I need the full summary of chapter:-The tree written by Manoj Das
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There are only a few good storytellers left in the world today and Manoj Das is one of them,” said Ruskin Bond in Imprint and the statement can hardly be improved upon. Of course, Manoj Das had been bracketed with Tagore and Premchand even before this by no less a person than the doyen of Indo-Anglican writing, Prof. K.R. Srinivasa Iyengar. Yet another celebrated reviewer, M.V. Kamath, (former editor of The Illustrated Weekly of India) highlighted The in a charming way while reviewing one of his collections of short stories for The Week, the significance of Manoj Das, thus: “What is Manoj Das? A social commentator? A psychiatrist? A sly peeper into people’s hearts? Or just a plain storyteller? …Manoj Das is all this and an incorrigible Indian besides.”
There are numerous Ph.D. theses completed on the short stories of Manoj Das, yet a sensitive reader often feels that something inexplicable in his stories remains beyond the critic’s grasp. As the distinguished author and diplomat K.P.S. Menon had observed after reading the first collection of Manoj Das’s stories in English, there is in them more than meets the eye and that one realises how thin the divide between sanity and insanity is.
His stories linger in the reader’s memory for years, but that is not unusual. There are other great short stories in the literature of the world which also create that effect, but Manoj Das’s stories not only linger, they somehow enlighten, soothe and remain as a kind of invisible companion.
Satire had rarely been ennobled as an exposition of helplessness of man in the face of the unexpected, as in a story like “Mystery of the Missing Cap”; the pungency of unexploited love had rarely been so deeply felt by the reader as in “The Bridge in the Moonlit Night”; the magic of human affection had rarely been so beautifully worked out as in “The Submerged Valley”. You remember any story and reflect – or rather meditate – on it. One will invariably be led to a plane of reality that is above the factual reality, yet not divorced from it. One realises that there are planes and planes of reality interspersed with one another. One’s perception life expands.Manoj Das’s technique changes with remarkable ease to suit his themes. The first person narrator is often a child. That brings an outlook to the episodes that could never have been achieved with third person or omniscient point of view in narration. He also adopts tales from the Jatakas, the Panchatantra and the Kathasaritsagara and adds to them a development bridging the gap between centuries, stressing the indivisible flow of human ideas, ideals and experiences.
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