miss those chances of relishing the fleeting pleasure of em-

pathizing with the unfortunate beings of the war struck nations. There are millions out there battling it out, fighting till their last breath for their cause. “Our own country may be destroyed beyond repair!” “So what? It’s all for the ideal!”“Hundreds of innocent people may lose their lives!” “Maybe, but didn’t they all give it up for the ideal? We’ll meet them in heaven! The ideal, that’s what matters the most.”“ So what’s the actual ideal that you are fighting for?” “Well, eh… It’s the ideal, don’t you dare question it!” War is nothing but a lot of senseless chaos and that’s what you find described with gruesome clarity in Joseph Heller’s much acclaimed satiri-cal novel, Catch-22. This unique book follows a

disjointed narrative which is savagely funny. Even the title Catch-22 has become a by-word used to describe a paradoxical situation from which it is impossible to escape owing to the constraints defined by the situation itself. The story is set in an aircraft base in Italy during the Second World War. The protagonist of the novel is Captain John Yossarian who loathes everything about war and believes that everyone around him is secretly plot-ting to kill him. He tries in vain to return home but the bureaucrats prevent him from doing so with their shrewdly crafted catch. Once you have flown the prescribed number of missions, you may return home. But every time Yossarian is about to reach that number, the number of missions get raised. He tries to put on a pretext of being insane but even then the catch doesn’t enable him

CAUGHT BY THE CATCHAshna Basheer | EEE

33

to escape. This is how Doc Daneeka describes the Catch: “Orr would be crazy to fly more missions and sane if he didn’t, but if he was sane he had to fly them. If he flew them he was crazy and didn’t have to; but if he didn’t want to he was sane and had to.” In short, whatever the situation is, there is no way out. Even Yossarian is struck by the inge-nuity of Catch-22. The novel is filled with a copious amount of mad-ness; madness resplendent with hilarity, madness which complements the repulsive reality, madness which makes you recoil with horror and the sheer madness of war. Through the mayhem created by the ensemble of absurd characters, Heller makes the reader reflect at the emptiness of their pursuits and towards the end, it even takes the tragic route with Yossarian’s disillusionment with life. This realization resonates within long after you have finished the book.“Man was matter. Drop him out a window, and he’ll fall. Set fire to him and he’ll burn. Bury him and he’ll rot, like other kinds of garbage. The spirit gone, man is garbage.”

Though shrouded with lies, life has two moments of truthOne during the first breath; the second on the lastThe race in between mutilates the senseOf all that is pure - Honour, duty, mercy, love and hopeMillions of random choices, cumulatively design the pathI follow, haze obscuring my future, mocking my senses.In retrospect, Years smeared with greed, anger and lustSeems so naive, when they could have smelled of love and laughterI sought to escape the repugnance of the worldThrough bribing deities, thousands of themOblivious to the fact that the world is devoid of divinity,Which was either always absent or forsake us upon the loss of hope.Then it dawned upon me, that divinity is not omnipotenceBut the ability and the will to reshape the world, rebuild itOut of chaos so that its colours are never washed up, its songs,Never out of tune, landscapes reclaimed by nature and hearts, never frail A quest which the world deems impossible,This essentially being my swan song,All regrets gnawing on my conscienceI shout out “I am a man, frail yet determined and I will be immortal”

Swan SongAdwaith | Electrical

34

a\pjy³ ]ptcmKant¡Êp¶Xv am\pjnIaqey§ f-psS hnImk¯neqsSbmhWsa¶v hnfnt¨mXp¶

H«\h[n IrXnIÄ, FÃmw \³abptSbpw, kl-

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t\cn«pIÊv AÂ]t\cw kwkmcn¡m³

km[n¨t¸mÄ FsâbpÅn AtimI³ NcphnÂ

Hcp {]`mhebw krjvSn¡pIbmbncp¶p.

1. Xm¦fn Hscgp¯pImc\psʶv a\-Ênem¡nb kml-

Ncyw?

-þ kzm`mhnIambpw hmb\ Xs¶bmWv

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tXm¶pIbpw A§s\ hmcnIIfnte¡v IYIs-

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hyXymks¸Sp¶p?

-þ CXv hfsc {]m[m\yapÅ Hcp Im-

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35 ``

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GXmÊv 10 hÀjw {KmaoWXe¯n cmjv{Sob{]

hÀ¯\w \S¯nbn«pÊv. B ImeL«¯nse

PohnXm\p`h§fmWv Fsâ ssIapXÂ. B

Imes¯ sXmgnemfn kwLS\Ifpambn _

Ôs¸«v km[mcW¡mcpambn ASp¯nS]gIm³

Ahkcw In«nbn«pÊv. AhcpsS hoSpIfnÂ

t]mbn IpSpw_§sf ImWm³ km[n¨p. Ah-

cpsS kvt\l_Ôw D¶Xamb kwkvImcw

aäpÅhÀ¡pthÊn kzbw AÀ¸n¡m\pÅ

k¶²X CsXm¶pw Rm³ ]n¶oSv hym]cn¨ ta-

JeIfnsem¶pw IÊnÃ. ]e D¶XtaJeIfnepw

{]hÀ¯n¡m³ F\n¡v Ahkcw In«nbn«pÊv.

henb kmlnXyImc³amÀ DtZymKkvXÀ Chcn-

sem¶pw Fsâ \m«nse kmam\ya\pjycpsS

DÅnepÊmbncp¶ \nkzmÀXvYXbpw, klPohn

kvt\lhpw ImWm³ Ignªn«nÃ.

5. C¶v Nne Fgp¯pImsc¦nepw am[ya{i²¡vthÊn

ZoÀLho£WanÃm¯, BßmÀYaÃm¯ {]kvXmh\

IÄ \S¯p¶p F¶ Btcm]Ws¯ Xm¦sf§s\

t\m¡n¡mWp¶p?

þ am[ya§Ä krjvSn¡p¶ Hcp I]StemIam-

Wv \ap¡v ap¶nepÅXv. bYmÀXvY temIs¯

\ap¡v ImWm³ Ignbp¶nÃ. t\cn«pÅ ImgvN

\ap¡v \jvSs¸«ncn¡p¶p. CXv IqSpXembn

NÀ¨ sN¿s¸tSÊp¶ Hcp henb Zpc´amWv. am[ya§Ä XoÀ¨bmbpw P\m[n]Xy¯nsâ

D¶Xamb Hcp LSIamWv. ]t£ am[ya§f-psS

ta[hnXzhpw tImÀ¸tdäv _Ôhpw a\ pjysâ

ss\kÀInImab ImgvNsb ]qÀ®ambn

CÃmXm¡n. C\n am[ya§fneqsS am{Xw temIw

IÊm aXn F¶ AhkvY \ne\n¡p¶p. At¸mÄ FÃmhcpw X§fpsS PohnXs¯

36

BhnjvIcn¡m³ am[ya§sf Iq«v ]nSn¡p¶p.

P\§fpambn t\cn«v _Ôs¸Sp¶p F¶hI-m

is¸Sp¶ cmjv{Sob]mÀ«nIÄ¡S¡w AhcpsS

AWnItfmSv kwkmcn¡m³t]mepw am[ya§sf

B{ibnt¡Ê KXntISmWv h¶ptNÀ¶n«pÅXv. AXpsImÊv Xs¶ am[ya§fpsS CSs]SÂ

kÀÆtaJeItfbpw _m[n¨n«pÊv. cmjv{Sob{]

hÀ¯I\pw Fgp¯pImc\pw FÃmhÀ¡pw

kaqla[y¯n Hcp \ne\n¸v Bhiysa¦n-Â

am[ya§sf B{ibnt¡Ênhcp¶p. GsX¦nepw

coXnbn am[ya§sf Atemcks¸Sp¯p¶

Bsf Xakv¡cn-¡pIbpw \nc´cw th«bm-

SpIbpw sN¿m\pÅ {]hWXbpw IÊphcp¶p.

CsXms¡sImÊpXs¶ am[ya§fpambn tNÀ¶v

{]hÀ¯n¡p¶Xn\mWv ]ecpw {ian¡p¶Xv.

am[ya{i² ]nSn¨p ]äm³ thÊn ASnkvYm\

clnXamb {]kvXmh\Ifnd¡pI, am[ya§fpsS

hymIcW§Ä¡\pkrXambn kz´w PohnXw

Nn«s¸Sp¯pI F¶sXms¡ Fgp¯pImcpw C¶v

sN¿p¶p.

6. “{io\mcmbW Kpcp s]

cnt§m«pIcbn t£{Xhpw

B{iahpw kvYm]n¨tXmsS

ss]¦®n¡mhnse CughÀ¡v

Ieiemb thZm´{`aw ] n Sns]«p., (I¦mcp \r¯w) þ

\thmXvYm\ImeL«¯nse

{Kma§sfIpdn¨v IuXpIw Dfhm¡nb Hcp Nn{Xw. \thmX-

vYm\ {]kvYm\§Ä¡v ]n¶oSv

{Kma§fn F´v kw`hn¨p.?

þ \thXvYm\{]

kvYm\§fmWv {KmaoW

PohnX¯n Bib]

cambn«pÅ DÄ¡mgvNbpw

kaql¯n\I¯v P\m[n]

Xyhpw DbÀ¯ns¡mÊph¶Xv. ASn¯«nse a\pjysâ D¶a\¯neqsSbmWv kaql¯n\v ]p

tcmKXnbpÊmbXv _p²nPohnXhpw hnZym`ym-

khpw Adnhpsams¡ D]cnhÀKvK¯n ]Êpa-p

Êmbncp¶p. AXpsImsÊm¶pw kmaqly]ptcm-KXn BÀPvPns¨Sp¡m³ IgnªnÃ. ASn¯«nse

a\pjy³ A£cw ]Tn-¨Xv {KmaoWPohnX-

¯n henb amä§Ä DÊm¡n. _oUn¡SIf-n epw Nmb¡SIfnepw KuchamÀ¶ hnjb-§Ä

NÀ¨bmbn. AhÀ ^mknks¯¡pdn¨pw

bp²§sf¡pdn¨pw temIk¼XvLS\

sb¡pdn¨pw kwkmcn¨p XpS§n. {KmaoW

kv{XoIfS¡w DZv_p²cmbn.. CsXms¡bpw

\thmXvYm\¯nsâ henb kw`mh\bmb-n

cp¶p. Rm³ B t\mhen ]dªXpt]mse

{io\mcmbW Kpcp s]cnt§m«pIcbn t£{Xw

kvYm]n¨p. s]cnt§m«pIcbn am{X-aà AXn

\¸pd¯v ImªmWnbnepw t£{Xw

kvYm]n¨p. A§s\ ImªmWn¡pw, s]

cnt§m«pIcbv¡pw CSbnepÅ A´n¡mSv F¶

{]tZiw hfsc {]_p²ambn. CXv \thmXvYm\w

tIcfob {Kma§fnepÊm¡nb amä¯nsâ DZ-m lcWw am{XamWv. {io\mcmbW Kpcphnsâ

SNDP sbm¶paà AhnS§fn {]m[m\yw t\

SnbXv. ]Icw AhnSs¯ Zcn{Z P\hn`mK§Ä

kwLSn¨v sN¯psXmgnemfn bqWnb³, IÀ-

jIsXmgnemfn bqWnb³, NIncnsXmgnemfn

bqWnb³ Hs¡bmbn \ne\n¶p. 1957 þ 59

ImeL«¯nse hntamN\kacs¯ XpSÀ¶mWv.

tIcfob \thmXvYm\¯n\v Xncn¨Sntb¡p¶Xv

F¶mWv Rm³ Ncn{X¯n \n¶v ]Tn-¨Xv. tIc-

fob \thmXvYm\¯n\v Np¡m³ ]nSn¨ncp¶Xv

kmapZmbnI kwLS\Ifmbncp¶p. kmapZmbnI

kwLS\ F¶v \½Ä Ahsb hnfn¡pt¼mÄ

Xs¶bpw Ah tIhew kmaqZmbnIkwLS\

Ifmbncp¶nÃ. CughÀ F¶v ]dªv ]ckv]

cw kwkÀKvKanÃm¯ Ipsd hn`mK§sf

H¶n¸n¡pIbmWv {io\mcmbW Kpcp sNbvXXv.

Ahbn ]ckv]cw IÃymW¯n\v £Wn¡m¯

H¶n¨ncp¶v `£Ww Ign¡m¯ hn`mK§Ähsc

DÊmbncp¶p. Kpcphnsâ injy³ Ipamc\mim\v

Hcogh IÃymWho«n \n¶pw t\cn« Aht-

lf\w hfsc {]kn²amWtÃm. CXv Ipamc\ m

im³ Xmgv¶ hn`mK¯nÂs]« Cugh\mbncp¶p

F¶ Hä¡mcWw sImÊmbncp¶p. C§s\bpÅ

hn`mK§sf H¶n¸n¡p¶Xn Kpcp IÊXv AhcpsS km¼¯nI kvYnXn, kmaqlnIkvYnXn

Hs¡bmbncp¶p. AÃmsX kXzhmZ]camb Hcp

kao]\ambncp¶nà A¯c¯nÂXs¶bmWv \m

bÀ hn`mK§fpw kwLSn¨Xv. F¶m Cu

kmaqZmbnI iIvXnIÄ ]n¶oSv hntamN\ kac

I-met¯msS At§bäw ]n´ncn¸\mhpIbmWv

DÊmbXv. CXn\pap¼v kÀ kn. ]n bpsS Ime¯v

Xs¶ AhbpsS A]Nbw IÊpXpS§nbXm-

37

Wv. Cu kwLS\Isf cmjv{Sobambn D]

tbmKn¨Xnt\mSv IqSn {KmaoW PohnX¯nÂ

DÊmbncp¶ kwhmZMXvaIX, P\m[n]Xyw

Imcy§fn- CSs]Sm\pÅ iIvXn F¶nh \

jvSambn.

7. “PmXnaX taemf³amÀ tIcfob kaql¯nse

cmjv{Sob kmwkvImcnIaJeIfn

-Â CSs]«v thcpIÄ Dd¸n¡m³ {ian¡p¶p þ

CXns\ Xm¦Ä F§ns\ t\m¡nImWp¶p.?

þ Ct¸mgs¯ PmXn, aX, kmapZmbnI

t\XrXzw F¶v ]dbp¶Xv GsX¦nepw

ASnkvYm\{]iv\§Ä D¶bnt¨m,

Asæn AXXv P\hn`mK§fpsS

IjvS¸mSpIsf ap³\nÀ¯ntbm {]

hÀ¯n¡p¶ Hcp kwLS\m cq]aÃ. ad-n¨v

Ipd¨v t]À¡v kaql¯n {]mam-WnIXzw

e`n¡m³ thÊn Hscfp¸ hgn F¶ \nebn PmXntbbpw aXt¯b-pw

D]tbmKs¸Sp¯pIbmWv. CXv Hcp

kaql¯n\v A[nImc¯nse¯m\Ã adn¨v

Cu kaql¯nse t\Xmhmbn Naªp

\S¡p¶ NneÀ¡v Imcyambn shbnepw

agbpw sImÅmsX P\tkh\w \S¯msX

XymKa\pjvTn¡msX t\XrXz¯nte¡v

hcm\pw `cW¯nsâ ]¦p]äm\papÅ Hcp

Ffp¸hgnbmbn PmXntbbpw aXt¯bpw D]

tbmKs¸Sp¯emWv.

8. “F.kn. tIm¨pIfnse k©mcw Rm³ shd-

p¡p¶p? (Xm¦fpsS teJ\¯n \n¶v). a\pjysâ

BUw_cPohnXt¯mSpÅ {`aw kmaqlya\pjys\

CÃmXm¡p¶p F¶ A`n{]mbaptÊm?“.

þ XoÀ¨bmbpw. ChnsSbmWv Rm³

KmÔnsb Bcm[n¡p¶Xv. A¶t±lw

aq¶mw¢mÊv XohÊnapdn Xs¶ bm{Xbv¡v

XncsªSp¡m³ ImcWw km[mcW¡mcmb

aq¶mw ¢mÊv XohÊnapdnbn am{Xw bm{X sN¿m³ hn[n¡s¸« P\§Ä¡v {]Xymi \

ÂIm³ thÊnbmbncp¶p. Xm³ efnX PohnX-amWv \bn¡p¶Xv F¶v temIsc apgph³ Ad-n

bn¡p¶ Imcy¯nepw KmÔnPn¡v henb XmXv]

cyapÊmbncp¶p. ImcWw A§ns\ am{XamWv Zcn{Z\v Xsâ PohnXw PohnXamsW¶pw X\n¡pw

Hcp {]kIvXn Dsʶpw Xncn¨dnbp¶Xv. km[mcW¡mc\v FÃmhn[ hntamN\§fptSbpw

ssIapXÂ. At¸mÄ Ahs\ apJy[mcbnte¡v

sImÊphcWsa¦nÂ, Ah\v BXvahnizmkw \ÂIWsa¦n Ah\nsemcmfmbn Pohnt¨

aXnbmIq. AsXmcp kacamÀKvKamWv. asäm¶v

AXv a\pjys\ ASp¯dnbphm\pw a\pjym\p

`h§sf a\Ênem¡m\papÅ Hcp amÀKvKhpam-

Wv.

9. “ \jvSs¸«Xv Nmb¡SIfmWv. Xncns¨Spt¡ÊXv

PohnX§fpwþ“ Xm¦fpsS teJ\¯n \n¶v; tkm-

jy s\ävhÀ¡neqsSbpÅ Iq«mbvaIÄ¡v ]gb

Nmb¡Sbnse H¯pIqSensâ BXva_Ôw

DÊm¡m³

Ignbpsa¶v tXm¶p¶ptÊm?þ A§s\ Rm³ BZyw {]Xo£n¨ncp¶p.

t^kv _p-¡ns\ Hcp Nmb¡St]msebmWv

A¶v tXm¶nbXv.]s£ t^kv_p¡neqsSbpÅ

CSs]SepIfneqsSbpw, C{Xbpw Imes¯ A\ p

`h§fneqsSbpw F\n¡v a\Ênem¡m³ Ig-nª

Xv tkmjy s\ävhÀ¡v Iq«mbvaIsfms¡b-pw

a[yhÀKvKPohnX¯nsâ Hcp t\cwt]m¡mbn

am{Xta ImWm³ Ignbq F¶pÅXmWv. H¶pw

sN¿m³ Ignbm¯hsâ XmÂ]cyanÃm¯hsâ

k`Ifmbn Ah amdnbn«pÊv. At§bäw ]n´n cn¸³amcpw, hÀ®shdnb³amcpw, aXhmZnIf-pw ,

khÀ® ]utcmlnXz hmZnIfpw, tImÀ¸tdäv

Zmk³amcpsams¡bmWv CâÀs\äv Iq«mbvabnÂ

ta[mhnXzw hln¡p¶hÀ. AXns\mcp _ZÂ

DÊmhptam, tkmjy s\ävhÀ¡pIÄ P\m[n] Xy¯n\v hnt[bamhptam, Fs¶ms¡ ]co£n¨d-n

tb ÊXmWv. I¼yq«À BZyL«¯nsems¡ hfsc hne]nSn¨ Hcp]IcWambncp¶p, AXnsâ

kmt¦XnIhnZy km[mcW¡mc\v {]m]yamb Hcp

C]IcWam¡nam¡m³ \ap¡v Ignªn«pÊv ]

t£ BZyL«¯nse hyhkvYm]nX hn`mK§f-p

ambn«pÅ N§m¯w AXn\v khÀ® ]utcml-n

Xz tImÀ¸tdäv kwkvImcw DÊm¡nbn«psʶm-Wv F\n¡v tXm¶p¶Xv. B kwkvImcs¯

CSn¨vs]mfn¨v Hcp kmwkvImcnI hn¹h¯neqsS

am{Xsa km[mcW a\pjy\v B taJebnte¡v

IS¶phcm³ Ignbq.

10.Xm¦fpsS ]e IrXnIfpw ]gabpsS {]uUn t]dp¶hbmWv. Ignªpt]mb ImeL«w Ipd¨pIqSn

BkzmZyambncp¶p F¶ tXm¶eptÊm?.þ AXv \sÃmcp hnaÀi\amWv. AsXsâ

]cm[o\XbmsW¶v tXm¶p¶p. Ignªpt]

mb ImeamWv Icn F¶ imVyw \ÃXÃtÃm.

F\ns¡mcp Imcyw Dd¸n¨p]dbm³ Ignbpw.

38

Rm³ \Ã Imebmbn IW¡m¡p¶Xv 1930

IÄ apXÂ 50 IÄ hscbpÅ Hcp ImeL«am-

Wv. AXn\v ap¼s¯ Hcp Imes¯ Rm³

\sÃmcp ImeL«ambn IW¡m¡p¶nÃ.

tIcfw Hcp ^yqUÂ ta[mhnXz¯n\v IognÂ

sRcp§n Pohn¨ Imes¯ \ÃImeambncp¶p

Fs¶ms¡ hmgv¯p¶hÀ \ap¡nSbn C¶-p

apÊv. km[mcW P\§Ä C´y³ tZiob {]kvYm\¯nte¡v IS¶ph¶ Imes¯bm-

Wv Rm³ \ÃImesa¶v hnfn¡p¶Xv. CXnÂ

tZiob{]kvYm\s¯ P\m[n]XyhÂIc-

n¨Xv km[mcW P\§fmbncp¶p. 50 If-psS

Ahkm\t¯mSpIqSn Asæn 60

IfpsS XpS¡t¯mSp IqSnXs¶ tZiob

{]kvYm\¯ntâbpw \thmXvYm\ {]

kvYm\§fptSbpw Icp¯v tNmÀ¶v t]mbn

F¶ [mcWIsfms¡ \ne\n¡p¶pÊtÃm. kmam\y a\pjyÀ kmaqlyþ kmwkvImcnI ]

cnhÀ¯\¯n ]¦psImÊ ImeL«s¯ am{Xw \à Imeambn ]cnKWn¨v AXn am{Xw {i-²

tI{µoIcn¨v ]ptcmKa\ ]cnhÀ¯\iIvXnIsf

ImWmXncn¡p¶p F¶ Bt£]apsʦn AsXsâ ]cnanXnbmWv.

11. “ aI³ GEC bn \n¶v ]Tn¨nd§nbn«v cÊphÀ-jamIp¶p. tImtfPpIfpambpÅ _Ôw? hnZymÀXvYnIt-

fmSv ]dbm\pÅXv?

þ Fs¶ kw_Ôn¨nSt¯mfw hfsc

kt´mjapÊmb Hcp ImeL«amWv Fsâ

aI³ GEC bn ]Tn¨Imew Ahs\ Hcp

Kh. tImtfPn Xs¶ ]Tn¸n¡Ww F¶pÅ

B{Klw F\n¡pÊmbncp¶p. ImcWw

kzm{ib tImtfPpIfpamsbms¡ _Ôs¸«v

kaql¯n Iecp¶ amen\ysams¡ \½Ä

t\cs¯ NÀ¨ sNbvXpt]mb Imcy§fpambn

_Ôs¸«pInS¡p¶XmWv.

Rm³ tImtfPnte¡v CSbvs¡ms¡

hcmdpÊv. cÊv {]n³kn¸Äamcpambn \à _

ÔapÊmbncp¶p. hfsc P\m[n]Xy]cambn {]hÀ¯n¡p¶ Hcp IemebamWv Rm\hnsS

IÊXv. s{]m^jWÂ hnZym`ymk¯n\v thÊ

\nb{´W§Ä am{Xta hnZymÀXvYnIÄ¡pÊmb-n cp¶pÅq. Fsâ aIs\IqSmsX hnhn[ta-

JeIfn {]hÀ¯n¡p¶ Fsâ kplr¯p¡Ä,

`mcy ktlmZc³ Hs¡ ]Tn¨ IemebamWv

XrÈqÀ Kh. F©n\obdnwKv tImtfPv. AX-p

sImsÊms¡Xs¶ hyIvXn]cambn hfsc b[nIw A`nam\w tXm¶p¶ IemebamWv \n

§fptSXv.

\n§Ä {]hÀ¯nt¡ÊXv kÀKvKmX-va Iamb, P\m[n]Xy]camb Hcp Iym¼kns\

apt¼m«v \bn¡p¶n\v thÊnbmWv. hnhmZ§sf Hgnhm¡n \nÀ¯n Iym¼kns\ kwhmZmX-va

Iambn \ne\nÀ¯m³ {ian-¡Ww.

Interviewed by:Prabhu B,Ramees Thattarath

39

I sit here in silence,darkness crawled overscreams faint downMy hope is gone

Dreams of better daysBeam of light rays,Years of stupid plays,Cheers of late okaysAll is gone.

It came into my life When I was little.

Up-on a fizzy -vista blessedI tried to focus; nothing ever

Solid came to viewI blinked, through theColoured here, and it appeared You may call it hope.

That keeps all alive,Teaches me to survive.Became a candle in night,and a weapon to fight.But, everything gone.

Now, nothing is clear,and no one to hear.Am full of fearsand eyes are filled with tears.

And.... (A knock at the door)

HOPEShameem A | Production

40

Cu temIw {]ImiapJcnXamç¶Xn\nSbnÂ

AWªp t]mb shfn¨§Ä

\s½bpt]£n¨v t]mhpt¼mÄ I¿nteev¸n¨

ssI¯ncnsh«w sISmsX kq£n¡m³

\½psSbpÅnse Cê«ns\ tXmev¸n¡m³

\ap¡nSbnse Cê«ns\ Pbn¡m³

HmÀs¯Sp¡mw B \Ã PohnX§sf

ad¡mXncn¡mw AhêsS A`nemj§sf....

Z£nWmaqÀ¯nkzmanIÄ, ImgvNbnÂ

cq]`mh§Ä ]cnjvImcs¯m«nemb kn\n

abv¡v tNcm¯ BfmWv. . icn¡pw \sÃmcp

`mKhXÀ! Cu cq]¯n Hcp kwKoXkwhn[m-

bI\pÊmhnÃ. F¶m aq¶v Xeapdbnse KmbIcpsam¯v ]pXnb CuW§fn kwKoXw

XoÀ¯ alm{]Xn`bmWv At±lw.

A¼XpIfnemWv NeNn{XkwKoX¯n Z£n-

WmaqÀ¯nbpsS XpS¡w Ip©mt¡m \nÀ½n¨

\ÃX¦bneqsS ]n. Fkv. ZnhmIÀ, NnZw_c\m

Yv F¶nhsc amän\nÀ¯nbm A¶v kn\na

b v¡v kwKoXkwhn[mbIcnÃ, BthihpanÃm

bncp¶p. ImcWw lnµn, Xangv CuW§Ä ]

IÀ¯nshbv¡m³ ]m«pImcpw, kmt¦XnI hnZ-

KvZcpw [mcmfw aXnbmbncp¶p. "\Ã X¦' ]t£

henb amäapÊm¡n. A`btZhnsâ hcnIÄ¡v Z£nWmaqÀ¯n kwKoXw \ÂIn ssh¡w

aWn, ]n. eoe, Km\KÔÀh³ sI. sP. tbipZm-

knsâ ]nXmhv AKkvän³ tPmk^v F¶nhÀ

]mSnbt¸mÄ AXn\v aebmf¯nsâ cpNnbpw

aWhpw h¶p. AtXmsSm¸w Z£nWmaqÀ¯n

F¶ kwKoXkwhn[mbIsâ P\\hpw XpSÀ¶v

PohnX\uI, \htemIw F¶o kn\naIfnse

Km\§fneqsS At±lw kq¸À lnäpIfpsS

kwKoXkwhn[mbI\mbn. aebmf NeNn{Xkw

KoX¯n\v kz´amb Hcp ssienbpw hyIvXnXzhp

apÊm¡nbXv kzmanbmbncp¶p.

kwKoXw Z£nWmaqÀ¯n¡v IqS¸nd¸mbn

cp¶p. kwKoXt¯mSpÅ {`aw ]¯mw¢mtkmsS

]T\w Dt]£n¡m³ CSbm¡n. Pn. sh¦nSmNew

t]mänbmbncp¶p At±l¯nsâ Kpcp. aq¶phÀ-

jw t]mänbpsS Iogn- ]Tn¨v IÀ®mSI kwKoX-

¯nsâ ASnkvYm\w a\Ênem¡nb At±lw

13þmw hbÊn Act§äw \S¯n. \nc´camb

km[\bmWv Xsâ hnPb¯n\v \nZm\sa¶v

At±lw Ft¸mgpw A\pkvacn¨p.

Z£nWmaqÀ¯n Km\§fpsS sdt¡m

UnwKn\pap¼v cÊpw aq¶pw Znhkw dntlgvkÂ

\S¯pambncp¶p. F{XIÊv ]cnioe\w \

S¯p¶pthm A{XIÊv ]pXnb Bib§Ä

Hmtcm XhWbpw DZn¡pIbpw Bem]\w t{imXm

hnsâ AwKoImcw ]nSn¨p]äm³ ]cym]vXam-

¡pIbpw sN¿psa¶mbncp¶p At±l¯nsâ

]£w.

kwKoXkwhn[m\¯n Hcp am{Xbnepw

kzman Aek\mbncp¶n«nÃ. \nÊmcImcy§fn

Ât]mepw Pm{KX ]peÀ¯n. sdt¡mÀUnwKv

thfbn Nmb sImÊph¶ncp¶ ]¿sâ ap-

J`mhwt]mepw At±lw {i²n¡pambncp¶t{X.

]m«nsâ anIhpw ]mfn¨bpw B apJ¯v hcpw.

Ahsâ kwXr]vXn ]m«nsâ hnPb¯n \n

À®mbIambn At±lw ]cnKWn¨p. kmln

Xyw \s¶¦n kwKoXw IqsShcpw. F¶mWv

At±l¯nsâ aXw. kwKoX¯n\pthÊn ]m

«nse Hc£cw amäm³t]mepw Xm\nXphsc ss[-

cys¸«n«nsöv At±lw ]dbpt¼mÄ "B[p\nI'

kwKoXkwhn[mbIÀ incÊp\ant¨ aXnbmIq.

1950 se \ÃX¦bn XpS§n 2008 se

angnIÄ km£n hsc \mev ZiI§fmbn 126

NeNn{X§Ä¡v kwKoXkwhn[m\w \nÀÆln¨p.

Bbnc¯ne[nIw ]m«pIÄ Ahbntesdbpw

IoÀ¯\§fpw, `IvXnKm\§fpw \mev Xangv kn\n

aIÄ¡pw At±lw kwKoXkwhn[m\w \nÀÆln

XeapdIÄ IS¶ kwKoXwHemkiran P | EEE

42

¨p. 1951 Â PohnX\uI ]pd¯nd§nbt¸mÄ

Z£nWmaqÀ¯nsb am[ya§fn hntijn¸n¨Xv

"tIcf \ujmZv' F¶mbncp¶p. 18 hÀjw ap³] v

At±lw kwKoXw ]IÀ¶ "CS\mgnbn Hcp

Imsem¨' F¶ Nn{X¯nse "hmXn¸gpXn-

eqsS³ap¶n Ip¦paw' F¶ ]m«v Imesa{X

Ignªn«pw aebmfnIfpsS KrlmXpcamb

HmÀ½IfpsS CS\mgnbnepÊv. F-¶m Cu Nn{X-t¯msS At±lw aebmf NeNn{XcwK¯p\n

¶pw hn«p\n¶p. thdn«pt]mIÂ aebmfkn\n

abn Ipdn¨Xv amä¯nsâ ASbmfambncn¡mw.

Asæn ]pXnb CuW§fpamsb¯nb ]n

³apdbpsS hchmImw. AXpasæn I¨hSth-

K¯n\p]pdsI kzman¡pt]mIm³ a\Êphcm

¯XpsImÊmImw. AXn\ptijw Htcsbmcp Nn{X-

¯n\pthÊntb At±lw kwKoXkwhn[m\w \n ÀÆln¨n«pÅq.

Hcp]mSv kwKoXkwhn[mbIÀ kw`mh\

sNbvXn«pÅ aebmf NeNn{X Km\imJbnÂ

]eXpsImÊpw Z£nWmaqÀ¯n ap¶nepÊv.

¢mknk¯nsâ t]io_eapÅ ImÂ]\nIX

C{Xbpw kzm`mhnIambn aämcptSbpw kwKoX-

¯n ]Xnªn«pÊmhnÃ. AXpsImÊmbn

cn¡mw kzmansb aebmf¯nsâ \ujmZv F¶v

hntijn¸n¨n«pÅXv.

aebmf¯nse Gähpw anI¨ imkv{Xob

kwKoXm[njvSnX Km\§fn H¶v, Hcp ]t£

H¶mat¯Xv Cu kwKoXkwhn[mbIsâbmbn

cn¡mw þ "Im«nse ]mgvapfw XÊn \n¶pw' (hnebv¡phm§b hoW) Gähpw anI¨ bpK-va

Km\§fnsem¶mWv. "kz]v\§Ä, kz]v\§tf

\n§Ä' (`mcyamÀ kq£n¡pI) Bbncn¡pw.

Gähpw anI¨ Xmcm«v, kwibanà "]m«p]mSnbp-

d¡mw Rm³' (koX) Bbncn¡pw.

XymKcmPkzmanIÄ ssZhnI kvYm\

t¯¡v \S¶pt]mbXv kwKoX]mZpIw

AWnªmWv. AhnsS F¯nb At±lw

Dt]£n¨ B ]mZpI§Ä XebnteänbmWv

Fs¶t¸mepÅhÀ \S¡p¶sX¶v At±lw

Hcn¡Â ]dbpIbpÊmbn.

Z£nWmaq¯n kzman \S¶p \S¶v B

e-£y¯nse¯nbmWv \s½ hn«p]ncnªXv F¶v

\ap¡v hnizkn¡mw.

43

Nne hyIvXnXz§Ä A§ns\bmWv, acWw AhcpsS {]

hÀ¯\§sf Hcn¡epw XfÀ¯mdnÃ. hÀj§Ä¡p ap³]v

cmLh³ amkväÀ Nn«s¸Sp¯nb A\izcKm\§Ä Ct¸mgpw

\½fn {]hÀ¯n¡p¶Xv AXn\pZmlcWamWv. {]Xn`m[\

cmb IemImc³amÀ `mKyhm³amcmWv. AhÀ X§fpsS

IemkrjvSnbneqsS A\izcX ssIhcn¡pw. A¯c¯nÂ

A\izc\mb IemImc\mWv cmLh³amkväÀ. F¦nepw

B IemImc\n- \n¶v asämcXv`pX krjvSn DÊmInsö

hnjaw am{Xw. Z£nWmaqÀ¯n¡pw, cho{µ³amkväÀ¡pw ,

_m_pcmPn\psams¡ tijw cmLh³ amkvädpw IqSn hnS]

dbpt¼m-Ä Hcp ImeL«¯nsâ sshhn[yamÀ¶ kwKoX

{]]©w HmÀ½Ifnte¡v DÄhenbs¸Sp¶p.

60Hmfw Nn{X§fnembn GItZiw 400 Km\§Ä

At±lw Nn«s¸Sp¯nbn«pÊv. B ImeL«¯nse aäp

kwKoXkwhn[mbIcn \n¶pw XoÀ¯pw hyXykvX\m

bncp¶p cmLh³ amkväÀ. \mS³]m«pIfnse X\Xp Cu-

W§tfmSngpIn tNÀ¶hbmbncp¶p amkvädpsS Km\§fn

e[nIhpw. FÃmcpw sNmÃWv...., Ipbnens\t¯Sn...., lmep

]nSns¨mcp ]penb¨³...., \bm ss]kbnÃ...., ams\¶pw

hnfn ¡nÃ...., At¸mgpw ]dªntÃ..., Im\\Ombbn-Â...

cmLh³ amkväÀ HtcmÀ½Ipdn¸v

Shyam P | Chemical

44

XpS§nb ]m«pIfnse \njvIf¦`mhw Gsd

NÀ¨ sN¿s¸«XmWv. tIcf¯nsâ X\Xmb ]

m«p ssiensb apdpsI ]nSn¨ hyIvXnbmbncp¶p

At±lw. AXpsImÊpXs¶ kwKoXtemI¯v

XtâXmsbmcp hyIvXnap{Z ]Xn¸n¡m³

At±l¯\v Ignªp.

ImetZim`mjmZnIÄ Hcp hyIvXnsb

Gsd kzm[o\n¡psa¶v tI«n«pÊv. IemIm c³amcn kzm[o\w Ipd¨[nIambn ImWm³

km[n¡pw. 1914 Â XetÈcnbnembncp¶p am-

kvädpsS P\\w. XetÈcnbnse A¡mes¯

kmaqlnI hyhkvYnXnbpw AhnsS am{Xw

HXp§n \n¶ncp¶ Hcp ]mSv \mS³ Iemcq

]§fpw Hcp]s£ At±ls¯ kzm[o\n

¨ncn¡mw. AhnSps¯ IÀjItcmS[nIambn

kwhZn¡m³ X\n¡hkcw e`n¨n«psʶv ] et¸mgmbn At±lw ]dªn«pÅXmWv. Cu

k¼À¡amImw At±ls¯ kz´w a®nÂ

iIvXamb thcpIfpd¸n¨v apt¶m«v \o§m³

t{]cn¸n¨Xv. _meyImew apXÂt¡ kwKoXw

imkv{Xobambn A`ykn¨pXpS§nbncp¶p

At±lw. AXpsImÊpXs¶ imkv{XobkwKoX-¯nepÅ AhKmlw \mS³ ]mc¼cy¯nsâ ]n³

XpSÀ¨bmbn h¶ At±l¯nsâ Km\§Ä¡v

IqSpXÂ Nn«bpw kp`KXbpw \ÂIp¶Xn\v

klmbIambn F¶v IcpXp¶Xmhpw icn.

1954 Â ]pd¯nd§nb \oe¡pbnemWv

amkvädpsS kwKoX¯n ]pd¯ph¶ BZy

Nn{Xw. F¶m \oe¡pbnen\p apt¼ cÊp

Nn{X§Ä¡v At±lw Km\w Nn«s¸Sp¯n sIm-

Sp¯ncp¶p. ]s£ B Nn{X§sfm¶pw ]q

À¯oIcn¡s¸«nÃ. kwKoX kt¦X kmln

Xy¯nsâ kpµcka\zbmamWv kn\na. kwKoX-

¯nepÅ {]m[m\yw Xosc sNdpXÃ. kn\nabnse

`mh]IÀ-¨IÄ t{]-£I\nte¡v F¯n¡p¶XnÂ

kwKoX¯n\v henb {]m[m\yapÊv. "\oe¡pbn

Â' F¶ kn\nabpsS henb tXmXnepÅ P\

k½nXnbn cmLh³ amkvädpsS kwKoX¯nsâ

]¦v A{X \nÊmcasöv kmcw.

tZhcmP³ amkvädpw Z£nWm

aqÀ¯nkzmanIfpw IÀ®mSI kwKoX¯nsâ

tas¼mSn tNÀ¯ kwKoXimJbpsS hIvXm

¡fmbncp¶p. tZhcmPsâ Km\§fnÂ

IqSpXepw "skan¢mkn¡Â' hn`mK¯nÂ

s]«hbmsW¦n kzmanIfpsS Km\§Ä

Ipd¨pIqSn BVy¯zw ]peÀ¯p¶hbmbn

cp¶p. _m_pcmPnsâbmIs« lnµpkvYm\n

cpNnbpÅhbpw B ImeL«¯nse taÂ]

dªkwKoXkwhn[mbIcn \n¶pw cmLh³

amkväÀ hyXykvX\mbncp¶p. At±lw \mS³]m

«pIfpsS X\Xp ssienbn ]m«pIÄ¡v Poht\

Inbt¸mÄ hyXykvXamsbmcp kwKoXm\p

`hamWv P\§Ä¡v e`n-¨Xv. ‘aªWn ]q\n

emhnÂ’ (taml\cmKw), ‘Ip¶s¯mcpImhpÊv' (N{IhmIw), "an¶pw s]m¶n³IncoSw' (B\

µss`chn), "IcnapIn Im«nse' (taml\w)

XpS§n At\Iw Km\§Ä At±lw IÀ®mSI

kwKoXcmK§sf B[mcam¡n Nn«s¸Sp¯nbXm

Wv. "ImbecnI¯v hesbdnªt¸mÄ' F¶ Km

\¯n\v am¸nf¸m«nsâ Ci kwKoXhpambn

kmayapÊmbncp¶p. C§s\ kµÀt`mPnXambn

imkv{XobkwKoX ¯ntâbpw, \mS³ ]m«pIfptS

bpw ASnkvYm\`mh§Ä At±lw ISw sImÊp.

1939 Â Xw_pcp BÀ«nkvämbn a{Zmkv BI-

mihmWnbn HutZymInI PohnXw Bcw`n¨

sI. cmLh³ 1950 Â tImgnt¡mSv BImihm-

Wnbn F¯nbtXmsSbmWv kn\namtaJebp

ambn ASp¯v _Ôs¸Sp¶Xv. ]n.`mkvIcs

\ ]cnNbs¸Sp¶Xpw AhnsS sh¨pXs¶.A]q

ÀÆNmcpXbmÀ¶ kulrZ¯nsâ IY AhnsS

XpS§p¶p. tIhesamcp Xw_pcp BÀ«nkvämb

sI cmLh\n \n¶v kwKoXPvR\mb cmLh³

amkväÀ ]nd¡p¶Xv AhnsS \n¶mWv. ]n.`m-

kvIcsâ at\mlcamb IhnXIÄ Nn«s¸Sp¯n

AhXcn¸n¡p¶ ZuXyw amkväÀ GsäSp¯p. ]n

. `mkvIcsâ Xs¶ kwhn[m\¯n-Â ]nd¶ "\o

e¡pbnen'se kwKoX¯n \n¶pw hyXykvX-

amb kwKoXm\p`hs¯¡pdn¨v aebmfn¡¶v

Nn´n¡m³ Ignbpambncp¶nsöv kn\nam

temIs¯ ]ecpw A`n{]mbs¸«n«pÊv.

Iem cwK¯v kz´w ]mc¼cy¯neq¶n

\n¶psImÊpÅ {]hÀ¯\w kZv^e§Ä t\

Sn¯cpw F¶Xn\v \nZm\amWv amkvädpsS

PohnXw . "FÃmcpw sNmÃWv......' , "Im-

becnI¯v hesbdnªt¸mÄ...', Cu ]m«pIÄ

aqfnt\m¡m¯ aebmfnIfpÊmhnÃ. At±lw

\ap¡mbv Xpd¶n« hÀ®i_famb kwKoX

{]]©s¯ ]ecpw Adnbp¶Xv At±l¯nsâ

\ncymW¯n\p tijamWv. t\cs¯ ]dªXp

t]mse, IemImc³amÀ¡p am{Xta acWapÅq.

IemkrjvSn A\izcamWv. C\n hcm³ t]mIp¶

H«\h[n XeapdIfnte¡v cmLh kwKoXw A\

ÀKfambn {]hln¡s«. AXneqsS AhÀ kz´w

kwkvIrXnbpsS kpKÔw hosÊSp¡s«......

45

"sN½o³' kn\nabnse "am\kssat\

hcq.....' F¶ A\izcamb hnclKm\¯neqsS

C´y³ NeNn{XtemIs¯ ap³\nc KmbIcnÂ

{]apJ\mb a¶mtU F¶ {]t_mZv N{µ tU,

]qÀ® N{µbptSbpw, almab tUbptSbpw aI

\mbn 1919 sabv 1 \v sIm¡¯bn P\n¨p.

hnZym`ymkIme¯v Im«mKpkvXnbnepw,

t_mIvknwKnepw XÂ]c\mbncp¶ a¶msU ]T\

tijw apws_bnse¯nbtXmsSbmWv kwKoX-

temIt¯¡v NphSpsh¨Xv. {]ikvXkwKoXkw

hn[mbI³ Fkv. Un _À½sâ kwKoXkw

hn[m\ klmbnbmbmWv 1943 Â NeNn{X cwK¯v

Act§äw Ipdn¨Xv. Ncn{X ]pcmW Nn{X§Ä¡v

kwKoXw \ÂIp¶Xn {]tXyI ssh`hw {]

ISn¸n¨ a¶mtU DkvXmZv Aa³ AenJm³,

DkvXmZv A_vZpÄ dlvam³Jm³ F¶nhcn \n

¶v lnµpkvYm\n kwKoX¯nepw {]m hoWyw t\

Sn.

apl½Zv dm^nbptSbpw, IntjmÀIpamÀ,

aptIjv XpS§nbh-

cptSbpw klbm{X-n

I\mbncp¶ a¶m-

sU "Xa¶'F¶

lnµn Nn{X¯n-

eqsSbmWv ]n¶Wn

Km\cwK¯v lcn{io Ipdn-¨Xv. 50 hÀjt¯mfw

apws_sb Xsâ {]nbs¸« \Kcambn IcpXnb

a¶mtU Xsâ hmÀ²Iyw IpSpw_t¯msSm¸w

Nnehgn¨Xv _wKvepcphnembncp¶p.

1943 XpS§nb kwKoX k]cybn 16

`mjIfnembn 3500 Hmfw Km\§Ä¡v At±lw

i_vZw \ÂIn. Chbn ]eXpw A\izcln

äpIfmbncp¶p. DÅnsâ DÅn \n¶pw `mh-

km{µambn ]mSnbhbmbncp¶p B Km\§

sfms¡bpw. B L\Kw`ocamb i_vZ¯n\p

ap¶n AÀ²imkv{Xob kwKoXKm\§fpw {]

WbþbpKva Km\§fpw, JhmenIfpw, lmkyKm

\§fpw ap«paS¡pambncp¶p.

1953 Unkw_À 18 \v ]¿m¼es¯

Htʳ Imhp¦³ Ipamctâbpw, tZhInbptSbpw

aIÄ kptemN\sb Xsâ PohnX]¦mfnbm¡pI

hgn I®qcnsâ acpaI\mbn tIcf¯nse¯n.

]ns¶ aebmfnIÄ F¶pw s\©nteäp¶ kenÂ

Nu[cnbpsS kwKoXkwhn[m\¯n Be]n¨

sN½o\nse A\izc hnclKm\w "am\kssat\

hcq... ' CXpIqSmsX s\Ãv F¶ kn\nabnepw

At±lw Km\ame]n¨ncp¶p.

"]qtOm \m ssItk tat\....', "knµKn

ssItk tl ]len...' (B\µv), "bmco tl Cam³

tacm...' (kRvPoc) XpS§nbh At±l¯nsâ

i_vZ¯n ]nd¶ A\izc Km\§fn NneXv.

1971 Â ]Xva{iobpw 2005 Â ]Xva`q-

]m«nsâ am\kssa\ Nidhin Varghese | ECE

46

jWpw At±ls¯ tXSnsb¯n. 2007 Â

NeNn{XtaJebnepÅ AXpey kw`mh\

bv¡pÅ C´ybnse Gähpw DbÀ¶ ]pckv

Imcamb ZmZm kmln_v ^mÂsI AhmÀUpw

At±l¯n\v e`n¨p.

X\n¡pam{Xw ]mSn^en¸n¡m³ Ig-n

bp¶ Km\§fpambn a¶msU Xebp

bÀ¯n \n¡p¶Xv Xmc{]`mh¯nsâ

Xnf¡wsImÊmbncp¶nÃ. {]Xn`m kv]

Àiw sImÊpam{Xambncp¶p. HSphn 2013 HIvtSm_À 14þmw XnbXn lmÀtam-

Wnbs¸«nbnse I«Ifn hnceaÀ¯n]m

SnsImÊv \½psS a\Ênsâ ISnªm¬ GsäSp¡p¶ B i_vZ¯n\pSa Ime¯nsâ

XncÈoebn adªp. F¶m B i_vZw

_m¡nsh¨ kwKoX¯nsâ _me³kvjoänÂ

C¶pw A\izcKm\§fpsS aµlmkapÊv.. a¶mtU Ct¸mgpw ]mSp¶pÊm-

hpw, kzcmwK\IÄ \r¯w shbv¡m¯

GIm´aqIamb temIs¯¡pdn¨v

"kpÀ \ ktP Iym Kmhqw ta,

kpÀ tI _n\m Poh³ kp\m....'

47

EXpZm:

kn\na a\pjy\v F¶pw AXv`pXamWv.

F¶m AXv`pX¯nsâ t\ÀImgvNbmWv

_wKmfn kn\naIÄ. kXyPnXv dmbv, EXznIv

L«¡v, arWmÄsk³ F¶o {]Xn`mimenIÄ

Acs§mgnbpIbpw, _wKmfn kn\na AXnsâ

BibZmcn{Zy¯nte¡v DÄhenbpIbpw sN-

bvX L«¯nemWv EXp]À®tLmjv "D¶nti

G{]nÂ' F¶ Nn{Xhpambn cwK{]thi\w \

S¯nbXv, A{Xsbm¶pw {i²n¡s¸SmsX t]m

b Xsâ BZy Nn{Xw ‘Hirer Angti’ ¡v ti-j

amWv D¶nti G{]neneqsS ]ecpw ]dbm³

aSn¨ {]tab§sf Xsâ `mhpIXzt¯msSbpw

kuµcymXvaIXtbmtSbpw Bhnjv¡cn¨Xv.

At±l¯nsâ Cu hn[¯nepÅ BXvahnizmkw

_wKmfn kn\nabv¡pXs¶ Hcp ]p¯³

DWÀÆv \ÂIn F¶pthWw IcpXm³. ImcWw

Hcp kphÀ®ImeL«¯n\ptijw Bcpw

{i²n¡msX t]mb _wKmfn kn\nam taJebn

te¡v t{]£IcpsS I®pw ImXpw F¯n¨Xn

 tLmjn\pÅ kvYm\w sNdpXÃ. "D¶nti

G{]nÂ' ]eXn\pw Hcp XpS¡ambncp¶p. ssew-

KnIX, {]Wbw, s^an\nkw F¶o sXm«m s]m

Åp¶ {]tab§sf Xsâ X\Xmb ssienbnÂ

Iodnapdn¨v AhXcn¸n¡m\pw EXpZm aSn¨nÃ. Cu

hyXykvYamb AhXcW ssienbneqsS _wKm-

fn kn\nabn \n¶pw hfÀ¶v C´y³ kn\nam

Ncn{X¯nsâ Xs¶ Hcp `mKambn amdpIbpw sN-

bvXp. XncÈoebv¡n¸pd¯v Xsâ PohnX¯nepw

{]ISn¸n¨ hyXykvXXIfneqsS EXp]À®tLmjv

FÃmhcnepw \ndªp \n¶p. Hcp ]pckvImcZm\

NS§n NpcnZmÀ [cn¨v I½epaWnªv {]

Xy£s¸« At±l¯nsâ cq]w FÃmhcptSbpw

a\Ên Hcp kn\nabm¡s¸«n«pÊmhWw.

_wKmfn kmlnXys¯bpw kn\natbbpw

temI¯n\pap¶n DbÀ¯n¡m«nb cho{µ\m

YSmtKmdpw, kXyPnXvtdbpw EXp]À®tLmjnsâ

PohnX¯nse Kpcphpw, hgnIm«nbpw Bbncp¶p.

Asukh F¶ EXpZm Nn{X¯n Hfnªncn¡p¶

IYm]m{Xambn SmtKmdns\ \ap¡v ImWmw. Nn

{XmwKXbpw, tNmJÀ_menbpw SmtKmdnsâ Xs¶

{]ikvXamb IYIsf B[mcam¡nsbSp¯ Nn{X-

§fmWv.

_wKmfn kn\nabn \n¶v hyXnNen¨v

t_mfnhpUnepw EXpZmbpsS km¶n²yw Im-

Wmambncp¶p. AanXm`v_¨³, sFizcym dmbv,

APbv tZhvK¬ XpS§nb Xmc§fpsS Hcp \o

Ê \nc Xs¶ ]e EXpZm kn\naIfnepw Im-

Wmw. APbv tZhvK¬þ sFizcym dmbv A`n\

bn¨ sdbn³tIm«pw AanXm`v _¨sâ ‘The Last lear’ Dw kwhn[m\IebpsS kuµcyw HcpX-

c¯nepw tNmÀ¶pt]mImsX t{]£Isâ ap¶nÂ

AhXcn¸n¡s¸«p.

\thmXvYm\¯nsâ XpSÀ¨sbt¶mWw

kXyPnXvtd Xpd¶pIm«nb _wKmfn anUn¢mÊv

IpSpw_§fpsS PohnXs¯ Xsâ BZyIme

kwhn[m\kwc`§fn EXpZm Iq«p]nSn¡p¶Xv

ImWmw. CXneqsS Xm\pw Hcp kXyPnXv td

Bcm[I\msW¶v At±lw NqÊn¡mWn¨pX-

cp¶pÊv.

PohnX¯nsâ Ahkm\L«¯nse¯n

\n¡pt¼mÄ ap¼v AhXcn¸n¨Xn \n¶pw

hfsc hyXykvXambn ssewKnIXbpsS ]e ]

e `mhamä§tfbpw Xsâ {Im^vänsâ I¿S¡w

sImÊv t{]£I\pap¶n AhXcn¸n¡s¸«p.

s^an\nk¯neq¶n \n¶pÅ ]e {]tab§tf

bpw EXpZm Xsâ Akmam\yamb AhX-

cWssiensImÊv XnI¨pw A\mbmtk\

shÅn¯ncbn shfn¨sadnªp. Just another love story, memories in march, Nn{XmwKZ F¶o

kn\naIÄ ssewKoIXbpsS hyXykvY`mh§fn

eqsS IS¶pt]mhp¶hbmWv. Nn{XmwKZbnÂ

kwhn[m\t¯msSm¸w At±l¯nsâ Akm

BXvahnizmk¯nsâ BÄcq]wAbhinav K | Civil

48

am\yamb A`n\b]mShhpw ImWmw. kn\n

abn \n¶pw ISsaSp¯ hgnIfneqsS \o§nb

At±l¯nsâ PohnXw Xs¶ \½Ä¡nSbnÂ

Hcp k¦oÀ®amb kn\na t]mse ImWs¸«p.

AXnt\ä hnaÀi\§Ä Hs¡bpw Hcp {]Xn`bv

¡nW§p¶ hnimea\kvIXtbmsS At±lw

Gäphm§pIbmWpÊmbXv.

kXymt\zjn F¶ kn\nabpsS ]

Wn¸pcbnencns¡ Xsâ 49þmw hbÊn kz´w

^vfmän lrZbmLmXs¯ XpSÀ¶v C´y³

kn\nabnse DPzekm¶n²y¯n\v XncÈoe

hogpt¼mÄ AWªpt]mbXv ]ecpw ]dbm³

aSn¨ Bib§sf XnIª BÀPvPht¯msS

Xo£vWambn \ap¡pap¶nehXcn¸n¨ Hcp {]

Xn`bmWv. D¯cw In«m¯ ]e tNmZy§fp

ambn NeNn{X BkzmZIcpw NeNn{XtafI fpw

\S¡pt¼mÄ \½fnsems¡bpw EXpZm \nd

sªmgpIn sImÊncn¡pw.

Xs¶bpt]£n¨p t]mæ¶Xn³ ap¼v

\ns¶bpt]£n¨v t]mæìsh¦nepw

\ns¶bpt]£n¨v t]mæ¶sX§ns\

\o F\nç \evæì

\n\ç Rm³

Fs¶ {]fb \niÐXbmçì.

hncmaw

(1946-2013)Un. hn\bN{µ³

49

\ndt`Z§ÄZpcnX§Ä t]amcnbmbv s]¿p¶p....

I\hnsâ a[pcw \pWbm\\phZn¡msX

XncÈoebv¡p ]n¶n \n¶pw, \o au\ambv Nncn¡p¶p

AXp KÀPvP\ambv Cu temIs¯ \Sp¡p¶p.

cp[nc¯m A`ntjIw sNbvXn«pw \n\¡p aXnhcp¶nÃ

]«SIÄ I¯nbacpt¼mÄ

PohnXw Pzmebn \n¶pw Nmcambn Xocpt¼mÄ

\o BXva\nÀhrXn ]pÂIp¶p.....

kz]v\§Ä kzcp¡q«n ]d¶pbcpt¼mÄ

AdnbmsX \o NndIpIÄ sh«nbcnbp¶p

AXn_p²nam\mWv \o, IÀ½\ncX\mb t]mcmfn

hn[nbpw ZuÀ`mKyhpw a\pjy\pw \nsâ

hnNmcWapdnbnse XShpImÀ

shdp¸mWv \ns¶....

hnclambn s]¿p¶p \o.....

tZymhn\v \hXmcI§sf k½m\n¨v

\o Ah\nbnse shfn¨s¯ sISp¯p¶p......

cIvXlmc¯m \n\¡À¨\ sN¿phm³

[cWnsb inYneam¡nb cm{XnRvPc³amÀ aXvkcn¡p¶p.....

Praveen A Nair | MCA

50

sam«nSm³ sImXn¨p\n¡p¶ buh\§Ä¡mbv

Bib§Ä X³ {]`m]qcw \ÂIn......

GXv acW¯n\pw A]lcn¡m\mImsX \ns¶

\njvTX³ IhN§fWnbn¡p¶ IÀ®³amÀ DZn¡pw...

[À½ kXy \ymbhnimeX ]mtYbam¡nb [À½]p{XÀ ]nd¡pw.

]rYzo... \nsâ am\w Im¡phm³ KmWvUohsaSp¯ ]mÀXvY³amcpÊmIpw

\nsâ ape¸men³ am[pcy alXz§Ä \pWª

Hcmbncw hnthIkzcq]nIfmÂ

\ns¶ hcnªncn¡p¶ Xn³aX³ hXvaoI§fpw XIÀs¯dnbs¸Spw...

KK\hoYnIÄ ]nfÀ¯v... hnZypw \mZ¯n³ IctLmj¯mÂ

\³a X³ \nd¨mÀ¯Wnbn¡p¶ hÀjw hs¶¯pw

\nsâ ]p©ncnbn ChnsS hoÊpw

hk´¯n³ {]`mX§Ä hnScpw......

XaÊn³ NndIntedn ]mbp¶ acWta

GXv DZbkqcy\pw AkvXabw ImWphm³ bRvPn¡p¶p

\ns¶ angn\ocn IpXnÀ¶ A£c§fm Rm³ i]n¡s«...

Hcp tNmZyw _m¡nbmhp¶p

acWta \n\¡pw acWaptÊm?...

F¦nepw NneÀ am{Xw \nsâ NndIntedphm³

sImXn¨p \n¡p¶p.....

PmXntImac§Ä ]´mSp¶ `qanbnÂ

i_vZw \jvSs¸«hÀ... kvYm\w hyIvXaÃm¯hÀ.....

\n{ZbnemÊpInS¡pIbmWhÀ.. \nÀhrXnsb ]pÂIn

DWcphm³ tamlapsʦnepw

achn¨ `qanbn tNX\bäpInS¡p¶Xt{X DNnXw......

PohnX¯n³ Nn¯Nn{X§sfms¡bpw amänhcbv¡p¶

ssZXyhoc³amÀ A\kyqXw {]bmWw XpScpt¼mgpw

AhÀX³ IÀ½ic§fm sh´pcpIn

]rYznbn hgnhnf¡mbv \n¶

\pdp§psh«§Ä hnkvarXnbnemÊpt]mIpt¼mgpw

I³aj¯n³ almkmKcambv AhÀ BÀ¯e¨p hcpt¼mgpw

Xsâ Omb¡q«nse sshhn[yhÀ®§fm `qansb \Kv\bm¡n

hn[zwkI XmWvUhamSn ckn¡pt¼mgpw ......

\o hyÀXvYw au\w \Sn¨ncn¡p¶p........

AhÀ¡p \o hÃt¸mgpw hs¶¯p¶ hncp¶pImc³ am{Xw..

FhnsSt¸mbv \nsâ IÀ¯hyt_m[w?.....

\obpw kzmÀXvY\mbv XoÀ¶ncn¡p¶p......

ba[À½m... \obpw AkaXz¯n³ sh¶ns¡mSn ]mdn¡pt¼mgpw

{]Xo£IÄ X³ \m¼pIÄ F¶n C\nbpw AkvXan¨n«nÃ....

C\nbpw s]¿phm³ sh¼n \n¡p¶ taL§Ä¡mbn

Rm³

hnZqcXbntes¡mgpIth, Hmf§Ä

ad¶o«pt]mb \oÀ¡panf..

Ipªp\oÀ¡panf

Hcp I®naX³ BbpÊnepw,

AhtâXmIm³ sImXn¨hÄ

AhsâIncW§fn {]tim`n¨hÄ ...

HSphnÂ,

B {]WbcivanIÄ X³ Xo{hXbnÂ

Hcp I®p\oÀXpÅnbmbv,

Cu Hmf§fn AenªptNtcÊn h¶hÄ...

hoÊpsamgpIp¶p Rm³,

C\nbpsamcp Ipanfbmbv ]p\ÀP\n¡m³

\oÀ¡panfVagini T | Chemical

51

temI¯nteähpw k¼¶amb h{PJ\n

IÄ kvYnXnsN¿p¶ Z£nWm{^n¡ temI¯n\v

k½m\n¨ Aaqey cXv\amWv amUn_ F¶ s\

Âk¬ atÊe. 1918 Pqsse 18 \v Z£nWm

{^n¡bnse tdmfn lvelve atÊe P\n¨p. hn¹hhpw, {]Wbhpw AWbm¯ Xo Pzmebv¡v

AhnsS XpS¡w Ipdn¨p. sImtfmWnbenkväv

iIvXnIÄ ]n³henª "CcpÊ `qJWvUs¯' "shfp¸n¡m³' t\m¡n hÀ®shdnb³amÀ,

B{^n¡³ `cWIqSw AXn\v ssIbb¨v

klmbw sNbvXp. AXns\Xnsc Hmtcm Idp¯

hsâ a\Ênepw {]Xntj[w DbÀ¶p. (Idp ¸pw

shfp¸pw thÀXncn¨pImWm¯hcptSbpw).

Xsâ 23þmw hbÊn tPml¶mkv

_ÀKvKn F¯nb atÊe hnäv hmädm³Uv

kÀÆIemimebn \n¶v \nba_ncpZw t\Sn.

1943 Â ANC (B{^n¡³ \mjvWÂ tIm¬{K-

kv) bn tNÀ¶p. ]n¶oSv F.F³.kn amUn_

F¶ aq¶£c§Ä BbXv Ncn{Xw. Idp¯

hÀKvK¡mcpsS AhImi§Ä¡v thÊn kacw

sNbvX Cu Z£nWm{^n¡³ CâÀ\mjens\

hnhn[cmPyt{ZmlIpäIrXy§fpsS apÅpame

IÄ `cWIqSw NmÀ¯nsImSp¯p. 1964 Â

XpS§n Poh]cy´w,AXpw Z£nWm{^n¡bp

sS "skÃpemÀ' Pbnemb tdm_³ Zzo]nÂ. B

XShdbnse Ccp«ns\ km£nbm¡n "tem§v

hm¡v Sp {^oUw' cNn¨p. Rm³ t]mcmSp¶Xv

taÂt¡mbva¡Ã, XpeyXbv¡mWv F¶v {]Jym

]n¨ncp¶ amUn_s¡m¸ambncp¶p temIa\

Êv, `cWIqSsamgnsI amUn_sb tamNn¸n¡m\p

Å Bhiyw iIvXambn. 1988 eÊ\nse \nXyh-

k´amb shw_vfn kvtäUnb¯n 72000 t]À

atÊebpsS tamN\¯n\mbn ap{ZmhmIyw hnfn

¨p. 1990  {]knUâ v U_vfyp . Un ¢À¡v F.

F³.knbpsS \ntcm[\w ]n³hen¨p. 1991 Â

46664 F¶ XShpImc³ tamNnX\mbn.

1993 Â kam[m\ t\m_Â AXnsâ

FÃm AÀXvY¯nepw tbmPn¡p¶ ssIIfnÂ

F¯nt¨À¶p. 1994 Z£nWm{^n¡¡mcpsS

ANvO\mbn, 1999 hsc B HutZymKnI]Zhn

XpS˦p.

lpkv\n ap_mcInsâ `qJWvU¯n \n

¶v C§s\ Hcp hyIvXn shdpw 5 hÀjw am{X-

ta A[nImc¯nencp¶pÅq. ]n¶oSv At±lw

B kvYm\¯n \n¶pw kzbw Hgnªpamdn.

PohnXImew apgph³ At±ls¯ B kvYm\¯v

ImWm³ Z£nWm{^n¡³ P\X B{Kln

¨ncp¶p. FÃm¯n\pw apIfnembn Z£nWm

{^n¡³ P\X F¶ hnImcw sImÊp\S¶

At±l¯n\v kvYm\am\§Ä Hcn¡epw tamln

¸n¡p¶Xmbncp¶nÃ. KmÔnPnbpsS cmjv{Sob

]co£Wimebmb AhnsS F{Xsb{X ]

co£W§Ä Alnwk, lnwk, Hfnt¸mcv, cmPyX-

{´w apXembh

amUn_ þ KmÔn ]ckv]cw tNÀ¯p

amUn_Vineesh O.V | EEE

52

hmbnt¡Ê A²ymb§fmWv. 1990 Â C´ym

kµÀi\w At±lw A{Xb[nIw B{Kln¨ncp¶p.

KmÔnPnsb aS¡n t]m¡än shbv¡p¶

\½Ä s\©n\pÅn KmÔnPnsb {]XnjvTn¨

At±l¯n\v `mcX cXv\ \ÂIn BZcn¨p.

Ncn{Xs¯ AhKWn¡m³ hfsc Ffp

¸amWv, Adnbm³ Ipd¨v ITn\amWv, Ncn{X-

Imc³amcmIm³ Ipd¨pIqSn ITn\amWv, kzbw

Ncn{Xw krjvSn¡p¶XmWv Gähpw ITn\w.

AXpw \Ã Ncn{Xs¯. AhnsSbmWv XShp]pÅn

46664 aäpÅhcn \n¶v hyXykvX³.

ho (GEC) keyq«v bp amUn_!

53

1999 apXÂ Xsâ acWw hsc 14

hÀjw Hcp cmPy¯nsâ {]knUÊmbn

XncsªSp¡s¸« Hcp `cWm[nImcn. Hcp

cmPys¯ XncsªSp¸p \S¡pt¼mÄ ^eadn

bm³ Atacn¡ AS¡apÅ temIcmPy§Ä

ImtXmÀ¯ncp¶ ImeL«¯nsâ inÂ] n.

cmPys¯ GsXmcp Xmsg¡nSbnepÅXpw

km[mcW¡mc\pamb ]uc\pw GXp kab¯pw

IamÊÀ F¶ hnfntbmSpIqSn kao]n¡mhp¶

`cWm[nImcn. Xsâ acWw sImÊv cmPys¯

apgph³ I®ocnemgv¯nb temI¯nse a\p

jykvt\lnIsfbmsI Zp:J¯nemgv¯nb `cWm

[nImcn. ChbpsSsbms¡ BsI¯pIbmWv

kJmhv lyqtKm jmthmkv. C¶p temI¯n\p

ap¶n bmsXmcp apJhpcbptSbpw ]cn-

Nbs¸Sp¯entâbpw BhiyanÃm¯ hyIvXn

XzamWv jmthmkntâXv. temI¯nse Gähpw

henb s]t{Smfnbw DÂ]mZIcmPyambncp¶n«pw

Atacn¡bpsS NqjW¯n\p hnt[bambn

Zmcn{Zy¯nemÊpInS¶ sh\tkze³ P\X C¶v

hnIk\¯nsâ ImX§tfsd ]n¶n«pIgnªp

F¶ hkvXpXbv¡v tlXp jmthmknsâ 14

hÀjw \oÊp\n¶ Zmcn{Zy \nÀamÀPvP\¯n

epw hnIk\¯nepw A[njvTnXamb `cW{Iaam-

Wv. Atacn¡³ km{amPyXzs¯ Xpds¶Xn

À¯ jmthmkv ""temIw Atcn¡bm \n

b{´n¡s¸tSÊXÃ, FÃmhcpw XpeycmWv''

F¶p {]kvXmhn¨psImÊv Atacn¡ ssI¿S¡n h¨ncp¶ sh\tkzebpsS s]t{Smfnbw taJesb

tZikm¡cn¨psImÊv cmPys¯ hnIk\{]hÀ¯\§Ä¡v ASn¯d ]mIn. km{amPy-

¯z¯n\p ap¶n Hcn¡Ât]mepw ap«paS¡mXn

cp¶ jmthmkv temI¯nsâ \nb{´IÀ F¶p

IcpXs¸«ncp¶ Atacn¡bpsS ap³ `cWm

[nImcnbmbncp¶ tPmÀPvPv _pjns\ sFIycm-

jv{S k` AS¡apÅ s]mXpthZnIfn h¨v

"]nimNv' F¶p ]ckyambn hnfn¡phm³ ss[cyw

ImWn¨ hn¹hImcnbmbncp¶p. amÀIvknkhpw

se\n\nkhpw ]mTyhnjb§fm¡nb jmthmkv

Iyq_³ hn¹hImcn ^nZÂ Imkvt{Smsb ]nXr

kvYm\¯p IÊv BZcn¨ncp¶p. Iyq_bpambn

F¶pw ASp¯ _Ôw ]men¨ncp¶ jmthmkv

emän\tacn¡³ cmPy§Ä X½nepÅ kulrZw

{]mhÀ¯nIam¡n. FÃmbnS§fnepw km{amPyXz

¯nsâ ]nSnbmfpIfpambn \ne sImÅp¶ a[yþ

D]cn hÀKvKw sh\tkzebnepw jmthmknsâ

kvYncw haÀiIcmbncp¶p. Atacn¡bpsS ]

tcm£ A[o\Xbn \n¶pw sh\tkzesb

kzX{´am¡nb jmthkns\ sh\tkzebnse

{]Xn]£¯nsâ klmbt¯mSpIqSn ]eXhW

A«nadn¡m³ Atacn¡ {ian¨p. AXns\

sbms¡ [ocambn AXnPohn¨ jmthmkv

Pzen¡p¶

jmthkv kvacWIÄAnanthu Vijayan | EEE

54

X\n¡p ]nSns]« AÀ_pZ¯n\p ]n¶n t]mepw

Atacn¡bmbncp¶p F¶p kwibn¨ncp¶p.

sh\tkzebnse k_s\ä F¶

kvYe¯mWv lyqtKm sZtemkv sdbvkv, Feo\

{^nbmkv Z¼XnIfpsS Ggpa¡fn cÊma\m bn P\n¨ lyqtKm jmthmknsâ _meyw, ]\

tbmeIÄ sImÊv ad¨ Iqcbv¡pÅn Zmcn{Zyw \ndªXmbncp¶p. ss{]adn kvIqÄ hnZym`ymk-

t¯msSm¸w ]Ånbnse klmbnbmbn tPmen sN-

bvXncp¶ jmthmkv 17þmw hbÊn sh\tkze³

A¡mZan Hm^v anen«dnbn {]mhoWyw t\

Sn. A\izc hn¹hImcn sNKpthcbpsS Ubdn

hmbn¨Xn \n¶pw Bthiw DÄs¡mÊ jmthmkv 1973  23þmw hbÊn sh\tkz

ebnse A¡mZan Hm^v anen«dn kb³knÂ

\n¶v ane«dn BÀSvkv B³Uv kb³kn _n

cpZsaSp¡pIbpw XpSÀ¶v anen«dn kb³knepw

F³Pn\obdnwKnepw amkväÀ _ncpZhpw t\

Sn. 1975 apXÂ apgph³ kab ssk\nI\mhp

Ibpw sNbvXp. Cu Ime¯v jmthmkv emän\

tacn¡³ hntamN\ \mbI³ sska¬ sZ

s_mfnhÀ, s]dphnsâ `cWm[nImcnbmbncp¶

bphm³ shekvsIm F¶nhcpsS {]_Ô§

fpw tkmjyenkväv I½yqWnkväv Bib§

fpw Iq«n¡pg¨v cq]s¸Sp¯n FSp¯ X¯z

kwlnXbmWv "s_mfnthdnb\nkw' F¶ ]pXp

kwLS\bv¡v thÊn Hcp¡nbXv ssk\n I PohnX¯n ImÄ amÀIvkv, amshm sk Xp§v,

hvfmUvanÀ se\n³ F¶nhcpsS ]pkvXI§Ä

hmbn¡m\mWv At±lw CjvSs¸«ncp¶Xv.

XpSÀ¶v se^vä\â v tIW ]Zhn hsc F¯nb

jmthmkv Xsâ ]cnioe\ ¢mÊpIfn sh\

tkze³ kÀ¡mcnt\bpw `cWt\XrXzt¯ bpw

hnaÀin¡p¶ hn¹hmib§fmbncp¶p kzo-

Icn¨ncp¶Xv F¶Xn\v tcJs¸Sp¯epIfpÊv. 1977  A¡mes¯ kÀ¡mcnsâbpw ssk\y

¯ntâbpw AgnaXnIfpsS kqN\IÄ e`n¨p

XpS§nb jmthmkv F®t{kmXÊn \n¶pw

e`n¡p¶ hcpam\¯nsâ ]¦v ]mhs¸«hcnte¡v

F¯p¶nsöpw a\Ênem¡nbXns\ XpSÀ¶v

sh\tkze³ ]o¸nÄkv en_tdj³ BÀan F¶

t]cn CSXp]£ kzm[o\apÅ Hcp clky

kwLS\ `mhnbn hcm\ncn¡p¶ hn¹h¯nsâ

X¿msdSp¸v F¶ \nebn cq]oIcn¨p. 1982

 jmthmknsâ t\XrXz¯n "s_mfohnb³

sdheyqjWdn BÀan þ200' F¶ t]cn Hcp

clky kwLS\ IqSn \nehn h¶p. ]n¶oSv

"sdheyqjWdn s_mfohnb³ aqhvsaâ v þ 200'

F¶v ]p\À\maIcWw sN¿s¸« B kwLSb

¡p ImcWambXv jmthmknsâ Bcm[\m ]m

{X§fmbncp¶ sska¬ s_mfnhÀ, ktamd

sska¬ tdm{UnKvkv F¶nhcpsS Bib§Ä

Bbncp¶p. Xm³ ]Tn¨nd§nb ssk\nI

A¡mZanbn Xs¶ ]cnioeI\mbn \nba\w

e`n¨ jmthmkv ssk\nI hnZymÀXvYnIsf

t_mfnthdnb\nkw ]Tn¸n¡p¶Xn hnPbn

¡pIbpÊmbn. 30þHmfw tIUäpIÄ jmthm-

knsâ kwLS\bn-Â tNcpIbpw kwLS\

sb¡pdn¨v kqN\ e`n¨ tae[nImcnIÄ jmth-

kns\ {Kma§fnte¡v kvYew amäpIbpw sN-

bvXp. F¶m AhnSs¯ {KmaoWtcbpw tKm{X-

hÀKvK¡mscbpw kwLSn¸n¨ jmthmkn\v 1988

 taPÀ ]Zhnbnte¡v kvYm\¡bäw e`n¨p.

1989 sh\tkzebn \S¶

XncsªSp¸n Atacn¡bpsS ASp¯

kplr¯mbn Adnbs¸«ncp¶ ImÀtemkv

B³t{Ukv s]ckv {]knUÊmbn kvYm\

taäp. s]sckv Atacn¡³ \b§Ä sh\

tkzebn ASnt¨Â¸n¡pIbpw AXns\

Xnsc \S¶ P\tcmjs¯ t]meoknt\bpw

]«mft¯bpw D]tbmKn¨v ASn¨aÀ¯pI

bpw DÊmbn. sh\tkze IÊ Gähpw henb

Iq«¡pcpXnbmbn amdnb Cu kw`h¯nÂ

HutZymKnI IW¡pIÄ A\pkcn¨v 276 B

fpIÄ sImÃs¸SpIbpw H«\h[n t]À¡v ]

cnt¡Â¡pIbpw sNbvXp. CXn Ip]nX\m

bn jmthmk "Hm¸tdj³ ktamd' F¶t]

cn 1992 s^{_phcn 4 \v Hcp ssk\nI A«n

adn¡p{ian¡pIbpÊmbn. ]e ImcW§Ä

sImÊpw ]cmPbs¸« B {ia¯nsâ `mKambn

Adkvänemb jmthkv ]n¶oSv sh\tkzebpsS

\sÃmcp `mhn¡mbn Ft¸mgpw bp²kPvPcmbn

cn¡psa¶v sSenhnj\neqsS sh\tkze³ P\

XtbmSv Xpd¶p ]dªp.

1994 Â sh\tkze³ {]knUÊmbn

kvYm\taä dnt^Â ImÂ{U D]m[nItfmsS

jmthmknt\bpw Iq«scbpw tamNn¸n¨p. XpSÀ¶v

jmthmkv emän\tacn¡ apgph³ k©cn¨v P\

k½XnXn t\Sn.

\h DZmchXvIcWw F¶ t]cnÂ

Atacn¡³ \b§Ä sh\tkzebn \

55

S¸nem¡m³ ImÂ{Ukv {ian¨Xv jmthmkns\

sNmSn¸n¡pIbpÊmbn. AtX XpS¶v 1997

Pqssebn jmthkv ^n^v¯v dn¸_vfn¡³ aq

hvsaâ v F¶ kwLS\bpÊm¡pIbpw s]mXpXn

csªSp¸n aXvkcn¡phm³ Xocpam\n¡pI

bpw sNbvXp. 1998 Â \S¶ XncsªSp¸nÂ

jmthkv 55.5% thm«v t\Sn A[nImc¯nse¯n.

ap³ hnizkpµcnbbncp¶ sFdn³ kmbnbmbn

cp¶p apJy FXncmfn. apJy[mcm am[ya§fp

sS FXnÀ¸pIsfsbÃmw AXnPohn¨psImÊv

tZikvt\lw, Zmcn{Zy, AgnaXn \nÀamÀPvP\§

fpw, km¼¯nI ]cnjvIcWhpw DbÀ¸nSn¨mWv.

jmthkv sh\tkzebpsS 40 sImÃs¯ Ncn{X-

¯n h¨v Gähpw henb `qcn]£w t\Sn hnPbn

¨Xv.

1999 apXepÅ jmthknsâ cmPy-

`cW ImeL«¯n At±lw sh\tkzebp

sS t]cv s_mfnthdnb³ dn¸_vfnIv Hm^v

sh\tkze F¶m¡pIbpw cmPy¯v ]pXnb

`cWLS\ \nehn hcp¯pIbpw sNbvXp.

40000 hcp¶ ssk\nIÀ cmPytkh\¯n\

mbn Cd§n¯ncn¨Xnsâ ^eambn FÃm P\

hmk taJeIfnepw ASnkvYm\ {]mYanI

kuIcy§fpsS e`yX Dd¸m¡n cmPy¯nsâ

hnZqchmknIfmb Zcn{Z P\§sf \Kc¯nsâ

{]m´{]tZi§fnte¡v amän¸mÀ¸n¡pI hgn

ImÀjnIhn¹h¯n Ahsc¡qSn `mKhm¡m¡n.

cmPys¯ `qcn]£w hcp¶ Zcn{Z ]nt¶m¡ P\

hn`mK§fpsS D¶a\w e£yam¡nbpÅ jmth-

knsâ hnIk\{]hÀ¯\§fpw `cW]cnjvIm

c§fpw At±ls¯ P\Iob\m¡n.

2000 Â \S¶ ASp¯ XncsªSp¸nÂ

59.76% thm«v t\Sn jmthmkv hoÊpw sh\

tkzebpsS {]knUÊmbn XncsªSp¡s¸«p.

Atacn¡bpsS D]tcm[w ImcWw hÃmsX

_p²nap«nbncp¶ Iyq_bv¡v A¡me¯v

Ipdª \nc¡n F® \ÂInbncp¶p. Iyq_

bpambpÅ jmthknsâ Cu ASp¯ _Ôw

Atacn¡bn AkzkvYX krjvSn¨p. Xo{hhmZ

\nÀamÀP\¯nsâ `mKambn Atacn¡bp

sS CSs]S aqew A^vKm\n \nc]

cm[nIfmb At\Iw Ipªp§Ä acn¡m\n

Sbmb kw`h¯n ""Xo{hhmZ¯ns\Xnsc

kwkmcn¡m³ Atacn¡¡v bmsXmcp AhImi-

hpanÃ. Xo{hhmZs¯ XSbp¶Xv Xo{hhmZw

sImÊÃ'' F¶mWv jmthmkv ]dªXv. cmPy-

¯v \S¸nem¡nb s_mfnthdnb³ anj³kv

I½yqW Iu¬kn sXmgnemfn \nb{´nX

klIcWkvYm]\§Ä, `q]cnjvIcWw-,{]

[m\ kvYm]\§fpsS tZikm¡cWw

F¶nh jmthknsâ t\«§fmWv. B Ime¯v,

AÀPâo\, s]dp, {_koÂ, Nnen XpS§nb cmPy-

§fnseÃmw CSXpI£nIÄ A[nImc¯nÂ

h¶Xn jmthkn\v ]¦pÊv. F¶m 2002

 F®¡¼\nIÄ tZikm¡cn¡m\pÅ

jmthknsâ {iaw h³{]t£m]¯n\nSbm¡n.

XpSÀ¶v jmthkv A«nadn¡s¸SpIbpw s]

t{Um ImÀtam¬ F¶ [\mUy³ kzbw {]

knUÊmbn Ahtcm[n¡pIbpw sNbvXp. jmth-

kns\ Xncn¨psImÊphcphm\mbn s]m«n¸pds¸«

_lpP\{]t£m`s¯ sNdp¯p tXm¸n¡phm

\pÅ kzm[o\w ImÀtamWbpsS t\XrXz¯n\p

Êmbncp¶nà . ]pd¯m¡s¸« jmthkv shdpw

2 Znhk¯n\ptijw 2002 G{]n 14 \v hÀ²n¨

P\]n´pWtbmsS A[nImc¯n Xncns¨¯n.

2002 þ2003 ImeL«¯n Atacn¡bpsS Nc-

Sphen aqew sh\tkzebpsS F® hyhkm-

baS¡apÅ kp{][m\ taJeIfnseÃmw ]

WnapS¡mwcw`n¨p. XpSÀ¶pÊmb `£y£maw

Iyq_bpsS klmbt¯msS ]cnlcn¡pIbmWv

DÊmbXv.

2006 Â 75% t]mfnwKv \S¶ s]mXpsX-

scsªSp¸n bpssWäUv tkmjyenkväv

]mÀ«nbpsS t\XrXz¯nepÅ CSXv kJy¯n\p

Iogn \n¶p aXvkcn¨ jmthkv 63% thm«p t\

Sn hnPbn¨p. 30 heXp]£ ]mÀ«nIfS§p¶

P\m[n]Xy sFIy¯ns\Xnsc hnPbn¨ jmth-

kv cmPy¯v hnIk\w IqSpXÂ taJeIfn

te¡v F¯n¡p¶Xn hnPbn¨p XpSÀ¶v 2012

HIvtSm_À 7\v \S¶ sXscsªSp¸nepw jmth-

kv sh\tkzebpsS {]knUÊv kvYm\t¯¡v

XncsªSp¡s¸«Xv Xnf¡amÀ¶ hnPb¯n-

eqsSbmWv. 2013 P\phcn 10 \v jmthknsâ

kvYm\mtcmlWNS§v \nivNbn¨bn¨ncp¶p-

sh¦nepw AÀ_pZ NnInÂkv¡mbn At±lw

56

Iyq_bn Bbncp¶Xn\m kXy{]XnPvR

sNbvXpsh¦nepw A[nImctaänÃ.

14 hÀjw \oÊp\n¶ jmthknsâ

`cWImeL«¯n tkmjyenkväv \b§

Ä¡pthÊn t]mcmSn temIsa¼mSpapÅ a\p

jykvt\lnIfpsS Bibpw, Bthihpambn

amdnb hn¹hImcnbmWv jmthkv. "s_mfnthdn

b³ anj³' F¶p hntijn¸n¡s¸Sp¶ jmth-

knsâ `cW ]²XnIÄ¡v ^eambn sh\tkz

ebpsS km¼¯nI kmaqlnI taJeIÄ ]p

tcmKan¨p. km£cX, BtcmKyw, hnZym`ymkw,

F¶o taJeIÄ IqSpXÂ ]ptcmKXn ssI-

hcn¨p. Zmcn{Zy¯nsâ tXmXv 55.44% Â \n¶v 28%

F¶ X«nte¡v Ipdªp. H«\h[n FXnÀ¸pI

fpw hnaÀi\§fpw t\cntSÊnh¶ jmthkv

XncsªSp¸v X«n¸v, cmjv{Sob ASn¨aÀ¯Â,

a\pjymhImiewL\§Ä F¶n§s\ X\n

s¡Xnsc DbÀ¶ FÃm ASnkvYm\clnX

Btcm]W§tfbpw s\©pdt¸msS AXn-

Pohn¨p. km{amPyXzþ apXemfn¯ tNcns¡Xnsc

temIs¯ hnIkzcþAhnIknX cmPy§fp

sS Pnlzbmhm³ k¶²\mb jmthkv Xsâ

km{amPyXz hncp²XsImÊv temIcmjv{S§fnÂ

IqSpXÂ {it²b\mhpIbpw Atacn¡bpsS

A[n\nthis¯ iIvXnbpIvXw FXnÀ¡pI

bpw sNbvXp. Atacn¡³ km{amPyXzs¯

sFIycmjv{S k` t]mepÅ temIthZnIfnÂ

h¨v ]ckyambn shÃphnfn¡phm³ X¿mdmb

jmthkv tbip{InkvXp F¶pw hn¹h¯nsâ

IqsSbmsW¶v IqsS¡qsS ]dbpIbpÊmbn.

kJmhv lyqtKm jmthknsâ

hnShm§temsS kw`hn¨Xv Hcp bp-

K¯nsâ A´yamWv. temI¯mIam\apÅ

hn¹hImcnIÄ¡mbn \ne \n¶ncp¶ Hcp

]n³_ehpw Bthihpw {]Xo£sbms¡bpam-

Wv At±l¯ns\m¸w Ahkm\n¨Xv. emän\

tacn¡bn CSXpcmjv{Sob¯nsâ Hcp ]pXn-

bImäv Agn¨phn« jmthkv {]XnkÔnIsfsb

Ãmw Hcp hÃm¯ N¦pdt¸msS t\cn« [oc\m

bncp¶p ]Icw sh¡m\nÃm¯ kwLS\m

anIhntâbpw [ocXbptSbpw BÄcq]ambn

cp¶ jmthmknsâ t]mcm« kvacWIÄ C¶v

temI¯n\msI hn¹thmÀPvPw \ÂIp¶ H¶mWv.

km{amPyXz Xn«qc§Ä¡pap¶n ap«paS¡nsöv

temI¯msIbpÅ hn¹ht]mcmfnIsf sImÊp

]dbn¨p. Hcn¡epw acn¡m¯ t]mcm« hocyw

Cu a®n hnX¨ hn¹hImcnbmbncp¶p jmth-

kv.

""]nimNv C¶se ChnsS h¶ncp¶p.

ChnsSXs¶,Rm\nt¸mÄ \n¡p¶

kvYe¯v. kplr¯p¡sf, Rm³ ]nimNv

F¶v hntijn¸n¨Xv Atacn¡bpsS {]

knUÊns\bmWv. AbmÄ C¶se ChnsS

h¶ncp¶p,Xm³ temI¯nsâ A[n]\msW¶

Al¦mchpambn. kmÂhntbm tdm{UoKkv ]

dªXp t]mse Cu bpKw Hcp lrZb¯n\v

]ndhn \ÂIpIbmWv. Nn´bpsS _ZÂ

hgnIÄ cq]w sImÅpIbmWv. sNdp¸¡mcnÂ

hfsctbsdt¸À thdn«p Nn´n¡p¶hcmbpÊv.

GXmÊv Hcp ZiI¯n\¸pd¯pÅ ImgvNbm-

WnXv. Ncn{X¯nsâ A´yw F¶Xv XoÀ¯pw

sXämb ]cnI¸\bmbncp¶p F¶v sXfn

bn¡p¶p. Atacn¡³ {[phoIcW¯nsâ ]m

Ivkv "Atacn¡m\' bpw apXemfn¯ \hen_dÂ

temIhpsams¡ adªp t]mbncn¡p¶p. Cu

hyhkvYnXn Zmcn{Zyta hfÀ¯q. C\n AXv hniz-

kn¡m³ Bsc In«pw....''

57

AXm B hê¶Xv kzmX{´y¯nsâ ktµiamWv

XShdIÄ t`Zn¨v,h³IcIfpw ISepIfpw XmÊn

A[nImc¯nsâ _mcnt¡SpIfnÂ

AXv {]lctaev¸nçI Xs¶ sN¿pw

æSneX{´amWhêtSXv `cWIqS§fptSXv

Bßhnizmkw æ¯ns¡Sp¯n Hê P\Xsb apgph³

cm{ãob iÞcm¡n amäphm³

AhÀ {ian¨p sImtÊbncnçw

kzmX{´y¯nsâ càkm£nIfmhm³ C\nbptasd

IhnXIÄ ]pds¸«n«pÊs{X

Nhn«ns¡m¶h,Fdnªp sIm¶h,Igp¯p sRcn¨p sIm¶h

C§s\ Xcw Xncn¨v sh¡Ww Ahsc

]ns¶ ad¡nsöv ]dªpSs\ adçIbpw thWw

"{KmaoWXbpsS NqSpw Nqcpw ]I˦v,

Bt£]lmky¯nsâ A\´ km[yXIsf

Bthiam¡n IYI-Ä¡pw t\mhepIÄ¡pw

P³aw sImSp¯ H. hn.hnPb³ F¶ aebm-

f¯nsâ hnPb³amjv; ]mc¼cy¯nsâ {]uUn

t]dnb Hcp kckzXo t£{Xapä¯v h¨v

A]am\n¡s¸«ncn¡p¶p'þþ sR«tems-SbmWv

Ghcpw Cu hmÀ¯ {ihn-¨Xv. ssIcf-n

¡pXs¶ A]am\ambn amdnb kwkvIm-ciq

\yXbv¡mWv tIm«¡Â A¶v km£yw

hln¨Xv. tIm«¡Â Kh. cmPmkv lbÀ

sk¡âdn kvIqfnse A[ym]Icpw hnZymÀX- v

YnIfpw tNÀ¶v X§fpsS ]qÀÆ hnZymÀXvYn

IqSnbmb H. hn. hnPbsâ kvacWmÀXvYw "H.

hn. hnPb³ kvarXn h\w' F¶ t]cn Hcp

DZym\w \nÀ½n¡pIbpÊmbn. AhnsS ac§-Ä \«p]nSn¸n¡pIbpw ]q¡Ä ]cn]men¡pIbpw

sNbvXp. H.hn.hnPbsâ Hcp {]Xna kvYm]n--¨v

B XWÂ h\s¯ Ghcpw Iqa³ Imhv F¶v

hnfn¨pt]m¶p. "Jkm¡nsâ CXnlmkw' F¶

¢mknIv hnPb³ t\mhensâ ]ivNm¯ew.

cm{Xnbn Nne kmaqlnI hncp²À B

{]Xna XIÀ¡m³ {ian¡pIbpw \mi\jvS§Ä

DÊm¡pIbpw sNbvXp. {]Xna A\mNvOmZ\

hpambn _Ôs¸«v kvIqÄ A[nIrXcpw, tIm«bv

¡Â \Kck`m A[nIrXcpw X½nepÊmbncp¶

Akzmcky§Ä hnhmZ¯n\p sImgp¸pIq«n, \

Kck` `cn¡p¶ hÀKvKob cmjv{Sob ]mÀ«nbpsS

H¯mitbmsSbmWv {]XnaIÄ XIÀ¡s¸«Xv

F¶ Btcm]Ww P\{i² ]nSn¨p]än. {]Xna

A\mNvOmZ\hpambn _Ôs¸«pÊmb hn-

jb§Ä {]Xna XIÀ¡s¸Sp¶Xnte¡v hgn sX-

fn¨p F¶v A[ym]IcS¡w hmZn¨p. F´mbm

epw, amdp¶ aebmfnbpsS kwkvImc iq\yX

hc¨pIm«p¶p F¶v \nkwibw ]dbmw.

kaql¯nsâ kq£vaNe\§tft¸m

epw \nco£n¨p {]XnIcn¨ hyIvXnbmbncp¶p

{io. H.hn.hnPb³. B[p\nI kmlnXy-

temI¯v hyXykvXXbneqsS cN\m hn¹hw

krjvSn¡pIbmbncp¶p At±lw "[À½]pcm-

Ww' t]mepÅ "CâenPâ v kssädp'IfneqsS.

Xsâ t\mhepIfneqsSbpw IYIfneqsSbpw,

ImÀ«qWpIfneqsSbpw At±lw Xpd¶v Im«nbXv

hni¡p¶htâbpw ASn¨aÀ¯s¸«htâbpw

bmX\Ifmbncp¶p.

"[À½]pcnbn im´n{Kma¯n {]Pm]

Xn¡v Xqdm³ ap«n' þ F¶p XpS§p¶ [À½]p

cmWw F¶ t\mh hnaÀiIcpsS ic§tfsd

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hpw \ni_vZhpamb Hcp `cWIqS kaqls¯

]cnlkn¡pIbmbncp¶p At±lw. P\

Iobambn XoÀ¶ At±l¯nsâ ]e IYIfnepw

\jvSs¸Sp¶ am\hnIXbpw

\ncmIcn¡s¸Sp¶ ]«nWn¡mc\pw

hnjb§fmbncp¶p. {KmaoWX kv]µn¡p¶

hm¡pIfpw, Du«pssZh§Ä¡v kvXpXn]mSp¶

\nc£ccpsS s\SphoÀ¸pIfpw B IYIfnÂ

IWmw. ASnb´ncmhkvY¡me¯v

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fm¡nbt¸mÄ ap¶n \n¶p s]mcpXnb

aebmf kmlnXyImc³amcpsS \ncbn hnPb\p

apÊmbncp¶p. kvIqÄ hnZym`ymkImes¯ Hcp

ImeL«w At±lw Nnehgn¨Xv tIm«bv¡Â cm

XIÀ¡s¸« kvamcIhpw,

XI˦ kwkvImchpwHarikrishnan Varma | Chemical

60

Pmkv sslkvIqfnembncp¶p. AXpsImÊpXs¶

Cu hnZymeb¯n\v At±lhpambpÅ _Ôhpw

At`Zyambncp¶p. At±l¯nsâ kvacWmÀXv

Yw "kvarXn h\w' \nÀ½n¡m\pÅ Xocpam\s¯

A[ym]I hnZymÀXvYn kaqlw Ccp I¿pw \o«n

kzmKXw sNbvXt¸mÄ hne§pXSnbmbn \n¶Xv

cmjv{Sob k½À±§fmbncp¶p. {]XnabpsS A

\mNvOmZ\w \S¯p¶Xpambn _Ôs¸«v kvIqÄ

A[nIrXcpw \Kck`bpw X½n \ne\n

¶ncp¶ XÀ¡§Ä {]XnabpsS XIÀ¡enÂ

Iemin¨p F¶pw hnaÀi\§Ä DbÀ¶ncp¶p.

{]Xna \in¸n¡pIbpw, kao]¯pÅ sNSnIÄ \

in¸n¡pIbpw sNbvX kmaqlnI hncp²Às¡Xn-

sc tIm«¡Â t]meokv tIsÊSp¡pIbpw

At\zjn¡pIbpw sNbvXp. F¦nepw cmjv{Sob

k½À±§fpsS IpX{´NphSpIÄ hnPb³

amjns\ ]n³XpSÀ¶p. Xmgn«p]q«nbncn¡p¶

B ]q¦mh\w Xpd¶pIn«Ww F¶ B{KlamWv

hnZymÀXvYnIÄ¡v DÅXv.

C¯cw {]hÀ¯\§Ä A]ISIcamb

kmwkvImcnI kmlNcy§Ä krjvSn¡p¶p.

"km£ctIcfw' F¶v AhImis¸Spt¼mgpw

kwkvImciq\yXbpsS hnjw XoÊnbncn¡p¶p

\½sf. kmaqlnI t-_m[w F¶ \nÀÆNn

¡s¸Sm¯ kzXzw \nivNeamhpIbmWv ]et¸m

gpw. BZcn¡s¸tSÊ kmlnXyImc\mWv H.hn

hnPb³, At±l¯nsâ {]Xna XIÀ¡s¸«Xn-

eqsS A]am\n¡s¸«Xv aebmf kmlnXyamWv.

C¯cw kmlNcy§Ä C\n krjvSn¡s¸«pIqSm.

kao]Ime¯v Be¸pgbn k.]n.IrjvW

]nÅbpsS {]Xna XIÀ¡s¸«Xpw C¯cw Hcp

kwkvImciq\yXbpsS ^eambmWv. ]ckv]

c _ÔapÅ C¯cw Hcp Iq«w kw`h§Ä

\½psS \m«nepÊmbn«pÊv. ]t£ Ht¶mÀ¡Ww

XIÀ¡s¸Sp¶Xv ssIcfnbpsS kwkvImcamWv.

]Êv ]Êv, Hm´pIÄçw ap¼v, Znt\mkêIÄçw ap¼v,

Hê kmbmÓ¯n cÊp Poh_nµp¡Ä \S¡m\nc§n. Akv¯ab¯nemdmSn

\n¶ Hê Xmgvhcbnse¯n.

CXnsâ A¸pcw ImWtÊ? sNdnb _nµp henbXnt\mSv tNmZn¨p.

]¨ ]nSnN Xmgvhc, G«¯n ]dªp. Rm\nhnsS Xs¶ \nev¡s«.

F\níp t]mIWw, AëP¯n ]dªp.

AhfpsS ap¼n InS¶ A\´]Y§fnteív AëP¯n t\m¡n.

\o tN¨nsb adçtam, G«¯n tNmZn¨p.

ad¡nÃ, AëP¯n ]dªp.

adçw, G«¯n ]dªp. CXp IÀ½ ]c¼cbpsS kvt\lclnXamb IYbmWv

CXn AIev¨bpw ZpJhpw am{XtabpÅq.

AëP¯n \S¶Iì. ]mb æê¶n \n¶v hoÊpahÄ hfÀì. AhÄ hepXmbn.

thêIÂ ]nXr¡fpsS InS¸dbnte¡nd§n. arXnbpsS ape¸mep æSn¨v NnÃIÄ

]SÀ¶v XnSw sh¨p.

I®n kpdpabpw Imen XÊbpan« Hê s]Wvæ«n

sNXenbpsS Xmgvhcbn ]qhndp¡m\nds\¯n.

AhnsS X\n¨p \n¶ N¼I¯nsâ

NnÃsbmSn¨p ]q ëÅnsbSp¯t¸m N¼Iw ]dªp,

AëP¯o \osbs¶ acìhtÃm...

Jkm¡nsâ CXnlmkw (H.hn hnPb³)

61

"sI«gn¨phn« ]iphn\v Ip¯m³

ssek³kv sImSp¡p¶p' tIcf¯nÂ

kzbw `cWtImtfPpIÄ krjvSn¡m\pÅ

\o¡¯n\p thÊnbpÅ hy{KXsb C§s\ ]cn-

Nbs¸Sp¯m\mWv B{Kln¡p¶Xv. tIcf¯nsâ

hnZym`ymk\b§fn Gähpw henb Ip-

g¸§fn H¶mWv FSp¯pNm«w . Gähpw DZm

¯amb DZmlcWamWv kzm{ibtImtfPpIÄ

IqWpt]mse apfbv¡p¶Xv. kzm{ib hn-

Zym`ymkkvYm]\§Ä C¶v \sÃmcp I¨hS-

kvYm]\§fmWv. ]s£ A\p`h§fn \n

¶pw ]mTapÄs¡mÅmsX ]pXnb Hcp Xo-

cpam\w _Pänsâ `mKambn ssIsImÅm³

kÀ¡mÀ Xocpam\n¨ncn¡pIbmWv. tIcf¯nÂ

Hmt«mWakv (kzbw`cWw) tImtfPpIÄ

sImÊphcnI. kzm{ib hnZym`ymk \nbaw

tIcf¯nsâ hnZym`ymktaJebpsS Igp¯nÂ

Hcp Ducm¡pSp¡n«p. C\n AXv apdp¡m\pÅ

Xocpam\amsW¶v kmcw. Cu Xocpam\w ]T\

hnt[bam¡pt¼mÄ NnetNmZy§Ä¡v D¯cw

IÊp]nSnt¡Ênhcpw.

F´mWv Hmt«mWan,

tIcf¯nsâ Iym¼

kpIfn Hmt«mWan

krjvSn¡phm³ t]m

Ip¶ tImfnf¡w F´m-

Wv?

kzbw`cWw

tImtfPpIsf

kzX{´am¡p¶p.

A¡mZanIamb

FÃm A[nImc§fpw

kÀÆIemimeb-nÂ

\n¶pw ]dns¨Sp¯v tImtfPpIÄ¡p \

ÂIs¸Sp¶p. kÀÆIemimeIÄ shdpw

\nb{´WkanXnIÄ am{XamIm³

X¿msdSp¡p¶p. GXv tImgvkv ]Tn¸n¡Ww?

F{X ^okv hm§Ww, F§s\

kne_kv ]cnjv¡cn¡Ww F¶pÅsXms¡

AXmXptImtfPnsâ KthWn-wKv t_mUnbpw

tImtfPnsâ A¡mZanIv Iu¬knepw Xocpam

\n¡pw. XnI¨pw t\mant\äv sN¿s¸«

LSI§fmbncn¡pw Ch. A[ym]I

\nÀ®bw,A[ym]I kvYewamäw t]mepÅ \S]

SnIfpw C¯cw LSI§fmbncn¡pw \nivNbn

¡-pI amt\Pvsaâ v t\mant\äv sNbvX C¯cw LSI§Ä F{X P\m[n]Xy]chpw, hnZym`ym-

kkulrZhpamb \ne]mSpI-Ä kzoIcn¡pw

F¶pÅXv \ap¡v Duln¡mhp¶tXbpÅq.

Ncn{Xw ]cntim[n¨m-Â kzbw`cWw

F¶ k{¼Zmbw s]s«ms¶mcp kp{]`mX-

¯n s]m«napf-¨ {]Xn`mkasöv a\Ênem

hpw. {_n«ojv `cWImes¯ ]cnjvImc§fp

sS `mKambn Dcn¯ncnªph¶ \ne]mSpIfm-

Wv kzbw`cW¯nsâ ]ndhn¡v ImcWambXv.

Hcp {lkzNn{Xw ]cntim[n¨m 1817 IfnÂ

C´ybn kzbw`cW tImtfPpIÄ \nehnÂ

h¶n«psʶv ImWmw. AXn\ptijamWv

sIm¡«, a{Zmkv, t_mws_ F¶o A^nen

tbäUv kÀÆIemimeIÄ kvYm]nXamIp¶Xv.

A^nentbänwKv bqWnthgvknänI-Ä¡v `cW]

chpw A¡mZanI ]chpamb Nne khntijXI-

fpÊv.bqWnthgvknänIÄ¡v A¡mZanI]cambn bmsXmcp A[nImchpw CÃmbncp¶p.AXpambn

A^nentbäv sN¿s¸« tImtfPpIfpsS Hcp

\nb{´W kanXnbmbn am{XambmWv C¯cw

kzbw`cWw: Nm«w D¶Xnbntet¡m?

]SpIpgnbntet¡m?Premsankar V.P | ECE

62

bqWnthgvknänIÄ {]hÀ¯n¨ncp¶Xv. _yqtdm

{IknbpsS AXn{]kcw aqew D¶XhnZym`ym-

ke£y§Ä km[n¡p¶ Xc¯nembncp¶nÃ

Ch {]hÀ¯n¨ncp¶Xv. ]n¶oSv kmlNcy§Ä

hnebncp¯n bqWnthgvknänIÄ IqSpXÂ {]

hÀ¯\kzmX{´yw Bhiys¸«Xnsâ `mKambn

kÀÆIemimem \nba§fpsS t\ÀhcbneqsS

tImtfPpIsf \nb{´n¨psImÊmWv D¶Xamb

_u²nI Xe§fn hncmPn¡p¶ ]e Im¼kpI

fpw krjvSn¡s¸«Xv. C¶v kzbw`cW tImtfPp

IÄ {]mhÀ¯nIam¡nbm bqWnthgvknänIÄ

shdpw t]cn\pam{XapÅ \nb{´WkanXnIfmbn

XocpIbpw A¡mZanIamb FÃm \nb{´W§

fpw AXXp tImtf

PpIfnte¡v ssI-

amds¸SpIbpw sN¿pw.

ap³]pÊmbncp¶ hy-

hkvXbnte¡v tImtf

PpIÄ aS§nsb¯p-

tam F¶pÅXv Nn´

\obhnjbamWv.

tIm¯mcn I½oj³

dnt¸mÀ«nsâ

`mKambn AwKoI

cn¡s¸«v Cd¡nb

bp.Pn.kn amÀKvK\n

Àt±itcJbnemWv

kzbw`cWtImtf

PpIÄ Bcw`n¡pI F¶ Bibw Xes]m¡p

¶Xv. tIcf¯nsemgnsI C´ybnse ]e`m-

K§fnebmbn 427Hmfw kzbw`cW tImtfPpIÄ

C¶v C´ybn {]hÀ¯n¡p¶pÊv. C¯cw

tImtfPpIfpsS KpW\nehmcw ]cntim[n¨mÂ

CubSp¯ Ime§fn \S¯nb kÀtÆIfnÂ

hncense®mhp¶ tImtfPpIÄ am{Xta Im-

cy£aambn {]hÀ¯n¡p¶pÅqsh¶v hyàam

hpw. _m¡nbpÅ `qcn`mKw tImtfPpIfpw tam

is¸« {]hÀ¯\amWv ImgvNshbv¡p¶Xv. ]e

tImtfPpIfpw D¨bv¡vtijw DbÀ¶ ^okv sIm-

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cp ]cnKW\bpw ChnsS e`n¡mdnsöXmWv hm-

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sImSp¯mepÅ A\´c^ew hfsc hyIvXam-

Wv. kÀÆIemime \nba§fpsS N«¡qSpIÄ

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CXmWv.

Cu Nm«w D¶Xnbntet¡m? ]SpIpgnbn-

tet¡m?.

63

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h³ NÀ¨bv¡v hgn Xpd¶n«pÊv. kXy¯nÂ

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D`bI£n k½Xt¯msS ssewKnI _Ô¯nÂ

GÀs¸Smsa¦n ]ns¶´psImÊv hnhmlw

Bbn¡qSm F¶ hmZw DbÀ¯p¶hÀ Criminal law Amendment Act 2013 (16 hbÊn\p Xmsgbp

Å s]¬Ip«nbpambn k½Xt¯msS ssewKnI

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am{XamWv Cu Xocpam\¯n Dd¨p\n¡p¶Xv.

CXn\mbn AhÀ Iq«p]nSn¡p¶Xv icoA¯v

B¹nt¡j³ BIvSns\bmWv. Cu \nba{]Imcw

EXpaXnbmb Hcp s]¬Ip«n¡v hnhmlw sN¿mw.

9 hbÊnepw 11 hbÊnepw s]¬Ip«nIÄ EXp

aXnbmIp¶p. ]ns¶´m Hcp ]Xn\mdnsâ

IW¡v? EXpaXnbmbhsc \nÀ_Ôambpw IÃym-

Ww Ign¸n¡phm\pw hIp¸nÃ. Hfnt¨m«hpw

s]¬Ip«nIÄ hgnsXänt¸mIp¶Xpw Hgnhm¡m

\mWnsX¶ hmZw \nc¯p¶hÀ \mÂ]XpIfnepw

A³]XpIfnepw hgn ]ng¡p¶ ho«½amsc Im-

WmsX t]mIp¶p.

Hcp Ime¯v ssiihhnhmlw kmÀh{Xn

Iambncp¶p. kaql¯nÂXs¶ cq]s¸« \

thmXvYm\¯nsâ `mKambn AXv sXämsW¶p

t_m[ys¸SpIbpw 1978 se ssiih hnhml \n

b{´W\nba{]Imcw CXn\p \ntcm[\hpw

h¶p. Cu \nba¯nse ]gpXpIÄ NqjWw

sN¿s¸«t¸mÄ ssiih hnhml\nb{´W\nb

aw (2) ]mÊm¡nsImÊv ]mÀesaâ v Xncn¨Sn¨p.16þmw hbÊn ]IzXsb¯p¶hcpw

20 hbÊmbn«pw ]IzXsb¯m¯hcpamb ]

eÀ \½psS Cu 120tImSn P\§Ä¡nSbnepÊv.

]Xn\mtdm??!

Sanjay | Mechanical

64

C¯cw kmaqly]chpw BtcmKy]chpamb

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Ncy§Ä IW¡nseSp¯mWv s]¬Ip«nIfpsS

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]ns¶´m apÉnw s]¬Ip«nIÄ¡v ]pXnsbmcp

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IpSpw_n\nbpsams¡bmhm³ B{Kln¡p¶Xv.

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Po˨X thtcmsS ]ngpsXdnbm\mIq.

65

\n§sfs¶ tZhnsb¶p hnfn¡cpXv;

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Fs¶ Bhmln¨p IpSnbncp¯m³

\n§Ä {ian¡cpXv.

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Ignbpsa¦n Hcp aµmc¸q XcnI;

{]Wb¯nsâ AKv\nbn ap§n

PvRm\kv\m\w sN¿p¶sX§s\sb¶v

Rm³ \n§sf ]Tn¸n¡mw.

Nph¶ ]«psImÊv Fs¶ \n§Ä s]mXnbcpXv;

ImcWw, Rm³ tZhXbÃ, tZhnbÃ.

aIsf Im¯ncp¶ KÀ`]m{Xs¯

Ip¯n¡odn tNmc\pIÀ¶ Im«mf³amtc,

]t£, \n§sfs¶ tZhXbmbn inebn sIm¯nshbv¡cpXv.

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HäNne¼pambn Aedm\pw F\n¡p Ignbpw.

AXn\m \n§sfs¶ tZhnsb¶p hnfn¡cpXv;

Rm³ tZhnbÃ.

{]Wb¯nsâ AKv\nbn ap§n

PvRm\kv\m\w sN¿vXv,

kuµcys¯ Bhmln¨v,

tIm]¯nsâ AKv\n Pzen¸n¡m³ Ignbp¶ s]®mWv, s]®v.

tZhn

hncnbphm³ sh¼p¶ Ipªp]qsam«nsâ

XpSpXpsSbpÅ IhnÄXSw XgpIn

\ndI®pItfmS½tbmXn

hncntbÊ \oþ CubncpfnÂ.

kuc`¯n³ {`a¯nÂ

\n³ ]n©p]qhnXÄ ]n¨n¡odnSmw

\mfpIÄ sImgnbpt¼mÄ, kuc`w ambpt¼mÄ

BtcmcpadnbmsX hmSnhotW¡mw.

A½ X¶nXfnsâ amÀ±hw ambpt¼mÄ,

kuc`yaIept¼mÄ, \msfIÄ

kz]v\§Ä am{Xamhpt¼mÄ

AdnbmsXbmin¨p t]mhp¶p Rm³.

Iptª ... \obo a®n hncnbmXncps¶¦nÂ!

IgnbnsÃ\n¡dnbmw, \o þ

sb¶paobncpfns\ ]pÂIm\pÅhÄ

ImcWw \osbmcp \nimKÔn.

]Scp¶ncpÄ apäamsI, ImänÂ

]c¡p¶p ]qaWw, hnScp¶o

cmhnsâ tXmgnbmbv asämcp \nimKÔn.

\nimKÔnAnu S Nair | ECE Shilpa P Chandran | MCA

66

May 19, 2013 at 8:07amAre you afraid of the dark? A query,self answered. Every time my lids emrace, I embrace the fiery of my tears. For I am blinded by the gaze of the devils Who tore apart my vibrant canopy, Where I wove my dreamy yarn. As the dagger slashed my soul, my lungs craved for more. Wounded and bleeding, I lapsed into the noon, That doomed the rest of my wake. That very noon, Destined to change, My world and did it too. From the tropic where it was to go, Went caterwauling to the arctic. The band on my finger, The ticket to lifetime of hot, strong love This would be triggered By the walk down aisle a week later, Went flying mercilessly down the lane As I was ripped off the veil And the masculine brute smeared me to the ground. Pain sheared through me

And my ears dumb from own screams. Gathered what was remaining, Of my lifeless remains, I turned home, Whose doors were slammed on my face, For a sin I committed not. A parched flower, I stepped out into the dusk Knowing not where to turn, Who to blame and how to move on….. The cliff on my right, Looked appealing than it did ever, The valley down tempted me With his stretching arms And I whole heartedly took his embrace Once and forever…..

The Last EmbraceMrinalini | Chemical

67

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amäm³ ap¶n«nd§pt¼mgmWv Ah³ bYmÀXvY

a\pjy\mIp¶Xv. Pohn¡m³ tbmKyX t\Sp¶Xv.

Deepu | Chemical

68

kzm`mhnIambpw Xnc¡n \n¶pw HmSnsbm-

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sNs¶¯p¶Xv {]im´Xbn ap§n \ocm-

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B \nanjw

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\ns¶¦nepw F´psImsʶdnbnà Rm\pw ZpÀ_e\mbn¯pS§n. B \Sp¡¯n Fsâ

Hmtcm s\SphoÀ¸pw AhÄ¡mbn am{Xw amän-

sh¨p. ..................................................

hn[n F¶nte¸n¨Xv DW§m¯ apdn

hmIpsa¶v Rm\dnªncp¶nÃ. AhÄ

Icªp. AhÄ¡mbn Zqtcs¡dnª I®pIÄ

sNs¶¯nbXv Ahsf ]dns¨Sp¯ sNSnbnem-

bncp¶p. Ft¶mSpÅ FÃm tZjyt¯msSbpw

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sâ I®p\oÀ häpthmfw IcbWw! A¶v \o {]

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bvXnd§n''. s]m«n¡c¨nensâ h¡nse¯nb

F\n¡v hensbmcp Xncn¨dnhpÊmbn sN-

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krjvSn¨Xv Hcpt]msebmWv. Ime{ItaW hcn¨

aXvkc_p²nbn PohnIÄ ]ckv]cw sIm¶pw

Ieln¨pw IenbS¡n. Pohsâ Xmfhpw HXp

¡hpw AtXmsS \s½ hn«I¶p.

Niranjan S Shenoy | Chemical

Vagini T | Chemical

69

C¶v A«¸mSn F¶Xv tIhew Hcp

tZi¯nsâ t]cv am{XaÃmXmbn amdnbncn¡p¶p.

k¼¯ntâbpw,kar²nbptSbpw Dbc§Ä

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]cnkvYnXntbmSv CW§n Pohn¨ncp¶ BZnhm-

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ChnSw

\cIamWv Ajith K George | EEE

70

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71

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]pecmXncps¶¦nÂ

Jbs | Mechanical

72

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73

REDEMPTION

Up from a past, rooted in painIn a present not too distinct,I live with smiling lips,Musing an auroral future.

You may kill me by blunt words,Or may poke me with intent gasesBut all I want to let you know- Still I live-

Dawn to dusk with a lot of happeningsThunder and storms forcing its way in,Clouds wandering aimlessly above me,Hopimg for a clear and peaceful midnight.

STILL I LIVEBooks don’t make me crasy,Gos’ life has already made me so.Exhausted am I, but you must know-Still I live-

Dimness have encroached upon me Paralysing my lively soul and bodyBut the truth is, without darkness I would have never seen te stars!!

A realization- there are souls trusting meLeaving me with no time to spareHands of Almighty casting shadow over me-I must live-

I am a guilty refugeeNow in the noble hands of strengthI search for myself, my identityHated are those nights - the loneliness

A baby besides me, cryingMy eyes are dryBut the inside, throbbing in tearsI walk, away.....

They tell me, India is the target(I know India, butNever were Indians my enemies)I bake bread for them

They filled the packets with some white powderThey call it gold(My mother had a golden ear ring!And I know the colour of gold).

They give me guns, teach me how to fire themThey show me the feel of hot blood.I managed to escapeAfter the bloody massacre

Moments of relief, at last!Now I am a regugee With a guilty conscienceAnd in the noble hands of strength.

Athira Valsan | Civil

Faseen Ameer Ahasan | Civil

74

2013 marked the 50th anniversary of one of the most iconic yet forgotten moment that shaped the 20th century. 28th August,2013 marked 50 years to the date at which Martin Luther King Jr deliv-ered his stupendous ‘I Have a Dream’ speech in which he called for an end to racism in the Unit-ed States. Delivered to over 250,000 civil rights supporters from the steps of Lincoln Memorial during the march in Washington, the speech was a defining moment of the American Civil Rights movement.19th and 20th Century America was marked by

tragic and gruesome stories of slavery and racism. Even after the passing of the Emancipation Proc-lamation Act of 1868,issued by the then American President Abraham Lincoln which proclaimed the freedom of slaves, blacks in America had to endure a miserable time characterised by shameful acts of racism and segregation. The passing of the act never really guaranteed the blacks the unalien-able rights of life, liberty and pursuit of happiness as mentioned in the United States Declaration of Independence. Blacks continued to exist in a state of poverty, continued to be disrespected and above

all they continued to be at the receiving end of numerous derisory and insulting attacks from the whites. Public facilities and government services such as education were divided into separate “white” and “colored” domains. Characteristical-ly, those for “colored” were underfunded and of inferior quality. Laws were passed that made voter registration more restrictive, essentially forcing black voters off the voting rolls. The number of African-American voters dropped dramatically, and they no longer were able to elect representa-tives. There were increased economic oppression of blacks, denial of economic opportunities, and widespread employment discrimination coupled with individual, police, paramilitary, organiza-tional, and mob racial violence against blacks.

It is in this context that the African-American Civil Rights Movement broke out whose sole aim was to end racial segregation and discrimination against black americans and enforce constitutional voting rights to them. Martin Luther King Jr was one of the most prominent leaders of this move-ment. Inspired by Gandhian principles of non violence and civil disobedience King inspired the black community to fight against the injustices im-posed on them by the whites. His speech delivered from the steps of Lincoln Memorial during the march on Washington is widely regarded as the moment that shaped the American Civil Rights movement. In a staggering reference to the period post the Emancipation Proclamation Luther King said “100 years later the Negro still is not free. One hundred years later the life of the Negro is still badly crippled by the manacles of segre-gation and the chains of discrimination. One

THEDREAM

SPEECH

Sanjay Gopal | CSE

75

hundred years later the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later the Negro is still languished in the concerns of American society and finds himself in exile in his own land.”He further goes on to say “This sweltering summer of the Negro’s legitimate discontent will not pass until there is an invigo-rating autumn of freedom and equality. Nine-teen sixty-three is not an end, but a beginning. And those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. And there will be nei-ther rest nor tranquillity in America until the Negro is granted his citizenship rights.”.These were words that inspired an entire community, words that awakened an entire nation. Never before did the black community get so much optimism and belief. Luther King instilled bulks of confidence in the black community, dared them to challenge the odds and made them believe that one day they could be sitting hand in hand next to a white.When Martin Luther King explained his dream in his iconic speech,it sent waves across the world. It made an entire nation to sit up and listen. It rejuvenated the black community, it inspired them to fight for their lives to attain their rights. More than anything else it made them to dream, it made them to visualize a world where they shall be on par with everyone else, a world where their voice will matter as much as any-one else’s. When he said “ even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in

the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: ‘We hold these truths to be self-evident, that all men are created equal’. I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four little children will one day live in a nation where they will not be judged by the colour of their skin

but by the content of their character. I have a dream that one day every valley shall be exalted, and every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight.”, it was not merely a great choice of words, but a revolution within itself.50 years later, these words have hardly been forgotten. 50 years later, these words still ring in the minds of every American Citizen.50 years

later these words still inspire people across the world. Quite blatant then that 50 years later the dream that he talked about has become a reality. There’s a monumental difference between the United States of the 19th and 20th century and the United States of the 21st Century.50 years ago a person in the black community couldn’t even dream of getting into school. Today one among them is the President of the United States.50 years ago a black man couldn’t elect the repre-sentative of his choice. Today many among them

stand for elections.50 years ago blacks were doomed to be unwanted and useless. Today they occupy top positions in the United States Legislature.50 years ago they were harassed and discriminated. Today they walk hand in hand with the whites.50 years ago life was a burden for the blacks. Today life is a blessing for them, today they are living their dreams. Of course, the colossal changes were not due to single person. Neither was it due to the captivating speech delivered by him. But every revolution needs a spark. No one would ever argue that the speech Martin Luther King de-livered on the 28th August,1963 at the Lincoln memorial was a glittering spark to a revolution

that transformed a nation for the good.

76

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Vineesh O.V | EEE

77

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th\epWÀ¶ ]IenÂSarath Babu | Mechanical

78

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IÃnte¡nd¡n sh¨v sasà Acphnbnte¡nd§n. I®pIÄ

AS¨v ssIIÄ Acphnbnte¡v Bgv¯n. BÀ¯ntbmsS

I®pIÄ Xpd¶pt\m¡n. þ"C{Xbpw Imew Fsâ ZmlaIänb

shÅw' AbmÄ I¬IpfnÀs¡ AcphnbpsS Hgp¡v IÊm-kzZn¨p.

apJw IgpIn, shÅw IpSn¨v, AbmÄ \S¶p

Ft§ms«¶nÃmsX. hgnbn IÊsXms¡bpw sXm«dnªp.

Hcp]mSv Zqcw \S¶p Ignªt¸mgmWv H¸w DÊmbncp¶h-sc {_lva³ HmÀ¯Xv. "Ahscms¡bpw FhnsS?...' {_lva³

Xncªp\S¡m³ XpS§n. s]mSp¶s\ Hcp icw Ahsâ ASp

¯p IqsS t]mbn.Ah³ AXv HmSns¨s¶Sp¯p. AXnÂ\n¶pw

Hcp KÔw han¨ncp¶p. Ah\v Imcyw a\Ênembn. AsX,

Ipd¨pt]À th«¡mbn Cd§nbXmWv. ASp¯ icw D¶w

sXänbnÃ, AXv Imen Xd¨p. DSs\ Xs¶ Cc]nSn¡m\m

bn \n¶hÀ BÀ¯p hnfnt¨mSnh¶p Ah³ ImenÂ\n¶v

icsaSp¯v Zqscsbdnªp. apt¶mt«t¡mSn. ic§Ä hoÊpw ]mªph¶p. Hcp icw ]mdbn X«ns¸m«n hoWp. B ]md-

bv¡p ]n¶n {_lva³ A`bw tXSn. ]n¶mse h¶hÀ t\sc

HmSnt¸mhpIbmWpÊmbXv. NneÀ hgnbn hoWp. Fgpt¶äv Zn¡v amdn HmSn.

B ]mds¡«n\v ]n¶n Ccp¶mWv Ah³ Ahsâ

ssIItfbpw ImepIsfbpw t\m¡nImWp¶Xv, BZyambn-!!

79

BImis¯ IÊp, taL§sf IÊp. FÃmw

I¬IpfnÀs¡ IÊp. s]s«¶mWv B

Nn´ Ah\nte¡v IS¶ph¶Xv. Rm³ Hcp

arKamsW¶v IcpXnbtà th«bv¡v h¶hÀ

As¼bvXXv.?, ]n¶oSv Xsâ ]n¶mse h¶t¸mÄ

Ahsc§s\ hoWp.? AhÀs¡§s\ hgn

sXän? Xm³ adªp \n¶t¸mÄ Ahsc´n\v

hoÊpw HmSn? {_lva³ henb Hcp Nn´mIp-

g¸¯nembn. CXns\ms¡bÀ°w X\n¡p am{X-

sa CsXms¡ ImWm³ Ignbp¶pÅq sb¶tà !!

!.

henb Hcp `bw Abmsf s]mXnªp.

`qanbn Häs¸Sp¶ Ahkm\s¯ a\pjysâ

GIm´X. AbmfpsS IhnfpIfn I®ocnsâ

CuÀ¸w. ]Xnsb AbmÄ Hcp ab¡¯nte¡v

hgpXn hogpIbmbncp¶p. ab¡¯n AbmÄ

B hm¡pIÄ hoÊpw tI«p. ""Ip«o...\o ChnsS

A`bw {]m]n¡pI. ]pd¯v Np«ps]mÅp¶ Xob-

mWv. Hcp Znhkw AhnsSXs¶ Ccp¶psImÅq''

At¸mÄ Cu Hcp Znhkw am{Xta kqcy³

DÊmhq F¶tà Cu hm¡pIfpsS AÀ°w?

AbmÄ¡v Hsc¯pw ]nSnbpw In«p¶nÃ.

F§s\sb¦nepw Xsâ H¸w DÊmbncp¶

hÕt\bpw, Imfntbbpw, C{µt\bpw, \oentb

bpw Hs¡ IsʯWw. AhÀ Fs¶t]mse

kqcys\ ZÀin¨pthm F¶v tNmZn¡Ww ...

{_lva³ Fgpt¶äv \S¶pXpS§n. BIm

i¯v ]mXnPoh\pambn ]p©ncn XqIp¶ kqcy³.

FÃmw Abmsf kw_Ôn¨nSt¯mfw ]pXnb

hgnIÄ Bbncp¶p. hgnIsfÃmw ]e coXnbnÂ

Af¶p Xn«s¸Sp¯n AbmÄ \S¶p. HSphnÂ

ac§fpsS \Sphn³ a\pjycq]§Ä ImW\mbn.

Hcp kv{Xobpw, ]pcpj\pw. AhÀ thgvNbnÂ

GÀs¸«psImÊncn¡p¶p. {_lva\v Cu ImgvN sbÃmw ]pXnbXmbXp ImcWw Dulns¨Sp¡m³

A¸w kabsaSp¯p. AbmÄ AhÀ¡p t\

sc \S¶p, ASp¯vsN¶v \n¶p. Hcp amähpw

Ahcn IÊnÃ. AbmÄ Ahsc sXm«pt\m¡nn hXvk\mWv, At¸mÄ CXv \oenbmhWw, AbmÄ

a\Ên IcpXn. CXv AÀ°iq\yamWv, X\n¡p

am{Xw F´mWnXv? aämÀ¡pw CÃm¯ ImgvN

iIvXn. AbmÄ¡v BivNcyt¯¡mtfsd thZ\

bmWpÊmbXv.""hÕm...'' F¶v {_lva³ hnfn¨Xpw

AbmÄ thgvNbnÂ\n¶pw ]n³amdn Zqtc¡v NmSn.

hndbv¡p¶ kzct¯msS hÕ³ þ""Bcm {_

lva\mtWm?''

""B ... AtX ...''

""Rm\nhnsS Imfnbpambn«v kwkmcn¡pIbm

b-ncp¶p''

AXv {_lva\v Hcp sR«embncp¶p.

""Imfn C{µsâ `mcybtÃ?'' AbmÄ a\ÊnÂ

HmÀ¯p. Imfnbpambn Cu s\dnsI«h³, ...

sO!! shdpt¸msS AbmÄ Iptd ]pe`yw ]

dªp. F¶n«v AhnsS\n¶v \S¶pXpS§n.

I®pIfn I®p\oÀ XfwsI«n \n¡p¶p.

F§s\sb¦nepw IÊsXms¡ C{µt\

bpw \oentbbpw Adnbn¡Ww.

Ipd¨v A¸pdt¯¡v F¯nbt¸mtg¡pw

AbmÄ C{µt\bpw \oentbbpw IÊp. cÊpt] cpw ImWm³ F´p kuµcyapÅhcmWv. AbmÄ

Hcp \nanjw kvX_v[\mbn AhcpsS ap¶n \n

¶p. AhÀ Im«n ]g§Ä ]dn¡m³ h¶hcmbn

cp¶p. ""C{µm..''

""CXmcv {_lvat\m?''

""FhnsSbmbncp¶p C{Xt\cw''

\oenbpsS tNmZyw.

"'AXv ]ns¶ ... \n§Äs¡s¶ ImWmtam?''

""ImWm³ km[n¡nsöv Rm³ \nt¶mSp ]

dªpXtcÊ BhiyaptÊm? {_lvam...bp-K§Ä¡v ap¼v In«nb im]w C¶pw \mw A\p

`hn¡pIbtÃ?''

""AÃ C{µm C\n¡nt¸m FÃmw ImWmw, \oensb

ImWmw, Cu ]g§sf ImWmw....ac§sf Im-

Wmw...kXyw''

""Akw`hyw, km[yaÃ....AXv''

""C{µm \o I®pIÄ H¶p Xpd¡m³ {ian¡q,

\o eo \obpw. \n§Ä¡o temIw ImWtÊ...?''

AXp ]dªt¸mÄ ap¼v IÊ ImgvNIsf Ip

dnt¨mÀ¯v kzcw I\¯p.

""Cu a\pjycpsS bYmÀ°cq]w...''

C{µ\pw \oenbpw X§fpsS `mcym`À¯m¡³

amsc At\zjn¨v \S¶p XpS§n. AhcpsS

]n¶mse A`yÀ°\bpambn {_lva\pw. ]

80

s£ Hcn¡Ât]mepw C{µ\pw \oenbpw AXv hIsh¨nÃ.

HSp¡w tZjyw h¶v AhÀ {_lvas\ B«n HmSn¡pI

t]mepw sNbvXp.

Zqsc \n¶v {_lva³ Dds¡ ]dªp.

""\oeo... C{µm... \n§sf AhÀ NXn¡pIbmWv.''

\oensbbpw C{µs\bpw sXÃpw AXv _m[n¨Xmbn

tXm¶nbnÃ. AhÀ \S¶IepIbmWv.

kqcy³ ]Snªmtdbv¡v Nmªv XpS§p¶p. C\n

Cp«nte¡pÅ ]cImb{]thi\w.

kXyw C{Xta {IqcamsW¶v Xncn¨dnª B Zn-

hks¯ AbmÄ i]n¨p. In«nb Img¨iIvXnsb AbmÄ

]gn¨p.

Ahkm\ IncWhpw Gäphm§n \b\w hoÊpw

AÔImc¯nte¡v Iq¸pIp¯p¶p. I®nte¡v Ccp«p

Ibdnsbmfn¡p¶Xmbn tXm¶n. AbmÄ \S¶p XpS§th

ImgvN {ItaW a§nhcp¶p. AbmÄ B Znhks¯ HmÀ¯v

hn§ns¸m«n. B[n]nSn¨ Hcp tX§Â, I®p\oÀ DXnÀ¶p

hoWp.

s]sǦv Znhyamb {]Imiw Abmsf hebw sNbvXp.

Ccp«v I®pIfn \n¶pw AI¶p.

""{_lvam ... hnjan¡cpXv ImgvN AXv \o t\Sn FSp¯Xm

Wv, AXv \jvSs¸SnÃ. \nsâ ]qÀÆ ]c¼c¡v Rm³

Cu Ignhv t\ct¯ \ÂInbXmWv. F¶m Ahcmcpw

I®pIÄ Xpd¡m³ {ian¨nÃ. kqcysâ NqSn Ns¯m-

Sp§n. F¶m Rm³ \n§fpsS icocs¯ \hoIcn

¨ncn¡p¶p. \osbmgnsI BÀ¡pw CXv km[n¨nÃ. Ah-

scÃmw CXv thsʶv sh¨p. ImgvNbpsS kpJw Ct¸mÄ \n\¡v am{XamWv. \n\¡mbn am{Xw ChnsS kqcy³ P

\n¡pw. F¶m \o Ghtcbpw DWÀ¯pI, \nsâ

NpäpapÅhÀ Dd¡¯nemWv. AhÀ DWcm³ B{Kln

¡m¯sXs´¶m Dd¡w AhÀ¡v A`bamWv. Ahsc

DWÀt¯ÊXv \obmIp¶p''.

81

temIw IpXn¡pIbmWv, Hmtcm \n

anj¯nepw hnhckmt¦XnI hnZybpw, im-

kv{Xhpw XpSsc XpSsc ]pXnb hmXnepIÄ \

ap¡mbn Xpd¶nSp¶p. N{µ\n Pe¯nsâ

km¶n²yw Isʯnbt¸mgpw, ssPhI-

Whpw, {]]t©mÂ]¯nbpw \½n IuXp

IapWÀ¯nbt¸mgpw, sNmÆbnse Hmtcm

aW¯cnbpw \t½mSv Bbncw IYIÄ ]

dªt¸mgpw \mw kzbw AXv`pXs¸SpIbmbn

cp¶p. a\pjy³ ssIhcn¨ t\«s¯Ipdn

t¨mÀ¯v. ]pXnb km[yXIÄ , ]pXnb hnlm-

bÊpIÄ C¶v Hcp aukv ¢nIv AIse \s½

Im¯p\n¡p¶p.

kulrZhebw kvYm]n¡m\pw

Bib§Ä ]¦pshbv¡m\pw t^bvkv

_p¡pw aäpw aXvkcn¨t¸mÄ \mw ]pXn-

bXns\ Isʯns¡mtÊbncn¡p¶p. tkm

jy s\ävhÀ¡pIfpsS Cu ssk_À bp-

K¯n \½psS IpªpIpªptemI§Ä¡v

\½tfmtcm ]q«pIfnSp¶p (]mkv thÀUv)

Chsbms¡¯s¶ Hcp \nanjw s]m«n

s¯dn¡p¶Xns\¸än \mw HmÀ¯n«pÊmhnÃ.

F¶m Atacn¡³ sFIy\mSpIÄ kmaqln

Iam[ya§fnepw (CâÀs\äv {Kq¸pIÄ, {Kq¸v

C sabnÂ) skÂt^mWnepw \S¡p¶ hy-

IvXnkw`mjW§Ät]mepw tNmÀ¯p¶p

F¶ clkyw FtUzÀUv kvt\mU³ ]p

d¯phn«t¸mÄ \mw Ipds¨m¶paà sR«nbXv.

Cu shfns¸Sp¯epIfneqsS apXem-

fn¯ hyhkvYbmWv ]ucmhImi¯ntâbpw,

hyIvXn kzmX{´y¯ntâbpw DZm¯ amXr

Isb¶ hmZKXnbpsS s]můcw A\mh-

cWw sN¿s¸«ncn¡pIbmWv. {]apJ CâÀs\

äv tkh\ZmXm¡fmb ssat{Imtkm^väv, bmlq,

KqKnÄ XpS§nbhbpsS klmbt¯msSbmWv

Cu CeIvt{SmWnIv clky tNmÀ¨ \S¯p¶Xv.

Cu hmÀ¯IfneqsS temI¯nsâ

t]m¡v Ft§m«msW¶v \ap¡v IrXyambn a\

Ênem¡m\mhpw. temIsa¼mSpw a\pjyÀ \

S¯p¶, X§Ä kzImcysa¶p hnizkn¡p¶

Bibhn\nab§Ä tNmÀ¶psImÊncn¡p¶p.

IpSpw_mwK§Ä X½ntem ImapIoImapI³amÀ

X½ntem \S¯p¶ kw`mjW§Ä t]mepw \n

co£Whnt[bamsW¶XmWv kXyw. \½psS

AhImi§fmWv, kzImcyXbmWv

CXneqsS ewLn¡s¸Sp¶Xv. KmÀUnb³ ]

{X¯neqsS h¶ Cu shfns¸Sp¯epIÄ¡p-

tijw temIw apgph³ Xncn¨dnbs¸«pIgnªp..

H«pw Xs¶ adbnÃmsX.

temIs¯ apgph³ bp²¯neqsS

IogS¡p¶Xn\pw apXemfn¯ hyhkvY Du«nbp-

d¸n¡p¶Xn\pw Xsâ i{Xp¡sf sIms¶m-

Sp¡p¶Xn\pw thÊn Atacn¡ cmjv{S¯e-

h³amsc hsc \nco£n¨ncp¶p F¶XmWv

Gähpw HSphn h¶ dnt¸mÀ«v. djy, ssN\

XpS§n Atacn¡bpsS i{XpXbv¡v Ccbmbn

XoÀ¶ cmPy§fpsSXnt\¡mÄ IqSpXÂ

clky tNmÀ¨ \S¶Xv C´y³ hnhchn\n

ab kcWnIfn \n¶msW¶Xv {it²bam-

A]lcn¡s¸Sp¶ \bX{´

_豈Swetha S Krishnan | ECE

82

Wv. {_koenb³ {]knUÊnsâ sSent^m¬ kw`mjWw tNmÀ¶Xpw ]pXnb hnhmZ§Ä¡v

XncnsImfp¯nbncn¡pIbmWv. Ipd¨pImew

ap¼v Pqenbkv Akms©

hn¡neo¡vkneqsS ]pd¯phn«Xpw kam\

kw`h§fmWv. ap³ Iyq_³ {]knUÊv ^nUÂ Imkvt{Sm AS¡w F«p

cmjv{S¯eh³amsc h[n¡m\mbn

CIA {iaw \S¯nsb¶ sk\äv

I½nänbpsS Isʯepw sR«n¸n¡p¶XmWv.

kam[m\w ]p\kvYm]n

¡ms\¶ hymtP\ Atacn¡

BfnÃm¯ hnam\§fneqsS \

S¯p¶ \ng bp²§fnse

`oIcX \mw ImtWÊXpÊv.

cmkmbp[¯n \n¶v kndnb³

P\Xsb c£n¡m\msW¶ t]

cn kndnbsb B{Ian¡ms\m

cp§p¶Xpw a\pjyImcp-

Wy¯nsâ ad D]tbmKn¨p-

sImÊmWv.

temIw apgph³

IogS¡Wsa¶ BÀ¯nbpw,

temIsa¼mSpw i{Xp¡Ä

Hfnªncn¸psʶ `oXnbpw, kwibhpw

Atacn¡sb shdfn ]nSn¸n¨ncn¡p¶p. Hcp

cmPyw Xsâ P\Xsb \nc´cw kwibn¡pI

bpw, AhcpsS hnImc§tfbpw {]XnIcWti-

jntbbpw ASn¨aÀ¯pIbpw sN¿p¶Xv F{X

Xcw Xmgv¶ {]hÀ¯nbmsW¶v HmÀ¡pI.

tIhew Bibhn\nab§sf tNmÀ¯p¶p

F¶Xn\¸pdw CXneqsS temI¯nsâ t]m¡v

Ft§m«msW¶v \mw Xncn¨dntbÊXpÊv. apX-

emfn¯ hyhkvYsb Du«nbpd¸n¡p¶Xnsâ

BZy]Snbmbn CXns\ \ap¡v ImWmw

`cWIqS§fpsS A´nae£yw A[nImcw

Dd¸n¡Â am{XamIp¶p. AhÀ AXn\mbn

kz´w P\Xsb Ahnizkn¡pIbpw `bs¸SpI

bpw sN¿p¶p. AhcpsS Hmtcm \o¡§fpw

kwibt¯msS t\m¡nImWp¶p. \nc´camb

Hfnªpt\m«§fpw clky NÀ¨bpsaÃmw Cu

`oXnbpsS D¸¶amWv.

temI¯nse Gähpw henb P\m[n]

XycmPyamb C´ybn hsc Cu A[nIm-

capd¸n¡ensâ hy{KX ImWp¶ntà F¶v

\mw Nn´nt¡ÊXpÊv sFUânän ImÀUv,

ss{UhnwKv ssek³kv, ]mkvt]mÀ«v XpS§n \n

ch[n Xncn¨dnb tcJIÄ \ne\nÂt¡ Hcp

GIoIrXcq]amb B[mdn\v ]ndtI \mw F´n\v

t]mIWw. FÃm¯cw kÀ¡mÀ CS]mSpI-Ä¡pw

F´n\v Hcp Kymkv knenÊÀ hm§m³ t]mepw

B[mÀ ImÀUv en¦v sN¿Wsa¶v ]dbpt¼mÄ

AXv shdpw "Imcy£aX' hÀ²n¸n¡m³ thÊn

am{XamtWm F¶v \mw Nn´nt¡ÊXpÊv.

Kh¬taâ v Hcp kzImcy GP³kn hgn P\§fp

sS hnhc§Ä HscmäImÀUn ASbmfs¸Sp¯n

B[mÀ hn¹hw sImÊmSpt¼mÄ \mw Hcp \n

co£Whebn¯nemsW¶pÅ

t_m[w \½n DWÀ¯p¶Xn

t\msSm¸w P\§sf {]Xntj

[n¡m\dnbm¯ A\pkcWbp

Å `ocp¡fm¡p¶ X{´w sa\

bpIbmWv. FXnÀ¸pIsf

ASn¨aÀ¯m\pw ]pXnb

Ne\§sf apfbnte \pÅm\p

amWv Cu Hfnªpt\m«§Ä.

tPmÀPvPv HmÀhensâ

t\mhense IYm]m{Xamb

htey«sâ (Big Brother)temI¯mWv \mant¸mÄ. {]

XnIcn¡m\mhmsX Hcp sNdp

Ne\w t]mepw DÊm¡m\m

hmsX PoÀ®n¡pIbm-

Wv \½Ä. \½psS kzIm-

cyXbpw AhImi§fpw

Nqgvs¶Sp¡s¸Sp¶Xv \½Ä

Adnbp¶nÃ. Fs-´ms¡tbm

sI«n¸Sp¡m\pÅ Hm«¯n\nSbn \ap¡v

Xncn¨dnhpw \jvSs¸«ncn¡p¶p. \mant¸mgpw

\½psS temI§Ä¡v ]q«pIfn«psImÊncn¡pIbm-Wv....., Ahsbms¡¯s¶bpw iIvXamsW¶

hnizmkt¯msS.

83

1. Starting from Gandhiji’s ‘Self sufficientvillage Economic system’ India has wit-nessed the introduction of several types of theories on socio economic development. Sir, what is your vision of sustaionable development? (which is the key feature of the development strategy from the fourth five year plan).

Personally I don’t believe in the Gandhian concept of development. Infact, he tried to intro-duce a conept which says ‘No’ to mechanisation and technology. What I suggest is the adoption of a pro environmental strategy of industrilaisation in which the harmony is maintained with nature. There exists several kinds of economic imbalance. I can suggest you a book written by J.C Kumarap-pa ‘The economy of violence’ which details such

aspects. Now what prevails here is the economy dominated by violance.

2. Sir, please have an indepth explanationon such an economy which is dominated by violence. How can we approach the issue? What solutions do you suggest?

It is nothing but the people’s violent activ-ities against nature and society that has created such a situation. Their aim is to attain profit. This has to be replaced with better formulations of environmental protection. We are least bothered about the intensive pollution over here. Industries target limitless profit, through the exploitation of natural resources, in a highly unscientific way. In-stead we require a proper utilisation of resources. Developmental activities should be ensured with

the participation and support of local people. In other words, development should start at the grass root level.

3. Sir, what is your response to the existingdeficits in environmental governence? And how far can the proposed westernghats ecology Authority (WGEA) make changes?

(Laughs)When there’s no environmental goverance at all,how can we discuss about the defi-cits.?!

The WGEA suggests specific strategies to improve the situations. I again emphasise the involvement of local people in environmental gov-ernance. But it depends on how they implement it. You know the ecological and economical im-portance of western ghats. It is a kind of ecolog-

IN CONVERSATION

WITHMADHAV GADGIL

84

ically sensitive area and has got rich biodiversity. In our report we suggest the ‘allowable’ and ‘to be restricted’ activities in these zones by considering its biological characteristics, attitude, inclination, climate, chances of natural calamity, historical importance and so on.

4. Sir, what is your opinion regarding theinfluence of media and politicians on pub-lic? Isn’t it a challange to developmental democracy?

Media is responsible in making the people aware of the happenings around. And I think they did the same with the western ghats protecion reports too. I’m happy that media could make people aware of such issues. I won’t comment on the politics behind this issue since I have already commented on it in many other media. I am not

a politican and I have no idea about the political gains from such issues. Politicians may be having various approches. I don’t want to comment on it.

5.Sir what’s your pesonal response to thearising controversies and rumours re-garding Gadgil Committee Report? Out of which the most noticed was the Athirap-pally project.

You are agencies, I understand .So you can study the technical aspects of the same. Power production and distribution can be brought under study. I believe that you know about the alterna-tives which can be suggested as far as the Athi-rappilly project is concerned. Such issues arise usually when the middlemen are bribed. Bribery among contractors is a major problem.

There was a rumour spread that the farm-ers shall loose their homes when the report gets implemeted. The only thing I have to say is that read the report. The people who eat the fruits of development lead a luxurious life.

6. Government has not yet taken a com-plete decision. Sir what’s your response to the findings of the submitted ‘Kasturiran-gan report’. I don’t what to comment on this. As told earlier, I had commented on this before.

7. Sir, could you please share your pesonalexperiences in Western Ghats when you were working with the report?

Of course, I am a person who has been attached to the Western Ghats since childhood. I can tell you a story that happened during our

journey through the thick forests of the West-ern Ghats, in connection with our report field study. There was an engineer in our team who was a native of Rajastan. Obviously he was not familiar with the creatures which inhabited the forests. One day he had got a leech attached to his upper arms while walking in the forest.He didn’t see it. And as you know the leech injects a chemical which inhibits our sensitivity in the area of bite. He went on with his survey. And during tea time we sat together for some time. By seeing the blood oozing out from his upper arms,this person suddenly stood up and began to shout hilariously!(Laughs) .Thankfully, a villager had accompanied us. He fetched some herbal med-icines and applied it on the engineer’s arms. He was okay afterwards. This is an experience which i remember always.

8. Finally sir, your message to the youngergenerations.

My message to you is ‘Empower the peo-ple’. You should be in love with the nature. Never be selfish.

85

Lo and Behold O! wise old sagethe molten manger due to man’s own rage

cursed are we to grace this cageto be born as such into the world’s bad page

Fiery arrows, knives, harpoons alikeand all the things we seem to dislikethunder down the streets and set alightthe eden of many and more unlike

Repochement with such implicationscreates recherche due to sophisticationsDeath and devilry are no longer hallucinationsfear and despair are new felicitations

The country has warped through a transient rantfrom peace and prosperity to a diabolical grant

Crumpled,have the pillars of faithcrippled,are the hallows of fate

Lives at large have failed to breachMillions of souls have eloped beyond reachBrethren have been lost a cliche to teachand continues to be a stain you cant bleach

Corruption,extortion,asphyxiationare man’s talents with an addictionto drugs and drinks an aggregationof these point to our country’s dilapidation

Tears of fear and sorrow all distinctfalls by drop from the country’s instinct‘Why my children do you harm me so’pronounces does she she without much ado

‘You have torn me now into bits apart’and demoted me from my loving heartflattened have you my forests to chartimpured have you my waters from start

‘Injured lies my poor animal friends’dying for you for your latest trendsstill you have failed to love and appendyour serene thoughts and tries to pretend

With this stops our only motherlandpitiful of the plight that we have at handfor soon we shall be reduced to mere sandand no one but we shall blame our rant

Change our ways must we from nowto plant the parched lands so as to sowand to beautify the places to gosoon shall we attain the flow

The mother forgives all the prodigal sonswho come with folded hand that yield sans gunsand those innocent brethren who’ve suffered tonspicked from the furnace by God’s own tongs

A chance granted we’ve been by the Lordand missing it will be more than we can affordThe minimal sufferings we will have to sufferare nothing compared to the goods on offer

So make a path a true one at thatwaste not a second on a trivial chatThe country needs and yearns for growthand only you my friend can meet them both

Akash S Kumar | EEEGUILT

PHOTOGRAPHER'SCORNER

ASIF RASHEED | ECE JAWAD ADULLAH | ECE

SUJITH AK | CIVILHARIKRISHNAN U | PRODUCTION

ASIF RASHEED | ECEJAWAD ADULLAH | ECE

JAWAD ADULLAH | ECE

NAVEEN VISHWANATH | EEE

Vivek M | Production

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92

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93

Indeed, it is a really great attempt by the ISRO to have launched the Mars Orbiter Mission, fondly called “Mangalyaan.” Be it 3000 BC, the age of Maharshi Bharadwaja who wrote “Yantra Sarvas-va”, a treatise on machines including anti-gravity machines and spaceships or the present day, our motherland has always been in the forefront of science and technology and had spread the light of knowledge to the rest of the world!Launched by the PSLV-C25, in its twenty fifth flight, on November 5, 2013 from Sriharikota, the Mangalyaan had been rotating around the Earth until it was given that final extra kick through a sling shot mechanism as it began its 750 mil-

lion kilometre journey to Mars.

The Spacecraft traversed beyond the Sphere of Influence (SOI) of Earth extending about 9,25,000 km at around 1:14 hrs (IST) on Dec 4, 2013. Each day, the Mangalyaan will cover over 2.5 million km hurtling into space till it is slowed down to be captured by Mars.One of the main objectives of the first Indian mission to Mars is to develop the technologies required for design, planning, management and operations of an interplanetary mission.

Following are the major objectives of the mission:

A. Technological Objectives: • DesignandrealisationofaMarsorbiter

with a capability to survive and perform Earth bound manoeuvres, cruise phase of 300 days, Mars orbit insertion / capture, and on-orbit phase around Mars. • Deepspacecommunication,navigation,mission planning and management. • Incorporateautonomousfeaturestohan-dle contingency situations. B. Scientific Objectives: • ExplorationofMarssurfacefeatures,morphology, mineralogy and Martian atmo-sphere by indigenous scientific instruments. About 250 scientists from ISRO monitored its health. The command for the spacecraft to leave the Earth’s orbit and head into the Sun-centric orbit was executed from the Mission Operations Center in Bangalore.

MangalyaanSrinath T.R | EEE

94

The success of the mission can be assessed only when the spacecraft reaches the Martian orbit on September 24, 2014. Once it reaches Mars, the Mangalyaan will revolve around the ‘Red Planet’ for six months and announce India’s triumph.

However, the risks are many and no country till date has succeeded in reaching Mars on its maiden attempt. More than half of all missions to Mars have ended in failure, including China’s in 2011 and Japan’s in 1998.

The Rs. 450-crore mission to Mars has made inter-national headlines, at least in part for its cost-effi-ciency.But, in spite of lauding ISRO, some media report-ed this as an out breaking debate. With people questioning the necessity of the mission and the amount of money spent for it, the common man would really have wondered, “Was this all neces-sary?”The best defence to these questions came from the mouth of the ISRO chief himself. He said,

“All these people keep mum when the Indian population spent Rs. 10, 000 Crore, bursting crackers for Diwali. Why do they start shouting when we spend just Rs. 450 Crore for a devel-opmental mission??”It cannot really be understood why people turn a blind eye towards the priceless benefits of the mission. The mission gives us an oppor-tunity to showcase our prowess, thus opening the doors for business and helping in getting multi-billion dollar contracts. This is a huge economic development. If our country gets big contracts, it will further help in research and development of our space programme giving the young generation employment and opportunity to serve the nation and utilize their knowledge. Also, it will help India propel to the elite club of only few countries which possess these capabilities. India is an emerging Space power, thanks ISRO!!

Moreover, it will be a big boost for those scientists who have worked day and night in the pursuit of knowledge and this

fructifies their talent, hard work and dedica-tion. This should be the kind of acknowledg-ment that they should be given so that they can keep on working hard. The Indian youth should be very much aware that if we contin-ue to progress like this and give wings to the commitment of our scientists, they will surely make India a hub of scientific projects and there will be no brain drain, as they simply leave India for better opportunities to settle abroad.Finally, it is a demonstration of India’s might, power and captivating capabilities in space

research, all of which are worth much more than just Rs 465 Crore which was spent for the project.

95

Snjay Gopal |

Dyuthi’13,the second edition of the annual tech-no-cultural managerial fest of Govt Engineering College,Thrissur was conducted on the 11th,12th and 13th of Septemeber 2013.The flamboyant mul-tifest concluded in sublime fashion thus firmly es-tablishing its place among the most elite multifests in the country.Packed with versatile events span-ning across different categories,the fest bought in a new dimension to the field of technology.Dyuthi’13 which was launched under the tagline ‘Inspiring Engineering Acumen’,was simply a spec-tacle that defied expectations.There were numer-ous competitions that put one’s engineering skills to the ultimate test.Junkyard Wars and Machinist from Mechanical dept,Coding events by Comput-er Science Dept,Mad Chemistry from Chemical Dept,Robotics and Circuit events by both Electri-

cal Dept as well as the Electronics Dept were all glamourous events that attracted participants from various corners of the country.Dyuthi’13 wasn’t limited to a few technical competitions.There was also room for a lot of physical challenging and intellectually intriguing events.Highlight events of the previous edition of Dyuthi,Roadies and Dun-geons of Dyuthi took a step further,bringing in a lot of drama and unparelled excitement.Gladia-tor-the best manager competition managed to at-tract record no of registartions eventually proving to be one of the most tightly fought competitions at Dyuthi.Fun was hardly scarce at Dyuthi as the informal events set the mood alight with some cheeky yet mesmerizing moments.The highly challenging ride on the bull,funny yet daring Sumo wres-

tling challenge,the 5 minute cookery gamble at Chef Dyuthi and a bit of target practice the at the archery board were the marquee informal events.These events managed to engage the spectators more than any other events had.Expos were conducted by each Department.Electronics and Communication Department conducted Quintes-sence,Computer Science Dept conducted Insignia and Production Department organized Pinnacle.Electrical and Electronics Engineering Depart-ment conducted Resonance which had models and illustrations from three prestigious organisa-tions of India namely, ISRO-Indian Space Re-search Organisation, KNPP-Kudankulam Nuclear Power Project and KEL-Kerala Electricals Limited. Civil Engineering Department conducted Nir-maan Expo which featured the latest technologies

DYUTHI' 13Sanjay Gopal | CSE

96

in the field of building construction.5 workshops were conducted as part of Dyuthi. A workshop on hacking by renowned hacker Sunny Waghela was conducted along with the following workshops : A workshop on Augmented reality by INDROYD labs;Satbot-A GPS (Global Positioning System) based Satellite Robotics workshop;JUZZ CADING-A workshop that provided innova-tive ideas on the various designing software and training on the modelling of various prototypes.Metrology-A workshop designed to familiarise budding engineers with advancements and mod-ern technology in the field of metrology.

There was also a staggering proshow featuring Naresh Iyer and Bennet and the Band.The show was absolutely electrifying and stole the hearts of thousands who were part of the show. Another highlight of Dyuthi'13 was the much anticipated launch of numerous SkyCandles.The skycandles illuminated the skies in terrific fashion thus sym-bolifying what Dyuthi intends to deliver.It was an absolute marvel which will be held close to their hearts by each and everyone who witnessed it.

Altogether Dyuthi’13 delivered on all fronts thus making the event a huge success.The incredible perfection achieved in the organization and execu-tion of Dyuthi has given everyone a cause to stay tuned for bigger,better and bolder versions of one of the best multifests in the country.

97

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100

COLLEGE SPORTS TEAMS

FOOTBALL

CRICKET

BASKETBALL

VOLLEYBALL

FENCING

KHO-KHO

College Union Inaugration – BhoomikaThe official inaugration of college union was conducted on the 10th of March ,2014.The cermony was inaugrated by famous writer Vyshakan.Entertainment programmes dominated the show with those by the final year students earning special applause.The event proved to be a spectacular way to flag off proceedings for the new union.

Chitram’13 College Union conducted its annual film festival ‘Chitram’ from 19th- 21st of August 2014.The fest was inaugrated by popular cine artist Irshad.Six films belonging to different

COLLEGE UNION REPORT

102

genres were shown over the course of three days.Each of the films that were shown had a huge impact on the viewers.The total turnout for the films increased as the fest pro-gressed,thus marking its incredible success.

Dyuthi-13Dyuthi,the annual national level techno-cultural managerial fest of our college was conducted in sensational style on the 11th,12th and 13th of September.The versatile multifest which showcased a plethora of events that included technical,cultural,general and informal events was a feast to students as well as spectators.In addition to the competitive events ,this year’s editon had a blistering proshow by Naresh Iyer and Benett and the Band.As for the icing on the cake,the hundreds of skycandles which illuminated the skies at Dyuthi served the purpose.The event bettered the standards set by the previous editon and maintained its reputation of being one of the best multi-fests In the country.

Onam Celebrations-Ponnonam‘Onam’,the most celebrated festival among Malayalees was celebrated with all its splendour under college under the title ‘Ponnonam’13’ on the 14th of September.Tradition took centre stage at the event.Age old yet riveting games such as Pullikali,Tug of War and Musical chairs were all conducted which recreated the true festive spirit that Onam stands for.

Union Games and AthleticsAn intra college semester wise games and athletics meet was conducted to bring out the best sporting talents in the college.The Games were conducted on the 1st,2nd and 3rd of Jan while the athletics meet was organized on the 6th and 7th of Januray,2014.The meet proved to be a true reflection of the enormous sporting talents in our college.Games packed with sizzling intensity,races that ended up in tight finishes and the spectacular enthusiasm displayed by the spectators were the highlights of the meet,as the final year students bagged the overall trophy.

GEC Premier LeagueGEC Premier league ,an event that made its debut at Gec,was undoubtedly the surprise package of the 2012-13 College Union.An event that replicated the popular Indian Premier League in both style and flair,GPL proved to be a heart thumping roller coaster ride.From nerve cracking moments and nail biting finishes to crackling perfomances and over the top celebrations, GPL had it all.As 8 franchisees battled it out for cricketing supremacy from the 8th to the 22nd of January,2014,GEC warriors emerged as champions as they beat GEC Hawks in the final.Empty seats were a rarity during the tournament as it created waves like no other event had,previously.

Confluence’14The annual arts fest of our college,Confluence’14 was conducted in fabulous fashion from the 22nd -25th of Jan,2014.Featuring over 60+ cultural events,the competiton was well fought between the five different batches at the college.Numerous singing,acting and dance competitons were on the cards at the event with the humoungous amount of participation for each event serving as a major boost.The fest concluded in scintillating style as the 3rd years students emerged as the winners.

Additional EventsCollege Union also managed to organize various other utility events such as a book fair named ‘Pusthakolsav’,various seminars on topics like Safety on Roads ,as well as a variety of other events.The 2012-13 College Union earned the reputation for being the most successful College Union in the history of the College,organizing more number of events than any other Union had,previously.

103

SOHRAB MOHAMMEDChairman

THENSIHA A.VVice Chairman

ANOOP CGeneral Secretary

HARIPRIYAJnt. Gen. Secretary

HEMKIRANFine Arts Secretary

BINU MUUC

SREEKUMAR EUUC

RAMEES TStudent Editor

KRISHNAKUMARFourth Year

AKSHAY KIRANThird Year

ROHIT Bsecond Year

GOKUL DASFirst Year

AMITHEEE

SUJITH AKCE

AKASH MCHE

MAHMOODPE

PAVIN C.PME

NIKHILCSE

AKHIL CKECE

SWAMINATHAN E.MGeneral Captain

Prof. M V JayanCollege Union Staff advisorDept. of Electrical and electronics engineering

Nithin KrishnanB.Arch

COLLEGE UNION

ASSOCIATION SECRETARIES

YEAR REPRESENTATIVES

MUNIYARA The mythical realm of Marayoor

CARVING THE MOUTH ON 4-10-11DOLMENS AT PAYAS NAGAR (MURUKANPARA)‘Murukan para ‘ is a rock mountain surround-ed by valleys and forest areas.We sighted around 10 to 20 Dolmens though archeologists have sighted around 600 to 700 Dolmens in higher and lower levels of Muru-kanpara and nearby areas. The Dolmens we first sighted were in clustered form having two to four Dolmens in each cluster. While approaching the top of the mountain we found many isolated Dolmens. On our arrival we ob-served mainly two different types of Dolmens. The first type being the ones standing exactly

above the rock, and the other being ones that were found beneath the ground.

DolmenoiD Cists Dolmenoid cists are the structures standing par-tially below the ground. The structure consists of a ‘bed stone’ which is placed about 45cms below the ground level. The porthole is made either centrally or eccentrically. Most of the Dolmens we found had only one porthole. But there are exceptions. During our study, we were able to inter-view an anonymous social worker ‘Lincy’,who seemed to be interested in conserving the relics which were of cultural significance.From the in-teraction we came to know that there are mainly four types of Dolmens.The classification based on the mode of con-struction yields Dolmens & Dolmenoid cistswhile that based on arrangements divides them into Isolated Dolmens & Clustered Dolmens

Marayoor is a hilly area located in Idukkidistrict in the State of Kerala. There exists a mysterious element among the valleys and hills. Ancient relics dating back to at least 10000 bc are hidden among these valleys and hills. But even with such great significance, this place has received very less attention over the years and many questions still remain unanswered. The unanswered questions served as our primary inspiration in researching this area. A site such as this, dating back to the stone age, could be seen in Russia, Spain, Ireland, Portugal, Germany, France, etc.

A DOLMEN is a stone structure prominent in sites similar to the ones found in Marayoor. We have embarked on this journey to try and establish a relationship between the existence of these structures in Marayoor and the other previously mentioned areas. Their resemblance still remains a huge mystery.

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METHOD OF ERECTION

DOLMENSDolmens are structures standing exactly above the rock. it consists of 3 to 4 upright stones supporting a large, flat horizontal stone known as ‘cap stone’ .it also has a ‘bed stone’ to support the upright stones laterally . Dolmens were usually covered with earth or smaller stones to form a barrow. in most of the Dol-mens the covering had weathered away leaving only the stone skeleton of the burial mount. Another thing we noticed was a porthole in one of the upright stones. the porthole varies in size.

UNWINDING THE HIDDEN TRUTH ON 05-10-11

CISTSCists are underground structures with two or more chambers inside. The average width of a cist is about 60 centimeters and the average depth, about 3 meters.A newspaper report dated to October 22, 2000 revealed the existence of cists in Kottakulam, Marayoor. Three of them were excavated in a sugarcane plantation field. The structure of these cists resembled very much to that of the forementioned Dolmens. A Stupa was excavated from one of the cists which closely resembles the shape of the number ‘7’. We can infer that this cist was probably a burial ground of a Superior of a then existing society/community

AT KOVILKADAVUKovilkadavu is a small township on the banks of the river Pambar

(Thaliar) and situated near the ‘Then-kasinadha’ temple. Kovilkadavu is also a rocky area. As we approached one of the rocky outcrops at the back yard of Govt. Higher Secondary School, we witnessed around 40 to 50 Dolmens in spread out manner.

DOLMENS AT KOVILKADAVUMost of the Dolmens we found here were arranged in a clustered manner with significant variation in height. There were about 2 to 4 Dolmens in each cluster. Structurally more advanced types were found over here. The

barrow in the former case was replaced by a platform, constructed using stone and mud, which functions as a basement. These form a rectangular shape in plan. The bonding pattern they adopted is similar to the stretcher bond. Stones are arranged so as to minimize continuous vertical joints. The gaps between stone blocks are tightly packed with small stone pieces and earth. Stones employed for this type of construction are having maximum bedding area.

106

TRUTH OR MYTH?It was really a big challenge to explore the hidden truth behind these stone structures….Here comes the thought of ‘Back To Basics…..’It still remains a mystery as to how these stone structures were erected and why these unprecedented rock cuts are concentrated in this particular area.As per archeological inferences, Dolmens ; the burials belong to 10000BC.According to the head of the tribe The Muniyara was built by ’ Pandavas’ with the help of demons during their exile. These are being treated as holy places. They are beleived to be chambers for preserving grains.These are the burials ascribed to megalithic age dating back to 10000 BC.

Other related controversies

*Why couldn’t these variations in height be a result of the availability of stones?*The rocks over here are formed in layers. Formations of natural cracks are clearly visible over this area.These layers may be separated by pragmatic methods or naturally split up rocks may be used.*But the dwarf Dolmens again creates a confusion. The Dolmens at Alampetty with a height of around40 to 60 centimeters cannot be considered as shelters as there were no port holes. Hence these Dolmens in Alampetty were probably burial grounds.*Regardless, the Dolmens at Murukanpara and Kovilkadavu resembles a shelter. The steps inside andthe well ventilated interior space in the adequate proportion ensures a decent living condition.*Even then, how can we say that all the Dolmens are burials, with the only evidence obtained from a fewDolmens being an urn?*Is it believable that they made such an effort to erect a massive stone structure as burials? If so, why notshelters?*A huge stone slab with an approximate height of a human being and a port hole acting as a provisionfor light and air or serving as an entrance..Aren’t these sufficient for a shelter?

The cists found by archeologists from Kottakkulam are evidences of a manifest culture of a community. The design of spaces within these cists with chambers; and a hole which may be used for offering food resembles the idea of an Egyptian pyramid. As Egyptians probably believed in ‘life after death’ , the hole may have been provided for the spirit. While observing the construction of cists we could infer that these are the contributions of people who were more advanced in life style and culture. The use of well dressed stones and chisel mark ,point out the transition from Stone age to Iron age.

107

Hence these Dolmens in Alampetty were probably burial grounds.Regardless, the Dolmens at Murukanpara and Kovilkadavu resembles a shelter. The steps inside and well ventilated interior space in the adequate proportion ensures a decent living condition.Cluster of Dolmens may be used by a single fam-ily. Such clusters are concentrated in a particular area. These may be remains of an unprecedented settlement with their own culture and beliefs. .This settlement is situated near river Pambar , which originates from Anamudi hills and flows towards east.Without a satisfactory explanation by the histori-ans , controversies still exists. While these contro-

ROCK PAINTINGS AT ALAMPETTYMarayoor and its surrounding areas do attract visitors to get involved deeply into the study of Dol-mens.There are ancient rock paintings at Attala, Ezhuthuguha (the Cave of Writing), Kovilkadavu and Manala. Attala lies in the western part of Marayoor Township and harbors more than ninety painted motifs.It is located at a height of 1500 meters above Mean Sea Level. Most of these paintings are abstract de-signs and only a few carry animal and human figures. Similarly the Ezhuthuguha paintings are inside a sandalwood reserve forest at a height of 1000metres above Mean Sea Level. We foraged into the forest abutting Alampetty with the help of a guide. Climbing the rocks in this place was arduous and we sighted a row of Dolmens beside a solitary one. Though rock paintings were well within our reach, we sighted rock paintings at Jellimala. The colours used were red ochre and caolin.

‘THE QUEST FOR TRUTH NEVER ENDS…’Along with this quote, we can safely say that the thin line that exists between myth and reality is hard to define, and we have arrived at a two fold conclusion:i.We have established an uncertain relation that the tall Dolmen structures were probably shelters andthat the short ones were likely used as burial grounds.ii.To promote the research and development of this area as part of the Govt. Of Kerala Initiative.

versies persists, people at Marayoor still believe in certain myths.According to tribes these were structures built by ‘The Pandavas’ with the help of demons during their exile. They treated these as a holy place and calls the structure as ‘Muniyaras’. They also be-lieve that the cave near ‘Thenkasinatha temple’ served as a transition or connecting space between Marayoor and Madurai.Others believed that these were the shelters where Rama and Sita stayed during their exile.The area is rich in medicinal plants. The natives say that they are free from diseases. One of them said that the rock used for Dolmens are carved out from the rocks using the juice of a medicinal plant.

108

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Ad_n¡Sensâ dmWnbmb sIm¨nbpw IS¶v

hoÊpw sX¿§fpsS \m«nte¡v... AsX, AhÄ I\yIbmWv... tIcf¯nsâ

]cnip²n Im¯pkq£n¡p¶ “]Xn{hXbmb I

\yI...

110

bm{XIÄs¡¶pw ]dbm\pÅXv Hcp]mSv

ImgvNm´c§fpsS IYIfmWv. \mSnsâ

XWepw shfn¨hpw hn«v \Kc¯nsâ hm-

l\¡pcp¡n F®n\o§p¶ sk¡â v

kqNnsbt\m¡n ]ndp]ndp¡m\pw Abn

a¶Im\pw DÅ Ahkc§fpÊm¡msX

t]mInà Hcp IqSpamähpw. AXv sX-

t§mes¯m§enen« ImeSnbpsS ]pXp]

Xp¸p¶ CShgnIÄ¡p ]Icw Dd¨ hgnIfp

ÊmIpt¼mgpÅ Hcp ]ptcmKa\w Xs¶bm-

Wv. sImSp§Ãqcnsâ hr¯\mKcnIXbv¡v

Xnc¡nsâ Be¦mcnIX e`nbv¡p¶ Np-

cp¡w Nne A´nt\c§Ä Rm³ IÊn«pÊv.

`cWn¡pw Xmes¸men¡pw thÊn \nc§n

\o§p¶ P\mhen¡nSbneqsS apc§pcÊp

XpÅp¶ _ÊpIfn Ccp¶mbncn¡pw AXv.

Asæn cmtP«sâtbm, sN¼\mSsâtbm

ktXyjntâtbmsbms¡ HmÀ½ Znhk§fn

Â. `IvXnbpw cmjv{Sobhpw, DÊm¡p¶ B

XÅÂ asäm¶n\pw DÊm¡m\mInÃtÃm.

Ccp¼pckpt¼mÄ DÊmIp¶ Xm-

f§Ä XohÊnbpsS ]m¨nensâ ImäpIo

dÂ, Hgnhm¡s¸« tZi§Ä¡v IpdpsI

thZ\n¸n¡p¶ H¨ XoÀ¯v , \ncmim{]

Wb§fpsS s\©pS¨v Rm³ bm{Xbn

HmÀ½ acw

emÊp. Ccpfnsâ DÕh¯n\nSbn Hcp

\of³ hÊns\t¸mse aqfnsImÊv Npäpw DÅhÀ Dd¡¯nsâ s\Sp\of³ ]mbIÄ \

nc¯nIgnªp. ASp¯Xv hnf¡W¡ensâ

Hcp ]Xnª "SIv' i_vZw . ]ns¶ Fsâ

e£yhpw Rm\pw am{Xw. Dd¡anÃm¯sX-

¶v kzbw [cn¨v kXyam¡nsh¨v , kzm`mhn

Iamb Ipsd i_vZ§fnte¡v hnebw {]m

] n¡p¶p. \msf \S¶p IbtdÊ ]

Sns¡«v kphÀ® Iam\§fm tamSn]n

S¸n¨Xpw ]hngtim`bn Xnf§p¶Xpam-

Wv. Ncn{X¯nsâ IW¡p]pkvXI§fn

 `mcX¯ntâXÃmsXt]mb Hcp ]mSv \

jvShk´§sf hncnbnt¨mw. kvt\lw/IcpW

F¶ Rm\nXphtc¡v ]Tn¨ ]mT§fnep]

cn, kmt¦XnIXz¯nsâ "kwJymZzb§sf \n

À²mcWw' sN¿m\pÅ X{X¸mSn ]eXpw \

jvSs¸Sp¶hÀ. thZ\n¸n¡p¶ thÀ¸mSpIfp

sS Np«p]gp¯ \oÀt¨mebnte¡v Xs¶

ImÂsh¸v. \oÀt¨meIÄ ip²oIcW¯nsâ

im]vX§sf lrZbt¯mSv tNÀ¡p¶hcmIbmÂ

, sF.sF.Sn a{Zmkvt]msemcp kvYew \oÀt¨me

Xs¶bmWv. tNdqcnsâ sN¦Â aW¯nsâ Hcp

kzmX{´yhpw acs¸cpabpsS XW¯nIhpw

ChnsSbnÃ. Hcp]mSv ac§fpsʦnÂt]mepw

F¶v BZyImgv¨ ]dªp. ]cnNnXXz¯nsâ

Ranjith K.B | Civil

111

then¸pds¯m¶paÃtÃm \mw F¶mizmkw ]

IÀ¶v Hcp]mSv GECians km{¼ZmbnIamb ]

dn¨p\SepIfn \n¶pw sXÃpw amäanÃm¯Xp

Xs¶ Cu ]dn¨p \Sepw, bm{XsNmÃepw kzoIcn

¡epw FÃmw. BhÀ¯\¯nsâ Npc§fpw

NXp¸pIfpw XmÊn Hcp am¼g¡me¯nsâ Np\

KÔw t]dn ]ns¶bpw s]mÅn¨p sImtÊbn

cn¡p¶p.

ChnsS I¼yq«À kb³knsâ ap¼nÂ\n¶pw t\

sc saÊnte¡pÅ DuSphgnIfnÃ. en_nsâ

Nn{X§Ä¡v Ibdnbncn¡m³ hen¸apÅ kzmX-

{´y¯nsâ shfp¯ henb NpacpIfnÃ. , DSª

]ShpÅ KymednbnÃ. ]t£ AXns\Ãma¸pdw

Adnhnsâ sImgp¸n \ndª Iptd Ncph§Ä.

AXnsâ a[pcw hnf¼n¯cp¶ ISemÊpIfnepw,

I¼yq«dnepw am{Xw IÊp ]cnNbapÅ A²ym]

I {]Xn`IÄ. Hcp \nanjwt]mepw aSp¸nÃm¯

¢mÊpIÄ.FgpXnb t]\bnÂ\n¶pw ta\n¡p

Npäpw AaÀ¯s¸«Xnsâ thZ\ I®oÀ ajnbmbn

Cu ISemÊn Cc¼nsbmgpIp¶p. shfn¨w

Akâmknsâ DbÀ¶ aXnÂsI«n\v ]pdInte¡v

Hfn¡pIbmWv.

t\ct¯ Xs¶ Ccp«mdpÅ Cu

Zn\§Ä¡v, t¹kvsaâ v sk Hm^okn\p ap¼nÂ

thmfnt_mÄ Ifn¨pXoÀ¯ Hcp hÀjw ap¼s¯

sshIpt¶c§tfmSv Ft´m I®oÀ In¶mcw ]

dbm\pÊv. kpµtc«sâ NmbbptSbpw, BIm

ihmWnbnse D¨bqWnsâbpw ]Icw hbv¡m\n

Ãm¯ kzmZv. Hcp AkvXab¯nsâ ASª Infn

hmXnepIÄ¡v ]n¶mse Nph¶v sImgnbp¶p.

112

F¶pw AdnbmsX I®pIÄ

\nsâ ¢mÊn {]Z£nWw shbv¡pw

C¶v \o GXv _©nembncn¡pw...?

sXmSnbn \n¶pw \o IpcpXn \S¯n

apSnbn NqSnb Hmtcm ]phpw

Fsâ t\m«§tfäv hmSnbncp¶p.

kväm^v dqanÂ

sdt¡mUpIfpsS Iq«¯nÂ

\nsâ t]cv IÊt¸mÄ Rm\Xv Xpd¶v

\nsâ ssI¿£cw IÊp]nSn¨p.

Nnet¸msgms¡

\½psS t\m«§fpsS thcpIÄ

Npän]nWªv \nivNecmIpw......

...........................................................

\«p¨bpsS Beky¯nemÊp \o þ

hmIacNph«nte¡v h¶Xv

DÅnse XncameIfnÂs]«v

H¶pw ]dbm\mhmsX

\mw At\ym\yw \n¶p.

hoÀ¸p ap«nb XÊenÂ

hoWp InS¶ hmI¸q¡Ä

\½psS au\§Ä¡v km£nbmbn.

]ns¶ t]mÀ«ntImhn F¯p¶

FÃmw lmepaÊnIfpw

Aklyamb bm{X ]d¨nenÂ

Zp:Jn¨p \n¶ncp¶p.

]n¶osSt¸mtgm

skÂt^m¬ Rc¼pIfnÂ

{]Wbw I«]nSn¨Xv

tNmtcm«w \ne¨pt]mbXv.

B hnkvab agbnÂ

\mw Zqct¯¡v Hen¨pt]mbn..........................................

sktâm^vSreerag A.R | Civil

Im¼kn hoÊpw Hcp Nmhp]m«v tIÄ¡p¶p

Ahkm\ s_©n\p Xmsg

apjnª ISemkp XpÊnÂ

\nemhv ]c¶ncn¡p¶p

]dbm\mhmsX t]mb

lrZbXpSn¸pIfpsS t{]Xcq]§Ä

NpänXncnbp¶p

kvt\l¯nsâ hep¸adnªv

A\mYcmb hfs]m«pIÄ

\jvSs¸« a[pcs¯tbmÀ¯v

anTmbnISemkv

AhÄ apJaW¨pInS¡mdpÅ -sUkvInÂ

tIm¼kpsImÊv tImdnbn«Fsâ t]cnsâ hSp¡Ä

amªp XpS§nbncp¶p

sktâm^n\v

a[pcw \pWªp

Fcnhv Adnªp

]eh«w

tImtfPnsâ hcm´Ifpw ¢mÊp dqapIfpw

hmIac§fpw BÀ¯ntbmsS Xn¶n«pw

hni¸v AS§nbnÃ.

113

kabw GXmÊv aq¶nt\mSSp¯ncn¡p¶p. Dd¡w I®pIsf XgpIp¶tXbnÃ. HmÀ½IÄ Iua-m

c¯nte¡v Iq¸pIp¯pw t]mse s{Sbn³ ]m

bpIbmWv. hÀj§Ä IqSnbpÅ bm{X

HmÀ½Isf s]mSnX«nsbSp¯ncn¡p¶p. Cu

{InkvXpaÊn\v \m«nev t]mIWw F¶v IcpXnbtX

AÃ...Asænepw bm{XIÄ F¶pw A{]Xo-£nX-

§fmbncp¶tÃm PohnX¯nÂ. P\egnIfneqsS

shdpsX ]pdt¯¡v t\m¡n, cm{XnbpsS \ndanÃm-

bvabn-Â kaXzw Hcp tZhZqXs\t¸mse IS¶ph-

cp¶pÊv. FÃm¯n\pw Htc \ndw...Htc kuµcyw.

A§p Zqsc Hcp \£{Xw Fs¶ am{Xw t\m¡n

Nncn¡p¶Xpt]mse...

Unkw_dnse XWp¯ Imddv apSnbngIsf XgpIn

KrlmXpcXz¯nsâ IpfnÀabn HgpInsbm-

Unkw_dnsâ \jvSwRejeesh K.S | Mechanical

114

fn¡p¶p. Unkw_À F¶pw \jvS§fptSXm

b-ncp¶p. sImgnªpt]mb \mfpIÄ k½m\n¨

kz]v\§fptSbpw {]Xo£IfptSbpw \³abp

tSbpw \jvS§Ä.

Xe DbÀ¯n \n¡p¶ ]\IÄ hcn-

hcnbmbn {]Xy£s¸«p XpS§n. Xms\¯n

s-b¶v hnfnt¨mXpwt]mse. Cu ]\IÄ

ImWpt¼mÄ F¶pw Fs´¶nÃm¯ kt´m-

jamWv. Iq«wsXänb Ipªn¡nfnIÄ hoSW

b-pwt]mse. ]me¡mSv kvtäj³ ASp¡mdms-

b¶p tXm¶p¶p. BfpIÄ Dd¡¨SthmsS

]pdt¯¡v F¯nt\m¡p¶pÊv. a\Êv sImXn¨Xpt]mse t\À¯ aªpXpÅnIÄ

{]Xy£s¸«pXpS§n. s{Sbn³ sasÃt¸m¡v

XpS§nbncn¡p¶p. AcÊshfn¨¯n aªpXpÅIÄ ]mdn¸d¡p¶Xv ImWm³

\à ckamWv. Hcp Xc¯n Cu sSbn\pw

Fsâ PohnXhpw Hcpt]mse AtÃ!!.thKX

IqSnbpw HSphn thKw IpdªpwaäpÅhcpsS

`mchptadn Htc e£y¯nte¡v. a\Êv ]nt¶

bpw HmÀ½Ifn apgpIp¶p. ad¡phm³

{ian¡pt´mdpw IqSpXÂ sXfnªphcp¶

Htc kabw thZ\bpw kpJhpw \ÂIp¶

HmÀ½IÄ.

cÊmbnc¯n]{´Ên Hcp ininc¯n hnZymÀXvYn cmjv{Sob¯nsâ Xo¨qfbn \nÂ

¡pt¼mgmbncp¶p ]ecn Hcphsf¶t] mse

AhÄ h¶ptNÀ¶Xv. kvIqÄ PohnX-

¯nse shÅbpw Npa¸pw bqWnt^maWnªv

F¶pw [mÀjvSyt¯msS t\m¡nbncp¶ B ]m

hmS¡mcn Imew Hmtcmcp¯cnepw hcp¯p¶

amäw F¶pw AXv`pXs¸Sp¯nbn«pÊv. ]s£

\oÊ ]{´ÊphÀj§Ä AhfnÂ

bmsXmcp amähpw hcp¯nbn«nÃ. AXpt]

mse B apJw Hcp hmin¡mcnbptSXpt]mse

Ct¸mgpw hoÀ¯pXs¶bncp¶p. hÀj§fmbpÅ

GIm´Xtbm AtXm a\Ênsemfn¸n¨psh¨

{]Wb¯nsâ kpµckz]v\§tfm Hcp agt]m se

Ahsf F¶neenbn¸n¨p. Imdpw tImfpw \ndª

Hcp t]amcn t]mse AhÄ F¶n {]Wb

¯nsâ \qdphÀ®§Ä XoÀ¯p. Hcn¡epw

H¶mInà F¶ kXys¯ Hcp am{X ad¶psImÊv AhÄ F¶n {]Wb¯nsâ ]pgt]mse Hg-p

In.....

]cn`h§Ä ]cmXnbmbpw hminbmb-pw

amdnb \mfpIÄ... kXy¯n Htcm ]cn`h

§Ä¡pw ]n¶nepÅ bYmÀXvYh-nImc§sf

a\Ênem¡m³ A¶v Ignªncp¶nà .

{ian¨XpanÃ. Hcn¡epsam¶mIm³

IgnbnsöpÅ Nn´bn \n¶pbÀ¶p

h¶ hnImchnt£m`§fmbncn¡mw Hcp ]

s£ Iq«pIpSpw_¯ntâtbm, aX¯n tâtbm

N§eIfnehÄ AIs¸«Xmbncn¡mw -{]

Wb¯nsâ tamlheb¯n- ASnas¸«p

hncl¯nsâ thZ\ A\p`hn¨ \mfpI-Ä...

t\m¡pIfn hm¡pIfn ]eh«w AhfpsS tam-

ls¯ Rm³ IÊdnªXmWv. F¶n«pw........

ag Ipdsª¦nepw Imän\v XWpt¸d-n

bncn¡p¶p. Ahbvs¡m¶pw DÅnse NqSns\

XWp¸n¡m³ Ignbp¶nÃ. ]pdtIm«p Xncnªp

t\m¡pt¼m-Ä \jvS§fn AhÄ F¶pw

ap¶nem-Wv. \jvSs¸« _mey¯n\v, Iuamc¯n\v,

kz] v\§Ä¡v FÃm¯n\pw C¶v AhfpsS

apJam-Wv. a\Ênsâ tImWpIfn Bcpw

ImWmsX Ipgn¨nSpt¼mgpw IpgnamS¯n \n¶pw

IqSpXÂ sXfnªphcp¶ Fsâ Unkw_dnsâ

\jvSw.

115

BZn-bn ChnsS shfp¸pw Idp¸pw am{Xta

DÊm-bn-cp-¶p-Åq. Ah-bpsS ad ]än-bmWv Rm³ hfÀ¶Xv. Idp¸pw shfp¸pw Ah CS-X-S-hn-

ÃmsX Fâ I¬ap-¶n-eqsS s]mbvt¡m-Ên-cp-¶p.

As¶Ãmw temIw hfsc \nkm-c-am-bn-cp-¶p. cÊp \nd-§Ä IqSn-t¨À¶p cq]w \ÂIn-b, Ah-bpsS

hn{In-b-I-Ä¡pw, tIfn-IÄ¡p-ambn \ne-\n¶ Hcp

temIw. B iq\y-X-bnepw Ah Fs¶ kt´m-jn-

¸n-¡m³ {ian-¨n-cp-¶-Xmbn F\n¡p tXm¶n-bn-cp-

¶p. Fsâ ImgvN¡v Ah-b-ÃmsX aä-h-Im-in-IÄ

CÃm-bn-cp-¶p F¶Xpw Rm³ HmÀ¡p-¶p. Hcp \m

Ä Ah-cpsS hc-hn-\mbn Im¯p \n¶ Fsâ

ap¶n-te¡p ap¶-dn-bn-¸n-ÃmsX aq¶m-asXmcmÄ

IqSn IS¶p h¶p. Zqsc N{I-hmfw Fs¶mc-XnÀh-

c¼v krjvSn¨v Hcp Nph¶ _nµp {]Xy-£-s¸-«p. ]n

s¶, ImW-¡msW AXv hep-Xmbn h¶p. Ft§m-

hn-Å-teä t]mse, ]Xnsb B Nph¸p Npäp-]mSpw

tNmÀs¶m-en-¡m³ XpS-§n. Idp-¸n-\pw, shfp-¸n\pw

CS-bnev Hcp AXnÀ¯n t]mse AXp ]S-cm³

XpS-§n. Fsâ Ime-Sn-¸m-Sp-I-tfbpw adnI-S¶p

t]mb-t¸m-gmWv B Nph¸v Fs¶ F{X-am{Xw

{Kkn¨p Ign-ªp- F¶ bmYmÀ°yw Rm³ a\-

Ên-em-¡n-b-Xv.

asämcp kplr-¯n-t\-¡qSn e`n¨ kt´m-j-am-bn-

cp¶p F\n-¡v. Idp¸pw, shfp¸pw Xsâ kl-

bm-{Xn-Is\ ]cn-`-h-§-sfm¶pw CÃmsX Xs¶

kznI-cn-¡p-Ibpw sNbvXp. ]n¶oSv Idp-¸pw, shf-p

¸pw IÊvap-«p¶ ka-b-s¯Ãmw Hcp Imh¡m-c-s\-t¸mse Nph¸pw ImWpw. AhÀ X½n-epÅ B

IqSn-¡mgvN A¶pw C¶pw at\m-l-c-am-Wv. A§-s

\-bn-cns¡ AI-se-sb-hn-tStbm hnNn-{X-amb Hcp

i_vZw Rm³ tI«p. Xcnip \ne-§fpw ]md-s¡-«p-

Ifpw XmÊn Rm³ B i_vZ-¯nsâ Dd-hnSw tXSn \S-¶p. HSp-hnÂ, Im¸m-Z-§Ä tX-ªp-Xo-

cp-¶-Xn\v ap³]mbn Rm³ AhnsS F¯n-

t¨À¶p. Fsâ I¬ap-¶n Ae-b-Sn-¨p-b-cp¶ B

alm-km-K-c-¯n-eq-sS, AXn\v aosX IpS-bp-bÀ¯n

\n¡p¶ BIm-i¯n-eqsS Rm³ \oen-a-sb-´m-

sW-¶-dn-ªp .Fsâ GIm-´-X-bpw, AXn\p Iq«mbn

Nne \nd-§-fpw. kabw im´-ambn Hgp-In-s¡m-

Ên-cp-¶p. CS-th-f-I-fn-Ãm¯ Ae-¨n-ep-IÄ¡n-S-

bnÂ, Fsâ Ime-Sn-¸m-Sp-IÄ¡n-S-bn CXp-hsc

ImWm¯ Ft´m H¶p ]SÀ¶p- ]-´en¡p¶Xp

Fsâ {i²-bnÂs]-«p. apt¶m«p \o§th Rm³

a\-Ên-em-¡n, C\n Fsâ ap¶n iq\y-X-bnÃ

F¶v. Npäpw ]¨-¸p-hn-cn¨p InS-¡p¶ Cu temIw

F\n¡p thÊn Im¯n-cn-¡p-I-bm-bn-cp¶p F¶v

Rm³ a\-eÊn-em¡n. Fsâ F®-s¸« kplr-

¯p-¡Ä¡n-Sn-bn-te¡p Cu ]¨-¸n-t\bpw Rm³

kt´m-j-]qÀÆw kzoI-cn-¨p ...

]n¶o-sSm-cp-]mSp t]À h¶pw t]mbp-an-cp-¶p.

AhÀ Fsâ kplr-¯p-¡sf D]-tbm-Kn¨p icocw

]pX-¨p. Nne-t¸mÄ H¶v, aäp-Nn-e-t¸mÄ thsdm-

¶v. Nne-t¸mÄ ]eXpw IqSn-t¨À¶v Fsâ kl-

]cn-WmawSreelal E.S | CSE

116

bm-{Xn-I-cpsS F®w Gdn-h-¶p. Fsâ ImgvN-bn Rm³ Al-¦-cn-¨n-

cp¶p F¶-Xm-bn-cp¶p kXyw. Ch-sbÃmw F\n¡v ImWm³ thÊn am{X-am-WtÃm \ne-\n¡p-¶Xv Xs¶. A§n-s\-bn-cns¡ Nne hnNn{X

Pohn-IÄ Fsâ ap¶n {]Xy-£-s¸-«p. Idp-s¸-t¶m, shfp-s¸t¶m

XoÀ¨-bn-Ãm¯ Nne Pohn-IÄ aäm-tc-¡mfpw Db-c-¯n AhÀ hfÀ¶p.

F¶m Ahsc AwKo-I-cn-¡m³ F\n¡v Ign-ªn-cp-¶n-Ã. kz´w \ndw

GsX¶ t_m[w t]mep-an-ÃmsX AhÀ Idp-s¸¶pw shfp-s¸¶pw

thÀ¯n-cn-hp-IÄ krjvSn-¨p. hyXym-k-§-fpsS t]cn AhÀ ]c-kv]

cw t]mc-Sn-¨p. Gsd Ime-Sn-¸m-Sp-Isf AhÀ hoÊpw Nph-¸n ap¡n. F¶m C¯-hW Fsâ kplr-¯ns\ kzoI-cn-¡m\pw BtÇ-jn-¡m

\pw F\n¡v iàn t]mcm-bn-cp-¶p. Rm³ BZy-ambn Fsâ kplr-¯p-

¡-fpsS ap¶n apJw Xncn-¨p. Ah-cpsS kvt\lm-t\z-j-W-§Ä¡v

sNhn sImSp-¡msX Rm³ \S-¶-I-¶p.C¶p, kl-Po-hn-IÄ¡v bmsXmcp {]m[m-\yhpw sImSp-¡m-sX,

B Pohn kzbw Cu temI-¯nsâ Ah-Im-in-bmbn Ah-tcm[n-¡-s¸-«n-

cn-¡p¶p. F\n¡p Xncn-¨-dn-bm³ ]äm¯ hn[-¯n Cu temIw \nd-§-

fm \nd-ªp-I-gn-ªn-cn-¡p-¶p. I®p-IÄ hÃmsX \odp-¶p, hÃm¯

aqSÂ.

F\n¡v Ct¸mÄ Htc \ndw am{Xta ImWm³ Ign-bp¶p-Åq. AXn-\

À°w Cu temIw Ccp-Êp-t]mbn F¶mtWm AtXm Fsâ ImgvN¡v Fs´-¦nepw XI-cmÀ kw`-hn-¨-XmsWm Fs¶-\n-¡-dn-bn-Ã. Ccp-«nÂ

X¸n-¯-Sªv \S-¡p-t¼mÄ Bcpw ]t£ klm-bn-¡m³ hcm-dn-Ã.

kplr-¯p-¡sf XÅn-¸-d-ª-h-\m-WtÃm Rm³. F¶n-cp-¶mepw Rm³

kt´m-j-hm-\m-Wv. Cu A[-a³amÀ `cn-¡p¶ temIw C\n-ap-XÂ

F\n¡v ImWm-tÃm.. Cu hymIp-e-X-IÄ¡n-S-bnepw Ccp-«n-s\m¸w Fsâ

Hcp kplr-s¯-¦nepw Ft¶m-sSm¸w DsÊ-¦ntem Rm³ XnI¨pw

kt´m-j-hm-\m-Wv .

amdp¶ Ime¯nse acn¡p¶ a\pjya\tÊ

F´n\o XnSp¡w? F´n\o ]cn{`aw?

At¿m! ]dªncn¡m³ kabanÃ!

HmSpI......... thK¯nÂ........

thK¯n HmSns¡mÅpI!

CXv ]pXpXeapdX³ amct¯mtWm?

Gbv, AÃ! ImcWw

ChnsS R§fnÃ, Rm³ am{Xw

CXnsâ Ahkm\tam?

AtXm A§ns\sbm¶ntÃ?

tl... am\hm, F¦n \obdnbpI

\ns¶ kvt\ln¨ncp¶ kvt\la\ÊpIÄ¡pap¼nÂ

Znibpw e£yhpw Fs´¶dnbmsX

HmSnb Hm«¯n\nSbnÂ,

Ipgn¨paqSnb kza\Êm£n¡pap¶nÂ

\o tXmäncn¡p¶p.!

F¶t¶¡pambn!!.

Kavitha E | CiviltXmÂhn

117

Fsâ A½ ]dªn«pÊv

tXmfnseSp¡m³ BcpanÃm¯

Hcp ZnhkamWt{X Rm³

X\nsb \S¡m³ ]Tn¨Xv

Nncn¨v Nncn¨v Icbm\pw

Icªv Icªv Nncn¡m\pw

]n¶oSv Rm³ ]Tn¨p.

B-Ä¡q«¯n\nSbnÂ

X\n¨mIm³ ]Tn¨p

X\n¨ncn¡nepw Gsdt¸À

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PohnX ]mTwAshwathi M.A | ECE

118

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