Category Archives: book corner

BOOK REVIEW: Journey to the Centre of the Earth by Jules Verne:

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The Novel That Dug the Foundations of Science Fiction.

Kamlesh Tripathi

    Even after 160 years since its publication, Journey to the Centre of the Earth continues to inspire media, scientists, writers, filmmakers, and dreamers alike. It tells us that every great discovery begins as an improbable idea, often dismissed by conventional wisdom before eventually reshaping our understanding of the world.

    The title remains one of the top classics of world literature. The imaginative scope Verne brings to this novel remains par excellence. The narration didn’t accurately predict science, but it captured the adventurous spirit that makes scientific discovery possible. Very few novels have merged imagination, intellect, and excitement so successfully. No wonder, Jules Verne’s descent into the centre of the Earth remains one of literature’s greatest ascents.

    “Science, my lad, is made up of mistakes, but they are mistakes which it is useful to make, because they lead little by little to the truth.”  In his evergreen classic Journey to the Centre of the Earth, Jules Verne has his protagonist, Professor Otto Lidenbrock, spell out these lines to his nephew Axel. It is to explain that false theories and errors are normal and valuable steps on the road to real discoveries. Published in 1864, the novel is absorbing and offers a unique reading experience.

    Verne changed the ground rules because earlier imaginative voyages mostly belonged to mythology or fantasy. He based his narrations on scientific knowledge, technological possibilities of his time and created extraordinary adventures. He encouraged his readers to assess the scientific possibilities behind the plot rather than accept the plot blindly. This approach became the hallmark of his novels and influenced other writers from H.G. Wells to Arthur C. Clarke and beyond.

    An eccentric geologist is the chief protagonist of the novel, and it starts with him. His name is Professor Otto Lidenbrock. He comes across a puzzling manuscript written by a 16th century Icelandic alchemist named Arne Saknussemm. The encrypted message claims that one can reach the Earth’s centre through the crater of the extinct volcano Snæfellsjökull in Iceland. Professor Lidenbrock embarks on an expedition that defies logic but requires a plethora of common sense. He is accompanied by his reluctant nephew Axel and the stoic guide Hans.

    What follows is English literature’s iconic and memorable exploration. Verne takes his readers through subterranean passages, massive caverns, underground oceans, forests of gigantic fungi, and landscapes inhabited by prehistoric creatures. Each discovery is explained with remarkable precision. The author gives it a touch of realism that distinguishes it from conventional fantasy. The intellectual honesty with which Verne presents his theories is praiseworthy even when the science is inaccurate by today’s standards.

    Though Professor Lidenbrock is driven by a strong desire to uncover truth, his determination often hinges on recklessness, but Verne doesn’t ridicule his ambition. Instead, he labels scientific inquiry as one of humanity’s most difficult pursuits. In contrast, Axel, the Nephew of Lidenbrock, serves as the doubtful observer, voicing the doubts and fears shared by readers. Hans, on the other hand, demonstrates that courage is measured not by words but by enduring action.

    From a modern scientific perspective, Verne’s subterranean adventure looks impossible. The immense pressure and heat of Earth would obviously render such an expedition inconceivable. Yet to play down the novel purely on scientific grounds is to misunderstand its intent. Verne was not predicting a geological reality; rather, he was illustrating the spirit of a scientific exploration. Like all great fiction, the novel is less concerned with being correct than with encouraging readers to imagine the possibility.

    Stylistically, Journey to the Centre of the Earth has both meticulous description and narrative momentum. Verne’s detailed explanations of geology, mineralogy, and palaeontology occasionally slow the pace of the novel for readers used to faster storytelling. When detailing increases, the pace of the novel slows down.  Yet, these passages provide the novel with intellectual depth. They remind us that genuine exploration requires patience, observation, and evidence.

    The novel is not without limitations. Female characters virtually play no role in the book, a characteristic common to much nineteenth-century adventure fiction. Some episodes rely heavily on coincidence. The conclusion, following the painstaking descent, appears abrupt. Nevertheless, these weaknesses are insignificant when weighed against the novel’s originality, imagination, and historical significance.

    The novel’s most remarkable achievement is its lasting relevance. Today, humanity explores the depths of the oceans, maps distant planets, and probes the origins of the universe with sophisticated technology. The scientific impulse driving these endeavours remains identical to that which animated Professor Lidenbrock, with the irresistible desire to understand what lies at the centre of the Earth.

    Jules Verne didn’t merely write an adventure novel. He prescribed curiosity. His message is as relevant today as it was in the nineteenth century. Civilisation progresses because there are always those willing to descend into darkness in search of light.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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Book Review: Pinocchio by Carlo Collodi

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Review by Kamlesh Tripathi, Author, Poet and Columnist

The story of Pinocchio is about a wooden puppet who dreams of becoming a real boy.

An old woodcarver named Geppetto makes a puppet named Pinocchio, who magically comes to life. Geppetto loves him like a son and sends him to school, hoping he will grow up to be responsible and good.

But Pinocchio is curious, impulsive, and easily influenced. Instead of going to school, he repeatedly gets into trouble. He meets dishonest characters such as the Fox and the Cat, who trick him, and he discovers that his bad choices have consequences. Most famously, Pinocchio’s nose grows when he tells lies.

During his adventures, Pinocchio is helped by the Blue Fairy, who encourages him to be truthful, brave, and kind. He also experiences some frightening consequences for his behavior. In the original story, for example, children who abandon their responsibilities for a life of endless amusement are transformed into donkeys.

Eventually, Pinocchio learns that Geppetto is in danger and goes looking for him. He finds Geppetto inside a gigantic sea creature (often portrayed as a whale in adaptations), and Pinocchio courageously helps him escape.

By the end, Pinocchio has changed. He becomes more caring, hardworking, courageous, and willing to sacrifice himself for his father. As a reward for proving himself, he is transformed from a wooden puppet into a real boy.

The original book, The Adventures of Pinocchio by Carlo Collodi, is darker and stranger than the famous Disney version. At its heart, though, it’s a coming-of-age story: Pinocchio becomes “real” by learning responsibility, honesty, empathy, and love—not simply by wishing to be human.

Written and posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

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THE FAMOUS FIVE … FIVE ON FINNISTON FARM by Enid Blyton

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    The Famous Five spend their summer holidays at Finniston Farm as paying guests. On arrival, they are greeted by the pleasant Mrs Philpot and her identical twins, Henry and Harriet. The twins seem to take an instant dislike to the Five, who also meet two fellow paying guests: an American, Mr Henning and his son, Junior. Mr Henning plans to buy antique pieces from the farm and sell them in America. Mr and Mrs Philpot agree to sell their farm treasures as they need the money. However, the family’s hot-tempered Great Granddad feels the antiques should remain in England.

    Mr Henning and his son Junior prove themselves a nuisance to the household by rudely ordering Mrs Philpot around. Sympathetic to her, the Five offer to help with farm chores. When Junior demands breakfast in bed, George teaches him a lesson, making him agree to be more pleasant. This wins the hearts of the twins, and they make friends with the Five.

    Anne and George visit a nearby antique shop, owned by a Mr Finniston, who tells them about a secret passage from Finniston Castle to an old chapel and cellars where royal treasure might be hidden. The girls excitedly reveal the news to the boys and the twins. Together, they plan to hunt for the cellars on the farm. They come across the castle’s kitchen midden and realise they are close to finding the treasure.

    Junior spies on them and goes to break the news to his father and his father’s friend, Mr Durleston, who decide to excavate the castle site, find the fortune and sell the antique treasure in America. Mr and Mrs Philpot consent to the excavation, much to the dismay of the children. The children dig around the site, hoping to beat the men in finding the treasure. Initially, they are unsuccessful, but the twins’ dog, Snippet and their jacksaw, Nosey, lead them to a burrow, beneath which the secret passage stretches out.

    The children discover the cellars and the treasure, including old daggers, sword and gold, which are worth a fortune; only to become trapped inside the tunnel when the entrance caves in. They take another way and reach a trapdoor under the old chapel, which is now used as a storehouse. The farmhands, Bill and Jamie, hear their shouts and let them out. The children get back to the farm and tell their exciting story to the astonished adults. The next day, Mr Henning and Mr Durleston try to trick the Philpots into believing the site has no treasure and offer them a meagre amount. However, Mr Philpot, backed up by his granddad and Mr (William) Finniston, declines the offer, making it clear they will excavate the site themselves and no longer want the Americans to stay. The adventure ends with Julian, Dick, Anne and George, along with Timmy, planning to stay at the farm to observe the excavation of the treasure.

It is an interesting read, and I would give it eight out of ten.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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Storyteller Soothsayer: Margaret Atwood

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STORYTELLER SOOTHSAYER: MARGARET ATWOOD
FROM THE NEW YORK TIMES
Published in Economic Times 16/11/25
Storyteller Soothsayer
The New York Times
    Margaret Atwood doesn’t like being called a prophet.
    “Calm down, folks,” was her response when asked why her fiction often seems eerily predictive. “If I could really do this, I would have cornered the stock market a long time ago.”     Still, she concedes she’s been right on occasion.
    When she published The Handmaid’s Tale in 1985, some critics were sceptical of Atwood’s vision of an authoritarian America, where the government controls women’s reproduction and persecutes dissidents.
    Since then, events in the novel have come to pass. Abortion has been outlawed in parts of America. The rule of law feels increasingly fragile. Censorship is rampant — Atwood, 85, herself is a frequent target.
    In a career that spans nearly six decades, she’s published more than 50 books, including poetry, short stories, non-fiction, speculative fiction, psychological thrillers, children’s books, graphic novels and historical fiction. Memoir was one of the few literary forms Atwood hadn’t already tried, but that too changed with Book of Lives: A Memoir of Sorts.
    Her book has been adapted into ballet, opera, film and television, including an award-winning television series based on The Handmaid’s Tale. She’s won the Booker Prize twice and has sold more than 40 million copies of her books worldwide, which have been translated into 50 languages. She’s a perennial contender for the Nobel Prize.
    TELL-ALL OF SORTS
    For years, Atwood maintained that she had no interest in writing a memoir; she thought it would be tedious. When asked what changed: “Two words: People died,” she said. “There are things you can say that you wouldn’t say when they were alive.”
    In the memoir, Atwood lays into childhood bullies who tormented her, blasts male critics and reveals how the Canadian literary scene was, at times, a hotbed of vicious gossip, jealousy and backstabbing, particularly among poets.
    Atwood admits that, once crossed, she holds onto resentments and that she has occasionally taken revenge in her fiction. “It’s not an admirable trait, but why deny it?”
    MAKING OF AN AUTHOR
    Atwood was born in Ottawa, Ontario, in 1939. Nicknamed Peggy, she grew up spending time in the wilderness in northern Quebec, where her father, an entomologist, studied insects that caused forest infestations. Books were one of the few forms of entertainment. In first grade, she started writing poetry and fiction; one early story was about a heroic ant named Annie.
    An awkward child who had a caterpillar for a pet, Atwood sometimes struggled to fit in. At age nine, she was tormented by a group of girls who left her out in the snow and buried her in a hole. She drew on the experience in her novel Cat’s Eye.
    Atwood got her start as a poet. She self-published her first book of poems, Double Persephone, in 1961, and sold copies for 50 cents. A few years later, she started to gain recognition when another poetry collection, The Circle Game, won a prestigious award.
    Her provocative debut novel, The Edible Woman, a satire about a young woman who develops a strange relationship with food and struggles to eat, made waves in 1969.
    The novel generated debate — female critics saw it as groundbreaking, men generally found it unsettling, she writes — but was far from an overnight success. Her first book signing was held in the sick and underwear section of a department store in Edmonton, Alberta, where she sold two copies.
    Atwood’s international breakthrough came with the release of The Handmaid’s Tale. In 2019, Atwood published a sequel to it, titled The Testaments, which she’d been mulling over for decades. While she was promoting the book, her long-time partner, novelist Graeme Gibson, died after a cerebral haemorrhage, following a years-long decline into dementia.
    Atwood went on with her tour, in a daze. Later, she wrote about the disorienting experience of living without him in her story collection, Old Babes in the Woods.
    She cried while writing the stories, but also found it comforting to imagine Gibson’s amused reaction.
Sometimes, she can’t shake the certainty that “Graeme is in the next room”, she said. The Testaments was a risky gambit. But it became a bestseller and won Atwood a second Booker Prize. It’s also being adapted into a TV series.
PLAYFUL, GOOFY, OMINOUS
Throughout her career, Atwood has resisted categorisation. She’s often bucked being labelled a feminist, noting that “there are 75 different kinds of feminists”. She’s bristled at her futuristic stories being classified as science fiction and prefers the term speculative fiction.
Stephen King said he was struck by Atwood’s ability to infuse her futuristic visions with gleefully weird details. “Science fiction has never been so goofy and so ominous at the same time,” he said by email.
Atwood’s contrarian streak colours her worldview. She’s fascinated by science and technology — she reads pop science magazines for fun– but she also has a charming affinity for astrology and the occult, having learnt tarot and palm reading.
In her memoir, she describes how a home she and Gibson once lived in was haunted by a spectral woman in a blue dress who could wander into her tiny writing room. She attributes her habit of holding grudges to being a Scorpio — specifically a Scorpio with Gemini rising, Jupiter in the 11th house and the Moon in Aquarius.
As for her own outlook, Atwood remains surprisingly upbeat — a trait she attributes to the resourcefulness she developed growing up in the wilderness. “I’m an optimistic person,” she said. “‘I’m doomed’ is very far down the line. I wouldn’t say ‘I’m doomed’ unless you’re about to be eaten by a bear.”
   
   

Posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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John Milton and Surdas Surmounted Their Blind Vision … by Kamlesh Tripathi

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    Though, John Milton and Surdas lived in a similar world of poetry, they were separated by continents, century, race and culture. Surdas lived between 1479-1586, while Milton lived between, 1608–1674. Both are remembered today not only for the brilliance of their poetry, but also for their profound inner vision, which becomes even more brilliant by the fact that they both composed their enduring works after losing their eyesight.

    Milton was an English Puritan poet and a political thinker, whereas the Indian Surdas was a devotional Hindi saint-poet who spearheaded the Bhakti movement. They both belonged to different religions — Christianity and Hinduism, respectively but with a fire for poetry.

    Surdas was either born blind or had lost his eyesight in early childhood. Milton, on the other hand, lost his eyesight in his forties, around 1652, most likely due to glaucoma.

    Despite limitations, Surdas is widely recognised as a major figure in the Bhakti movement, primarily devoted to Lord Krishna. His emotive and spiritual dohas (verses) are said to have been passed down orally and later compiled in the Sursagar, or ‘Ocean of melodies or Ocean of tunes.’ His compositions, which were mostly in Braj Bhasha, are a dialect of Hindi spoken in the region associated with Krishna’s early life.

    By the time Milton lost his eyesight, he was already an accomplished poet and an intellectual. Milton’s blindness, instead of stalling his creativity, seemed to refine it. He composed his greatest epics–Paradise Lost, Paradise Regained, and Samson Agonistes through dictation, relying on aides to transcribe his verses. Like Surdas, Milton too did not see blindness as a handicap but as a pathway leading to a higher form of spiritual attainment.

    Both poets had a religious mind. Although stylistically different, both had infused their works with philosophical and devotional seriousness. Milton, a devout Christian, wrote with the spontaneous aim of interpreting and elevating spiritual truth. In Paradise Lost, he sets out “to justify the ways of God to men.” He addresses themes such as the Fall of Man, temptation, obedience, and redemption. He wrote in Paradise Lost, “Solitude sometimes is the best society,” which reminds you of Ernest Hemingway’s words in his 1954 Nobel Acceptance Speech, “Writing, at its best, is a lonely life.” Milton’s theological affinity, shaped by the rigorous study of scripture and classical texts, transforms into a poetic splendour. Meanwhile, Surdas’s creations are acts of loving surrender. Krishna appears in multiple forms in his dohas (verses): as a mischievous child, a divine lover, and also the supreme being. Lines such as “Ka mangu kachu thira na rahai” (What should I ask for, when nothing is permanent?) captures the essence of his Bhakti without expectation.

    Milton’s epics are not just stories but musings on justice, free will, human suffering, and divine grace. His works show outstanding intellectual discipline, theological depth, and poetic mastery.  Surdas, too, uses his poetic expressions to explore the soul’s belongingness, the relevance of humility, and the spiritual path to surrender before God. Their works are more than a literary endeavour. They become a vehicle for exploring human conditions and articulating metaphysical realities.

    Another uniting theme between Milton and Surdas was their poetic sense of duty. Neither viewed poetry as mere personal or artistic expression. For both, it was a sacred responsibility, a way to convey, inspire and elevate. Milton’s epic verse seeks to engage the intellect and the soul, guiding readers towards a better understanding of divine justice and human morality. Surdas’s dohas were intended for oral performance and collective singing. It invited listeners into a shared space of devotion and spiritual intimacy. The duo’s poetry continues to be read, sung, studied, and revered, not only for its beauty but also for its power to move the soul.

    Language, for both the poets, was of the essence. Milton promoted the English language to unprecedented heights at a time when Latin was still seen as the language of serious scholarship. Milton chose English and, through his use of blank verse, gave it towering dignity. His English stood along with the classical languages of Homer and Virgil. On the other hand, Surdas did something outstandingly transformative. He wrote in Braj Bhasha, a regional and vernacular dialect. Braj Bhasha is written in the Devanagari script. By using it to express the spiritual and emotional state of his mind, he not only made religious ideas accessible to the masses but also raised Braj to the level of a respected literary language. Through them, both English and Braj Bhasha became vessels of sacred expression.

    Finally, what makes Milton and Surdas an enduring duo is not just their literary genius, but their ability to transform personal blindness into a powerful metaphor for inner vision. Where physical sight failed, spiritual insight flourished. Through their works, both poets remind us that the deepest prayers are often seen not with the eyes but with the heart. Whether through the sonorous cadences of Milton’s blank verse or the lilting melodies of Surdas’s bhajans, they teach us that poetry can be a form of prayer, and vision a matter of the soul. Surely, where there is a will there is a way.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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FIVE GO TO DEMON’S ROCKS … by Enid Blyton

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Five Go to Demon’s Rocks is the nineteenth novel in The Famous Five series by Enid Blyton. It was first published in 1961.

    Irascible scientist Quentin Kirrin informs his wife, Fanny, that his colleague, Professor Hayling, will be arriving a week early for a stay at Kirrin Cottage. The professor is accompanied by his son, Tinker, who often has a sudden urge to start imitating vehicular noises and has brought his pet monkey, Mischief. It is also described that Tinker imitates such noises when he is upset or when someone has been ‘horrid’ to him. Also arriving are Quentin and Fanny’s daughter, George, and her cousins, Julian, Dick and Anne, and George’s dog, Timmy. The ensuing crowded and noisy household upsets the two scientists, prompting Tinker to propose that the children spend their holiday at his abandoned lighthouse at Demon’s Rocks, located 10 miles away.

    After settling in at the lighthouse, the children meet an elderly retired sailor, Jeremiah Boogle, who tells them of his youthful encounters with three villains who lured ships to Demon’s Rocks and plundered the wrecks. He says the ringleader, One-Ear Bill, hid a treasure trove which has never been found. Two of One-Ear Bill’s descendants, Jacob and Ebenezer, now show tourists through the wreckers’ cave. Jacob burgles some items from the lighthouse and also steals the key. When the children visit the cave, Mischief discovers a gold coin. Later, Ebenezer and Jacob lock the children in the lighthouse to prevent them from returning to the cave to hunt for the treasure, but Julian and Dick enter the cave network via a tunnel and discover the treasure. Unable to reach the mainland because of the rising tide, they return to the lighthouse, light its lamp and ring an old warning bell amid a fierce gale to alert the villagers to their fate. Jacob and Ebenezer flee, and the children are rescued the next morning. Julian and Dick declare they will recover the treasure for the police, and then the children will return to Kirrin Cottage.

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

The Famous Five … Enid Blyton

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    The Famous Five is one of the most beloved children’s adventure series written by Enid Blyton, first published between 1942 and 1963. The series spans 21 novels, all centred on the thrilling escapades of four children—Julian, Dick, Anne, and George (Georgina)—and their loyal dog, Timmy. Set mainly in the British countryside and coastal regions, these stories capture the magic of childhood freedom, courage, and friendship against the backdrop of mystery and danger.

    The series begins with Five on a Treasure Island (1942), where siblings Julian, Dick, and Ann, along with their cousin Georgina, who insists on being called George, are sent to spend their holidays with their cousin at her home, Kirrin Cottage, near the sea. George owns an island called—Kirrin Island—and a dog, Timmy, both of which become central to the adventures that follow. In this first story, the children discover the ruins of an old castle on the island and find a mysterious map leading to hidden gold.   Their courage and cleverness helped them uncover the treasure and outwit adult villains, setting the tone for the rest of the series.

    Each subsequent book follows a similar pattern: the children go on school holidays, explore new settings (moors, hills, farms, caves, lighthouses), stumble upon suspicious activities or hidden secrets, and end up solving mysteries that often involve smugglers, spies, thieves, or lost treasures. Yet, despite the recurring structure, each story offers fresh excitement through new locations, ingenious clues, and colourful characters.

   Across the series, Julian, the eldest, acts as the natural leader—sensible, brave, and responsible. Dick, the quick-witted and humorous brother, balances Julian’s seriousness with his sharp thinking. Anne, the youngest, represents domesticity and caution, often preferring comfort and order but proving loyal and brave when needed. George, the most unconventional character, is a tomboy who rejects traditional expectations of girls. Fiercely independent and short-tempered, she insists on being treated as an equal to the boys and often drives the adventures with her stubbornness and spirit. Timmy, her dog, is as much a hero as any of them—faithful, protective, and courageous, often rescuing the children from danger.

    One of the enduring appeals of The Famous Five is Blyton’s evocative depiction of the English countryside. These stories overflow with descriptions of cliffs, secret tunnels, stormy seas, moorlands, and quaint villages—landscapes that become almost characters in themselves. The children’s world is filled with picnics of sandwiches, lemonade, and ginger beer, which have become iconic symbols of carefree British childhood.

    While outwardly simple, the series also mirrors the social and moral values of mid-20th-century Britain. Themes of loyalty, honesty, courage, teamwork, and justice dominate every story. The children rely on intuition and reason rather than adult intervention, underscoring Blyton’s belief in the resourcefulness of youth. Adults are often absent, misguided, or even the villains, allowing the children to take control and show responsibility and initiative.

    Throughout the adventures—whether rescuing kidnapped scientists in Five Go Adventuring Again, uncovering smugglers in Five Go Off to Camp, or thwarting criminals in Five Have a Mystery to Solve—the Five exhibit a blend of innocence and daring that continues to inspire readers. Their adventures reinforce a sense of moral clarity, where good always triumphs over evil through courage, loyalty, and friendship.

    Enid Blyton’s clear, direct prose and rhythmic storytelling made the series immensely readable for children. Her focus on dialogue and action over description keeps the pace fast and engaging. Despite occasional criticism for outdated stereotypes or class attitudes reflective of the era, the books remain celebrated for their imagination, adventure, and timeless charm.

    By the final book, Five Are Together Again (1963), the characters retain their youthful spirit and love for adventure, embodying an ideal of friendship and integrity that transcends time. The series’ consistent formula—a mysterious setting, a moral puzzle, and a thrilling resolution—makes each story familiar yet exciting.

    Ultimately, The Famous Five endures not just as a collection of adventure tales but as a literary celebration of childhood freedom, courage, loyalty, and the joy of discovery. Blyton created a world where children, unburdened by adult interference, confront challenges with moral strength and curiosity. More than seven decades after its debut, The Famous Five continues to captivate readers across generations, offering a nostalgic glimpse into a simpler, braver, and endlessly adventurous childhood.

   

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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Book Review: The New Geography Of Innovation: The Global Contest For Breakthrough Technologies … by Mehran Gul.

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TIMES OF INDIA 11/10/25

HOW DO YOU CREATE A HOT TECH HUB?


    –Via a culture that’s open to change and normalises risk-taking–


    The US-China big power competition is the defining geopolitical issue of our times. Undergirding this dynamic is the race for tech, especially AI. In The New Geography Of Innovation: The Global Contest For Breakthrough Technologies, Mehran Gul investigates whether US’s Silicon Valley still retains near-monopoly over cutting-edge tech, or have other global locations such as China’s Shenzhen and even the greater London area taken over that mantle. Plus, what’s truly conducive for creating a hot tech eco-system? Is there a secret sauce that America has and China appears to have replicated? The answers are complex.
    At first glance. China’s breakneck development in tech over the last decade appears to be eclipsing Silicon Valley. But closer inspection reveals a nuanced picture.  True, Silicon Valley is undergoing change – described in the book as a vibrant rainforest being converted into controlled farmlands. But that necessarily doesn’t translate into US tech decline, the author says. New American tech hubs are coming up in New York, Miami and Austin that are taking the flame of Silicon Valley forward.
    China, on the other hand, has created its own tech champions like Tencent, Baidu and ByteDance in record time. It certainly has speed on its side, and it’s quality and volume of research has also improved tremendously. But it’s still not doing pathbreaking research like US. Why? A combination of factors that includes strict guardrails of the Communist Party -exemplified by the 2021 crackdown on Chinese tech firms – a Chinese university system that is not quite yet at par with American universities, and an environment where govt policy guides the direction of innovation.
    But to settle the debate, one statistic is enough to confirm US’s continued tech dominance: Apple became the first American tech company to cross a trillion-dollar valuation in 2018 with seven other American companies joining it since, but the rest of the whole world, including China, doesn’t even have one.
What then is the secret to successful tech eco-systems? The author interviews scores of tech entrepreneurs and stalwarts across geographies and comes to a somewhat underwhelming answer: there is no set formula. Almost all successful tech companies look the same. But they can come up in very different circumstances. In UK, the Greater London area is where all the action is. But that has come at the cost of increasing regional disparity that not only puts London at a risk but also undermines the dynamism of UK’s tech story. This disparity was also a reason for Brexit.
Switzerland and Germany have great education and no shortage of talent or infra, but their local cultural preference for stability over risk means they are just not able to realise the same tech innovation potential as US or China. South Korea and Singapore created their miracles through huge govt support. But there are also limitations to this approach as seen by calls to reform Korea’s chaebols.
But one thing appears clear, according to the author; societies that are more receptive to change appear to have a better chance of fostering tech successes. That means openness to talent, openness to Innovation, and openness to risks. In the Indian context, we may have Bengaluru. But we need many more Bengalurus that incentivise tech entrepreneurship and risk taking. That means a policy framework that fosters innovation and a culture shift that normalises failure. India has lots of catching up to do.

Posted by Kamlesh Tripathi

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Book Review: The Roads of Destiny … by O Henry

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    O. Henry’s The Roads of Destiny may not be a structured poem, but it carries a poetic spirit by way of exploration of fate, choice, and the unpredictable nature of life. The story is about a man named David who stands at a crossroad, literally and figuratively, and each road represents a different future. Through this branching narrative, O. Henry entreats readers to ponder how small choices can lead to vastly different outcomes, and how fate can shape our lives in ways we don’t expect. Although written in prose, the theme and emotions in the story are rich with poetic meaning.

    The story’s central theme is how fragile and powerful our choices could be. O. Henry conveys that even decisions that seem minor can send our lives into different directions. Life is full of small, quiet moments that later turn out to be incredibly important. A step to the left or the right might not seem significant in the moment, but later it could be the reason why everything changed. Every decision holds a potential. Life is made up of many such turning points, often unrecognized until we look back.

    Closely tied to personal choice is the grip of fate. In each stage of David’s life, no matter which road he takes, he ends up facing difficult or tragic outcomes. This suggests that fate has a stronger grip on our lives than we would like to believe. The author doesn’t present fate as something harsh or cruel, but rather as mysterious and unpredictable. We walk ahead thinking we know where we’re going. But the road can suddenly curve into a completely unexpected direction. This uncertainty gives life its beauty and its difficulty. The poetic lesson here is that though we may have no control where the road leads to, we still have to walk it.

    Life’s unpredictability is another theme that gives the story its emotional weight. David’s various life unfolds in unexpected ways, proving that no plan is ever guaranteed. Even when we try to do the right thing or follow a certain path, we can’t guarantee how things will turn out. O. Henry’s storytelling reminds us that surprises, both joyful and tragic, are always around the corner and they will get you. This paradigm of unpredictability is common in poetry, where meaning often emerges in layers and can shift with time or mood. Just like an intricate poem, life unfolds with twists and surprises that challenge our understanding.

    Time also plays a pivotal role in the story. It moves forward no matter which path David takes, and it never pauses or gives him a second chance. The passing of time gives weight to our choices because we rarely get an opportunity to revisit them. This is another idea that feels deeply poetic: time is always moving, and once a moment passes, it becomes a memory. The story implores readers to be mindful of the time they have and the decisions they make within it. It also encourages reflection. Looking back at the roads we’ve taken and wondering how things might have been different.

    Regret and reflection are intertwined themes that show up throughout David’s story. Each life he lives seems to carry a shadow of what might have been if he had chosen to live differently. This idea is emotionally powerful because almost everyone, at some point, has wondered “what if?” Regret isn’t always a loud or dramatic feeling. It can be quiet, something that lingers as we look back into the past. O. Henry captures this subtle emotion in a way that feels similar to poetry, where a single line can express a lifetime of feeling.

    The author uses irony in a poetic way. In each of David’s paths, he faces hardships despite choosing different directions. This irony teaches us that even when we try to avoid danger or seek happiness, we can’t always escape what life has in store for us. The roads of destiny seem to curve back towards difficulty no matter which road he chooses. This twist reflects O. Henry’s trademark storytelling style. In poetry, irony often reveals the hidden truths and helps readers think more deeply about life’s contradictions.

    Perspective is another layer that deepens the story’s meaning. Often, we only understand the importance of a choice or event after the time has passed. What appears small at the moment may turn out to be life-changing. Just as a poem seems confusing at first and later makes perfect sense, our understanding of our own lives also changes with the perspective. This reminds us to look at our lives with curiosity and patience. The meaning of life sometimes reveals itself slowly.

     All these ideas connect to the phrase “difficult poems make easy mutton.” Though it’s a playful and unusual expression, it captures an important truth: sometimes, the things that are hardest to understand at first—like complex poems or life’s confusing events—can later become clear and deeply meaningful. Just as tough meat becomes tender after careful preparation, a difficult story or experience can eventually offer comfort, insight, or wisdom. The Roads of Destiny is that kind of story. At first glance, it seems simple, but the more you think about it, the more it says about life, choice, and the strange, beautiful mystery of where we end up.

Written and posted by Kamlesh Tripathi

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Bhibhuti Babu The Writer of Pather Panchali

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TIMES OF INDIA: 15/6/25
WHY A SMALL JHARKHAND TOWN STILL ADORES THE WRITER OF PATHER PANCHALI


    Flanked by a restless Subarnarekha river and an unassuming railway line that runs through the small town, Ghatsila reminds you of idyllic Nischindipur, where Satyajit Ray’s iconic Pather Panchali (Song of the Road) unfolds. It’s a drowsy, almost diffident, place that seems to have been bypassed by time.
    Maybe the resemblance is not entirely coincidental. This is where celebrated writer Bibhuti Bhusan Bandyopadhyay, who penned the unforgettable Bengali novel, spent many creative years of his life and breathed his last at the age of 56 in 1950.
    The finest works of Bibhuti Babu, as every one refers to him in Ghatsila, include ‘Aparajito (Undefeated)’, ‘Aranyak (Of The Forest)’, and ‘Chander Pahar (Mountain Of The Moon)’. Director Shakti Samanta’s ‘Amar Prem’ (1972), a melancholic story of unrealised love, starring Rajesh Khanna and Sharmila Tagore, was based on a Bandyopadhyay short story, Hinger Kochuri.
    It has been 75 years since he passed away. But Bibhuti Babu remains Ghatsila’s calling card. Hotels are named after him. So are sightseeing spots, libraries and grammar schools. He is present even on restaurant menus. In fact, the writer is everywhere.
    Ghatsila is nestled in the lap of the Dalma hills in Jharkhand’s East. Singhbhum district shares a border with West Bengal’s Jhargram and Purulia districts to the east and north, and Odisha’s Mayurbhanj to the south.
    At the spot where NH 33 turns towards Ghatsila, the Jharkhand tourism department has built a hotel called Bibhuti Vihar. The town also has a Bibhuti Inn, owned by a businessman. A popular hotel on the banks of the Subarnarekha is named after a spot where the writer used to sit on moonlit nights, and that he had named ‘Ratmohana’ (charmer of the night).
    The house where Bibhuti Babu lived is located in Dahigora, now the poshest part of the town. The residence is called Gourikunj, after his first wife, who died during childbirth. The road leading to Gourikunj is called Apur Path– the road of Apu, the protagonist of the semi-autobiographical Pather Panchali.
    There’s more. A local society for the preservation of Bandyopadhyay’s house and his legacy is called Gourikunj Unnayan Samiti. Says its president, Tapas Chatterjee, “Nobody commands more respect than Bibhuti Babu in Ghatsila.”
    “Not an inch of his house was encroached upon, even though nobody lived there for 57 years. In 1950, when Bibhuti Babu died, his second wife, Rama Chattopadhyay, and son Taradas Bandyopadhyay, who was three then, left the town. Taradas ji gave us the NOC to construct this memorial in 2007, three years before his death. In between, the house lay in utter neglect and ruins.” Chatterjee said.
    The Samiti also runs a Bengali language grammar school on Sundays, called Apur Pathshala, and a library called Bibhuti Smriti Sansthagar in Ghatshila.
    A cultural festival is hosted every year on September 12 to mark the writer’s birth anniversary.
    The story of how Bibhuti Babu came to live in Ghatsila is fascinating.
    According to Chatterjee, a contractor from Ghatsila called Ashok Gupta had taken a loan from the writer when the latter was working as a teacher in Calcutta. Unable to pay him back in cash, Gupta decided to register the house in Ghatsila in Bibhuti babu’s name.
    “Bibhuti Babu wanted his younger brother, Nutbihari Bandyopadhyay, who was a doctor, to settle in this town and had visited Ghatsila in 1938. He fell in love with this house and the town and never returned.” Chatterjee said.
    Since he was already an established name in Bengali literature, many other Calcutta writers, including Sahitya Akademi Awardee Gajendra Kumar Mitra (1908-1994), Pramatha Nath Bishi (1901-1985) and Subodh Ghosh (1909-1980), also built homes in Ghatsila. Bimal Roy’s ‘Sujata’ (1960) and Gulzar’s ‘Ijaazat’ (1989) were based on stories written by Ghosh.
    However, all left in due course. Except Bibhuti babu, who stayed on and wrote some of his most famous works in this town.
    As a writer, Bibhuti Babu shared a special bond with the quiet jungles on the town’s edge, the free-flowing river and forest dwellers. He had witnessed the exploitation of natural resources in the name of development when he went to Bhagalpur in Bihar as the assistant manager of a forest estate in January 1924. That assignment left a lasting impression on the writer and funds mentioned in works such as ‘Aranyak’ and the essay, ‘Hey Aranya Katha kao (Oh Forest, Speak)’.
    Ghatsila is full of such natural spots, like Burudi dam, Phuldungri Pahar and the banks of the Subarnarekha, where Bibhuti Babu would sit with a pen and notebook for hours.
    Situated 54 km from Jamshedpur and 240 km away from Kolkata, Ghatsila is a favourite of tourists from Bengal. Nearly 80% of the population here, including tribals, now speak the Bengali language. The locals, however, rue how some things are no longer the same. “Earlier, tourists came for longer durations, a month or, at times even longer. They would rent out homes and stay like locals. Since they came here for a change of air, we called them ‘changers’,” said Rohit Kumar, manager of a private lodge in Ghatsila’s Phuldungri.
    The new-age tourists come for a day or two. The neighbouring hill town of Belpahari in Jhargram district of West Bengal offers better amenities and takes away a major chunk of tourists.
    But appreciation of the legacy of Bibhuti Babu isn’t confined to visitors anymore. Supriti Murmu, wife of prominent Jharkhand state agitation leader Bablu Murmu, says, “I was drawn to this town because of Bibhuti Babu. As a student of Bangla literature, we were influenced by his writings and wanted to experience the rural life he portrayed in his books.
    Supriti Murmu used to be a prominent left-wing student leader and was pursuing her graduation in Bangla literature in neighbouring Jhargram when her activism and her love for the writer brought her to Ghatsila in 1987. “I have been here since then,” she said.
Bandyopadhyay’s works and his love for the forest dwellers resonate with the local tribal population as much as his books appeal to the Bengali intelligentsia.
At Gourikunj, his real legacy is the bond shared by everyone. An artist from Bengal recently painted scenes from Bandyopadhyay’s daily life in Ghatsila on the boundary walls of the house. On his birthday anniversary, girls from tribal communities decorated Apur Path, the lane leading to the house, with beautiful Santhal patterns in the form of rangolis. Everyone and everything is coming together to celebrate their one and only Bibhuti Babu.

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Like it and Share it

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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