Prof. Nirvana has been replaced by the sweetness of simplicity and the ingredients of popularity instead of bad phrases. Popularized by M Krishnan Nair. He named ‘Literary Journalism’ and ‘Sahityavaraphala’ was read by people without distinction of being a scholar or layman. It is doubtful that there is anywhere else in the world such a genre in Ananya style that introduced works and literary figures in foreign languages to the common man. He has mixed humor, sex, tips, social criticism and humor-encrusted definitions in such a way that it becomes addictive to read. He often added summaries of foreign works to the column. Writers and books from home and abroad became the subject of his pats and caresses. Sharp criticism was no better for the living or the dead. From first-rate literary figures to pinky novelists, his words have fallen on deaf ears. Many were eager to see their name printed in the column, either positive or negative. To attack the ‘plague’ Pinkilikatha, he would even associate a famous work of universal literature to criticize the Pinkilikatha. For example: Have you not read the novel “The Plague” by Albert Camus? Comeau says that the plague is a universal condition. The plague is temporarily disappearing from the town. But it will come again. Against that plague,—against death—we must struggle. Commune’s suggestion is to fight against the world that threatens us and ‘become a rebel’. Didn’t he say the plague would come again? has come Akhila’s “Dream in the Daytime” became a pink story. Just as Anita in the story calls out, “My helper, my helper”, we also call out “My plague, my plague”. Be ‘rebellious’ as much as you want. Death will conquer you. Pinkiekatha’s death will take you and me. His skill in detecting plagiarism earned him the name Sherlock Holmes of literature. His claim that OV Vijayan’s story ‘Kadaltheerath’ is a copy of Alan Patten’s ‘Cry My Beloved Country’ created a big ripple. He also found similarities between Vatsala’s ‘Gautaman’ and Kutse’s novel. Chanthumenon’s Indulekha, Disraeli’s Henrietta Temple, CV Ramanpilla’s ‘Marthandavarma’, Walter Scott’s ‘Ivano’, CV’s ‘Premamrita’, Mary Corley’s ‘Vendetta’, Steinbeck’s ‘Grapes of Wrath’, SK Potekatt’s ‘Vishakanyaka’ and G.I. Krishnan Nair said that Shankarakurup’s ‘Sagarasangita’ and CR Das’s ‘Sagarasangita’ (English translation by Aravinda Ghosh) are good for research. He placed Changampuzha first among the poets of Changampuzha above Ezhutachcha. His religion was that Changampuzha was supernaturally powerful and even a writer could not come close to him in terms of poetic inspiration. Poets after Changampuzha wrote poems echoing his poems. He said that none of them had any originality and included Vayalar in the list of Matoli poets. ONV’s Surya Geeta was described as the supreme achievement. Those who say that Vayalar is more powerful than ONV are called immature. Ullur is credited with proving that poetry should not be born naturally but should be manufactured. Urubin has been described as a unique artist of the realistic period. It was observed that Urub is a hundred times more dense than Takazi. Modernity is mass hysteria, according to Krishnan Nair, in opposition to prose poetry. It will disappear and the athlete’s foot will return. Existentialism was a craze for Krishnanair that died before Shang-Paul Sartre did. Structuralism is another dying one. “Prose poetry puts the subject matter before Dhishana. He agreed with what Aurobindo said, “When it is placed before the heart, it becomes poetry” and he would agree that great prose poems rarely appear. Satchidanand’s ‘Evanekkoo’ has a touch of original poetic art. “Works that describe themselves as modern, including Satchidanand’s own prose poems, do not appeal to him.” “I brought a relative to the doctor who fell unconscious due to the dust entering his lungs from the building. “He is suffering from pneumoultramicroscopic silico vulcanoconiosis,” the doctor said. This is a disease that occurs when cement dust or stone dust enters the lungs. This doctor and today’s reviewers are similar. A difference. Look up the word doctor in the dictionary. It is of no use to see the usages of the modern critic in it. His application will be in a different sense. ‘A Balakrishna Pillai’s use of Malayalam language, according to Krishnan Nair, gives the impression of chewing gum. Appraisal is uncomplimentary with no power of valuation. Kuttikrishna’s review is offensive. Guptan Nair’s is defensive. I have nothing to say about Achaemenon’s criticism. Can’t comment on what a human being can understand?” S. Guptan Nair in his essay “Through Science Literature” wrote “C.V. as a social reformer…” After reading this, Krishnan Nair wrote in the weekly result that if the CV is a reformer of the society, it should be written as “social reformer”. “The president of Sahitya Akademi can make such mistakes. We shouldn’t have it.”When he wrote ‘Imagency’, Emil Zola, Anna Karenina’, Mother Teresa, Rio de Janerio, Mikhail Sholokhov, the readers understand that this is the correct pronunciation. Misogyny The misogyny that permeates his reviews has often been criticized. ‘Women writers have no married life, they choose some men as their husbands who can be used as a walking stick. Can stationary walking sticks move by themselves? “Will you talk” would have raised a storm now. PT Usha wrote that reaping gold is not pride, but shame. Prof. M Krishnan Nair (Biography) was born on March 3, 1923 in Thiruvananthapuram as the son of VK Madhavanpilla and Saradamma. Post Graduation in Malayalam from Thiruvananthapuram University College. Retired as Head of Malayalam Department from Maharaja’s College, Ernakulam. Wrote Sahityavaraphalam for 36 consecutive years (until a week before his death) through Malayalam Nadu, Kalakaumudi and Contemporary Malayalam. The beginning of the literature week was in Malayalam Nadu published on May 18, 1969. Died on 23 February 2006. Read on deshabhimani.com