Table of Contents

A Bookish Topic by RK Narayan

My blackest thoughts are reserved for those who borrow my books. I am unable to forgive a man who fails to return a book he has taken from my shelf. I would not hesitate to tell him precisely what I thought of him, if he would only give me a chance to speak, but as a general rule the book pirate shows no inclination to continue his friendship with me; he stoops beside his hedge and remains still until I have safely passed his gate: if he meets me on the road face to face he doubles his pace with an air of one going desperately in search of a doctor. It is a matter of life and death to someone, and he has no time to engage himself in any conversation centering around some miserable book in a weak moment. This is the worst of the book pirate.

He begins to feel that it was due to some weakness that he ever entertained the idea of perusing (reading carefully) such and such a book, while a busy man like him could find no time even to read his (neighbor’s) newspaper fully. Later it develops into an aversion (dislike) both for the book and the man who lent him it. For a few days he keeps saying, “I have not yet read it, but I’d like to, if I may.” And the lender of the book, ever a generous brood, says, “Oh yes, by all means, keep it. You have kept it so long, it would be pointless if you returned it without going through it. Keep it, keep it.”

At the next meeting, the lender feels delicate to ask again about the book. A few months pass, and then a happy new year and another happy one, and suddenly you realize that the gap in your bookshelf is still there. And then one day you abruptly begin the meeting with: ‘Where is the book?’

‘Which book?’ asks the gentleman.

When you have succeeded in stimulating his memory, he only says, ‘Oh, that! I will have to search for it.’ Naturally, you don’t like the tone, and say, ‘Well, why not search now?’ Your instinct now tells you will never see your book. You will feel that you are now seeing humanity at its worst. Words fail you. You cannot trust yourself further, and you go away. At the next meeting, the man says brazenly (shamelessly), with an air of condescending to give a thought to your subject: ‘I’ve not found your book. I was out of town for a while on business. I believe it must be with my brother-in-law. You know my brother-in-law?’

‘I don’t. Why don’t you get it back from him?’

‘I will, I will, certainly,’ he replies mechanically.

‘Or I will myself go and beg him to return it, where is he?’

‘That’s what I must find out. He has been on tour.’

‘Why not send him a letter? I will bear the postal expenses.’

‘Oh, letters are not good; he is a very bad correspondent.’

The whereabouts of the book, you feel, are already trailing away into indefiniteness. At the next meeting, the gentleman goes behind his hedge and disowns you completely.

It is under this condition that you become a misanthrope (hates humanity) and ask why it is that you cannot complain to the police about the loss of your book. In a more perfectly arranged world, it should be possible. At the next election, my vote goes to the party which pledges itself to eliminate (along with illiteracy, poverty, and disease) book-borrowing from our society. I am scrutinizing every manifesto and party program for this possible promise.

All of us love to keep our books and also share the delight of good reading with others. This is an impossible combination and turns out to be a painful experiment. If you love your book, don’t lend it to anyone on earth. This really ought to be one’s guiding principle. You cannot lend your books and yet have them, just as you cannot your cake and have it.

I know only one person who has achieved both. He lends books and yet retains his library in shape. He has an elaborately built-up library at home, and he is most enthusiastic in lending out books—provided the borrower, even if he happens to be his son-in-law, signs a ledger and returns the book on the proper date. He levies a fine of six pies per day if the book is held over beyond the due date and he ruthlessly demands replacement of any book that’s lost. If he should be told: ‘My brother-in-law must have taken it and I don’t know where he is,’ he would have replied: ‘Surely you wouldn’t have allowed your brother-in-law to walk off with one of your chairs, coats, or spoons. How dare anyone think that he can be as irresponsible as he likes where a book is concerned? Don’t tell me about your brother-in-law. I am interested only in my books. It costs nine rupees plus postage. Write at once to so-and-so, booksellers.’ This book lover has been called rude, pugnacious (aggressive), petty-minded, and so forth. But it does not bother him. He knows where his favorite volumes are to be found at any given moment.

As an author, my problem is a little more complicated. I have (or rather try to have) in my shelf, not only books written by others but also those written by me. An author may be pardoned if he likes to have his own books too in his library. It may not at all be vanity. He may have to work further on it for a subsequent edition or he may value it for being the first copy to arrive from his publishers. A publisher gives only six copies for presentation when a book comes out. While I am prepared to scatter five abroad, I like to be free to keep the sixth. But where is it?

Whenever I wish to see any of my own books for any purpose, I borrow it from a library. I wish others would also do the same thing instead of asking complacently, ‘Why should an author want his own books?’

Essay Analysis

My blackest thoughts are reserved for those who borrow my books.

Narayan kicks off the essay with a strong, dramatic statement: the people he thinks the worst of are those who borrow his books. He’s exaggerating to grab our attention, but it’s relatable for anyone who loves their books. The word “blackest” paints his thoughts as dark and intense, hinting that he’s really upset about this. It sets up the whole essay as a funny rant about the frustration of lending books, and you can already feel his irritation mixed with a playful tone that makes you want to keep reading.

I am unable to forgive a man who fails to return a book he has taken from my shelf.

Here, Narayan doubles down, saying he can’t forgive someone who takes a book from his shelf and doesn’t bring it back. The word “forgive” makes it sound like a serious betrayal, almost like a crime, which adds to the humor because it’s just a book, not a life-or-death issue. He’s personalizing it by saying “my shelf,” showing how much his books mean to him—they’re part of his space and identity. This sentence builds on the first one, making his anger clearer while keeping the tone a bit over-the-top to keep us smiling.

I would not hesitate to tell him precisely what I thought of him, if he would only give me a chance to speak, but as a general rule the book pirate shows no inclination to continue his friendship with me;

Narayan says he’d love to confront the borrower and tell them exactly how annoyed he is, but the problem is they avoid him. He calls the borrower a “book pirate,” which is a funny way to compare them to a thief sneaking away with treasure. The phrase “no inclination to continue his friendship” suggests the borrower acts like they don’t even know him anymore, dodging him to avoid the awkward talk about the book. This sentence adds a layer of comedy by showing how the borrower runs away, and it hints at the social awkwardness that comes with chasing after your stuff. It’s like Narayan is saying, “I want to yell at them, but they won’t even face me!”

he stoops beside his hedge and remains still until I have safely passed his gate:

Now Narayan paints a hilarious picture: the borrower is so desperate to avoid him that they crouch behind a bush or fence, holding their breath until he walks by. It’s a vivid, almost cartoonish image that makes the borrower look sneaky and ridiculous. The words “stoops” and “remains still” show how low they’ll go (literally!) to escape. This sentence keeps the humor flowing while showing how far the borrower will go to avoid returning the book, making Narayan’s frustration feel even more justified because the borrower’s behavior is so childish.

if he meets me on the road face to face he doubles his pace with an air of one going desperately in search of a doctor.

If the borrower can’t hide, Narayan says they speed up when they see him on the street, acting like they’re rushing to some emergency, like finding a doctor. The phrase “doubles his pace” and “desperately” makes it sound like they’re practically running away, and the doctor bit adds a funny, exaggerated excuse. It’s as if the borrower is pretending their life is too important to stop and chat about a silly book. This sentence keeps up the comedy while showing how the borrower avoids responsibility, making Narayan’s annoyance more relatable because we’ve all met someone who dodges like this.

It is a matter of life and death to someone, and he has no time to engage himself in any conversation centering around some miserable book in a weak moment.

Narayan mocks the borrower’s fake urgency, saying they act like their rush is about something critical, like saving a life, so they can’t waste time talking about the “miserable” book they borrowed. The phrase “weak moment” suggests the borrower now thinks borrowing the book was a mistake, like they regret even wanting it. This sentence digs deeper into the borrower’s mindset, showing how they downplay the book’s value to justify keeping it. It’s funny because it’s such an over-the-top excuse, but it also stings because it shows how little the borrower cares about Narayan’s feelings or the book itself.

This is the worst of the book pirate.

Narayan sums up the borrower’s behavior, saying their dodging and excuses are the most annoying part of being a “book pirate.” This short sentence acts like a pause, wrapping up the first paragraph’s complaints and reinforcing the pirate nickname. It’s like he’s saying, “This is what makes them so awful!” It keeps the essay moving by transitioning to a deeper look at why borrowers act this way, and the word “worst” keeps his frustration front and center, but the pirate label keeps it light and playful.

Now Narayan explains the borrower’s thinking: they start to believe borrowing the book was a silly mistake because they’re too busy to even read their neighbor’s newspaper completely. The word “weakness” makes it sound like they’re ashamed of wanting to read, and “perusing” (reading carefully) adds a touch of sarcasm, like they never even opened the book. The “busy man” part mocks the borrower’s self-important attitude, as if their life is too full for something as trivial as reading. This sentence is funny because it shows how the borrower builds excuses to feel better about not returning the book, and it sets up the idea that they’re starting to dislike the book and Narayan.

Later it develops into an aversion (dislike) both for the book and the man who lent him it.

Over time, Narayan says, the borrower’s excuses turn into actual dislike for both the book and the person who lent it (him). The word “aversion” means a strong dislike, which feels harsh and unfair—why hate the lender for their own mistake? This sentence shows how the borrower’s guilt flips into resentment, like they’re mad at Narayan for making them feel bad about not returning the book. It’s a sharp observation about human nature, and it adds a layer of sadness to the humor because it shows how a small act (borrowing a book) can ruin a friendship.

For a few days he keeps saying, “I have not yet read it, but I’d like to, if I may.”

Narayan describes the borrower’s early excuse: for a few days, they politely say they haven’t read the book yet but want to keep it to read later. This sentence shows the borrower trying to sound responsible, like they have good intentions. It’s a familiar tactic—promising to return something “soon” to avoid trouble. The phrase “if I may” adds a fake politeness that Narayan is poking fun at, because he knows the borrower isn’t serious. It’s a small but relatable detail that sets up the lender’s growing frustration.

And the lender of the book, ever a generous brood, says, “Oh yes, by all means, keep it.

The lender (Narayan or people like him) is kind and trusting, so they say, “Sure, keep the book.” The phrase “ever a generous brood” paints book lenders as a group of overly nice people who can’t help but be giving. This sentence shows why borrowers get away with keeping books: lenders are too polite to demand them back. It’s funny because we can see the lender’s mistake, and Narayan’s tone has a hint of regret, like he knows this kindness will backfire.

You have kept it so long, it would be pointless if you returned it without going through it.

The lender keeps being nice, saying since the borrower has had the book for a while, they might as well read it before giving it back. This sentence shows the lender’s hope that the borrower will actually read the book, which Narayan implies is naïve. The word “pointless” suggests the lender thinks the book’s value is in being read, not just returned, which is sweet but misguided. It’s a moment where you feel bad for the lender because they’re still trusting the borrower, and Narayan’s humor comes from knowing this trust is about to be broken.

Keep it, keep it.”

The lender repeats their permission, saying “keep it” twice to show how eager they are to be generous. This short sentence emphasizes the lender’s kindness, but there’s a sarcastic edge because Narayan knows the borrower will take advantage of it. It’s like he’s shaking his head at the lender’s mistake, and the repetition makes it feel like the lender is almost begging the borrower to take their time, which is both funny and frustrating.

At the next meeting, the lender feels delicate to ask again about the book.

When they meet again, the lender feels too polite or awkward to bring up the book. The word “delicate” captures that hesitation we all feel when we don’t want to seem rude or pushy. Narayan is showing how social manners stop the lender from being firm, which lets the borrower keep the book longer. This sentence is relatable because it’s easy to imagine feeling shy about asking for something back, and it sets up the idea that the lender’s politeness is part of the problem.

A few months pass, and then a happy new year and another happy one, and suddenly you realize that the gap in your bookshelf is still there.

Time flies—months, even years go by, with New Year celebrations marking the passage—and the lender suddenly notices the empty spot on their shelf where the book should be. The phrase “happy new year and another happy one” adds a funny, exaggerated sense of time dragging on, like the book has been gone forever. The “gap in your bookshelf” is a vivid image that makes the loss feel real and personal, like a missing tooth. This sentence builds the lender’s frustration, showing how the problem festers over time, and it’s both humorous and a little sad.

And then one day you abruptly begin the meeting with: ‘Where is the book?’

Finally, the lender gets fed up and starts a conversation by bluntly asking, “Where’s my book?” The word “abruptly” shows they’re done being polite—they’re angry now. This sentence is a turning point, where the lender’s patience runs out, and it feels satisfying because they’re finally standing up for themselves. Narayan’s tone is sharp, capturing the lender’s irritation, and it sets up the borrower’s predictable excuses.

‘Which book?’ asks the gentleman.

The borrower responds by pretending not to remember which book, saying, “Which book?” The word “gentleman” is sarcastic, because a real gentleman wouldn’t act this way. This sentence is infuriating because it shows the borrower’s dishonesty or carelessness—they’ve forgotten or don’t care about the book. It’s a small moment, but it stings, and Narayan uses it to make the borrower look even worse.

When you have succeeded in stimulating his memory, he only says, ‘Oh, that! I will have to search for it.’

After the lender reminds them, the borrower casually says, “Oh, that book! I’ll look for it.” The phrase “stimulating his memory” is funny because it sounds like the borrower’s brain needed a jolt to remember, and their response is vague and unconvincing. This sentence shows the borrower brushing off the issue, making a half-hearted promise they don’t plan to keep. It’s frustrating for the lender, and Narayan’s tone mocks the borrower’s laziness, keeping the humor alive.

Naturally, you don’t like the tone, and say, ‘Well, why not search now?’

The lender gets annoyed by the borrower’s casual attitude and challenges them to look for the book right away. The word “naturally” shows that anyone would be upset by the borrower’s tone, and the demand to “search now” is bold and direct. This sentence captures the lender’s growing anger and their attempt to take control, but you can sense it won’t work. Narayan’s humor comes from the lender’s desperation, and it’s a moment where you root for them even though you know they’re fighting a losing battle.

Your instinct now tells you will never see your book.

Deep down, the lender feels the book is gone for good. The word “instinct” suggests a gut feeling, like they’ve given up hope. This sentence is a sad moment, marking the lender’s realization that their trust was misplaced. Narayan makes it personal with “your,” pulling the reader into the lender’s disappointment. It’s less funny here, more bitter, as the loss sinks in, and it sets up the emotional weight of the next few sentences.

You will feel that you are now seeing humanity at its worst.

The lender feels like this experience shows people at their most selfish and irresponsible. The phrase “humanity at its worst” is a big exaggeration, which adds humor, but it also captures how betrayed the lender feels. Narayan is poking fun at how a small thing like a book can make you lose faith in people, but it’s relatable because we’ve all felt let down by someone’s carelessness. This sentence deepens the essay’s tone, mixing comedy with a touch of cynicism.

Words fail you.

The lender is so upset they can’t even find the words to express their anger. This short sentence shows how overwhelming their emotions are—they’re speechless with frustration. It’s a quiet moment that contrasts with the earlier humor, making the lender’s pain feel real. Narayan uses it to show how deeply personal the loss of a book can be, and it’s a relatable feeling for anyone who’s been too mad to speak.

You cannot trust yourself further, and you go away.

The lender decides to walk away because they’re afraid they’ll say something they regret. The phrase “cannot trust yourself” suggests they’re so angry they might lose control, which adds drama. This sentence shows the lender trying to stay calm, but it also feels like defeat—they’re giving up on the conversation and maybe the book. Narayan’s tone is tense, capturing the lender’s inner struggle, and it’s a moment that makes you feel sorry for them.

At the next meeting, the man says brazenly (shamelessly), with an air of condescending to give a thought to your subject: ‘I’ve not found your book.

At their next meeting, the borrower boldly says they haven’t found the book, acting like it’s no big deal and they’re doing the lender a favor by even talking about it. The word “brazenly” means shamelessly, and “condescending” shows the borrower acting superior, like the book isn’t worth their time. This sentence makes the borrower seem arrogant and rude, which is infuriating for the lender. Narayan’s tone is sharp, mocking the borrower’s attitude, and it’s a moment where you really dislike the borrower for their nerve.

I was out of town for a while on business.

The borrower gives a lame excuse, saying they were away on a business trip, so they couldn’t look for the book. This sentence adds to the pile of excuses, showing how the borrower keeps delaying. It’s a classic dodge, and Narayan makes it sound flimsy by keeping it short and vague. The humor comes from how predictable the excuse is, but it also frustrates the lender, who’s heard this kind of thing before.

I believe it must be with my brother-in-law.

Now the borrower blames someone else, saying their brother-in-law probably has the book. The phrase “I believe” is vague, like they’re not even sure, which makes the excuse sound weak. This sentence introduces a new character—the mysterious brother-in-law—who becomes a convenient scapegoat. Narayan’s tone is sarcastic, poking fun at how the borrower shifts blame to someone the lender can’t reach, making the book feel further away.

You know my brother-in-law?’

The borrower asks if the lender knows their brother-in-law, as if it’s relevant to the conversation. This sentence is absurd because it’s a pointless question that distracts from the real issue—the book. Narayan is mocking the borrower’s attempt to confuse or sidetrack the lender, and it’s funny because it’s such a random thing to say. It also shows the borrower’s desperation to avoid responsibility, which makes them look even more slippery.

‘I don’t.

The lender snaps back, saying they don’t know the brother-in-law. This short sentence is blunt, showing the lender’s annoyance and refusal to get dragged into the borrower’s nonsense. Narayan keeps it simple to emphasize the lender’s focus—they just want their book, not a chat about relatives. It’s a moment where the lender tries to stay in control, but you can feel their frustration growing.

Why don’t you get it back from him?’

The lender demands the borrower retrieve the book from their brother-in-law. This sentence shows the lender pushing back, trying to hold the borrower accountable instead of letting them off the hook. It’s a reasonable request, but the word “why” carries the lender’s exasperation, like they’re tired of excuses. Narayan’s tone is sharp, capturing the lender’s attempt to be firm, but you sense the borrower will dodge again.

‘I will, I will, certainly,’ he replies mechanically.

The borrower agrees to get the book back, saying “I will” twice, but it sounds robotic and fake. The word “mechanically” shows they’re just saying what the lender wants to hear, with no real intention of following through. This sentence is funny because it’s such a typical empty promise, and Narayan’s sarcasm shines through as he mimics the borrower’s lazy response. It’s another moment where the lender’s hopes are raised, only to be dashed.

‘Or I will myself go and beg him to return it, where is he?’

The lender, desperate, offers to personally track down the brother-in-law and beg for the book, asking where he is. The word “beg” shows how low the lender is willing to go, and the question “where is he?” is frantic, like they’re grasping at straws. This sentence is both funny and sad—funny because it’s absurd for the lender to chase a stranger, and sad because it shows how much they want their book back. Narayan’s tone mixes humor with pity, highlighting the lender’s desperation.

‘That’s what I must find out.

The borrower vaguely says they need to figure out where their brother-in-law is. This sentence adds another excuse, making the book’s return seem even more impossible. The phrase “must find out” is so noncommittal it’s almost laughable, like the borrower is shrugging off the whole issue. Narayan’s tone is mocking, showing how the borrower keeps piling on vague promises to avoid action, and it makes the lender’s frustration feel endless.

He has been on tour.’

The borrower says their brother-in-law has been traveling, which is another convenient excuse. The word “tour” sounds fancy but vague, like the brother-in-law is off somewhere unreachable. This sentence keeps the pattern of dodgy excuses, making the book feel further out of reach. Narayan’s humor comes from how predictable and flimsy the excuse is, but it also deepens the lender’s sense of hopelessness, as the trail goes cold.

‘Why not send him a letter?

The lender, still trying, suggests writing a letter to the brother-in-law to ask for the book. This sentence shows the lender’s persistence, coming up with practical ideas to solve the problem. The question “why not” carries their frustration but also their determination to keep pushing. Narayan’s tone is a mix of hope and exasperation, as the lender clings to any chance of getting the book back, even though it feels futile.

I will bear the postal expenses.’

The lender goes even further, offering to pay for the letter’s postage to make it easier for the borrower. This sentence shows how desperate the lender is—they’re willing to spend money just to get their book back. It’s a funny moment because it’s so extreme, but it’s also sad because it shows how much the book means to them. Narayan’s tone is sarcastic, poking fun at the lender’s over-the-top effort, but you also feel their pain.

‘Oh, letters are not good; he is a very bad correspondent.’

The borrower shuts down the idea, saying their brother-in-law doesn’t respond to letters because he’s a bad letter-writer. This sentence is another excuse, and the phrase “very bad correspondent” is almost comically vague, like the borrower is making it up on the spot. Narayan’s tone is mocking, highlighting how the borrower keeps inventing reasons to avoid action. It’s frustrating for the lender, who’s running out of options, and it adds to the essay’s humor by showing the borrower’s endless creativity in dodging.

The whereabouts of the book, you feel, are already trailing away into indefiniteness.

The lender feels like the book’s location is slipping away, lost in a haze of vague excuses. The word “indefiniteness” paints a picture of something fading into the unknown, like the book is gone forever. This sentence is a sad moment, capturing the lender’s growing sense of defeat as the borrower’s excuses pile up. Narayan’s tone is reflective, almost poetic, and it makes the loss feel personal, like the book is a piece of the lender’s heart that’s vanished.

At the next meeting, the gentleman goes behind his hedge and disowns you completely.

At their next encounter, the borrower hides behind a bush again and acts like they don’t even know the lender, cutting off all contact. The word “gentleman” is sarcastic again, and “disowns” suggests the borrower is pretending the lender doesn’t exist. This sentence brings back the hiding image from earlier, making it funny, but it also feels final—the borrower has fully abandoned the lender and the book. Narayan’s tone is bitter but humorous, showing how the relationship falls apart over a simple book.

It is under this condition that you become a misanthrope (hates humanity) and ask why it is that you cannot complain to the police about the loss of your book.

After all this, the lender gets so fed up that they start to hate people and wonder why they can’t report the book’s loss to the police, like it’s a stolen item. The word “misanthrope” is a big, funny way to say they’re losing faith in humanity, and the police idea is absurd but relatable because the loss feels like a crime. Narayan’s tone is exaggerated and playful, making the lender’s anger seem over-the-top but understandable. This sentence shows how a small issue can feel huge when it’s personal, and it’s a moment where the humor and bitterness mix perfectly.

In a more perfectly arranged world, it should be possible.

The lender imagines a better world where you could go to the police about a lost book. This sentence keeps the police idea going, making it sound like a dream for book lovers. It’s funny because it’s such a wild fantasy, but it also shows how much the lender wishes things were different. Narayan’s tone is wishful and ironic, poking fun at the idea of a “perfect” world where books are protected like treasures, and it keeps the essay’s playful vibe.

At the next election, my vote goes to the party which pledges itself to eliminate (along with illiteracy, poverty, and disease) book-borrowing from our society.

Narayan jokingly says he’ll vote for any political party that promises to ban book borrowing, treating it like a major social problem alongside illiteracy, poverty, and disease. This sentence is hilarious because it puts book borrowing on the same level as huge issues, showing how much it bugs him. The exaggeration keeps the tone light, but it also underscores his frustration with borrowers. It’s a clever way to make the essay feel bigger, like book borrowing is a universal problem that needs fixing.

I am scrutinizing every manifesto and party program for this possible promise.

He adds to the joke, saying he’s carefully checking every political party’s plans to see if they include banning book borrowing. The word “scrutinizing” makes it sound like he’s studying them with a magnifying glass, which is funny because it’s such a ridiculous thing to care about in an election. This sentence keeps the humor rolling, showing Narayan’s obsession with the issue, and it’s a playful way to wrap up his fantasy of a borrower-free world.

All of us love to keep our books and also share the delight of good reading with others.

Narayan shifts gears, saying everyone wants two things: to keep their books safe and to share the joy of reading with others. This sentence broadens the essay, making it about all book lovers, not just him. It’s a warm, relatable moment because it captures why we lend books in the first place—we love them and want others to love them too. It sets up the problem he’s about to explain, and the tone is friendly, like he’s speaking to everyone who’s ever faced this dilemma.

This is an impossible combination and turns out to be a painful experiment.

He says trying to keep and share books at the same time doesn’t work—it’s a painful mistake. The word “impossible” is strong, showing there’s no way to do both, and “painful experiment” suggests lending books always ends in hurt, like a failed science project. This sentence is the heart of the essay, summing up why lending is so hard. Narayan’s tone is serious but still light, making it clear this is a universal problem for book lovers.

If you love your book, don’t lend it to anyone on earth.

Narayan gives a clear rule: if you care about your book, don’t lend it to anyone, no matter who they are. The phrase “on earth” adds a funny, dramatic flair, like it’s a universal law. This sentence is direct advice, based on all the frustration he’s described so far. It’s like he’s warning readers to avoid his mistakes, and the tone is firm, almost like a teacher giving a life lesson.

This really ought to be one’s guiding principle.

He emphasizes that not lending books should be a key rule to live by. The phrase “guiding principle” makes it sound like a big, important belief, which is funny because it’s just about books. This sentence reinforces the advice, urging readers to take it seriously. Narayan’s tone is strong and a bit preachy, but the humor keeps it from feeling too heavy, like he’s winking at us.

You cannot lend your books and yet have them, just as you cannot your cake and have it.

He uses a familiar saying: you can’t lend a book and still have it, just like you can’t eat a cake and keep it. This sentence makes the problem crystal clear—lending means losing, and there’s no way around it. The cake comparison is relatable and memorable, tying the essay’s big idea to something everyone understands. Narayan’s tone is witty, and the saying gives the advice a timeless, almost proverb-like feel.

I know only one person who has achieved both.

Narayan introduces a rare person who manages to lend books and keep their library intact. This sentence is exciting because it suggests there’s hope—a way to solve the problem. It’s like he’s saying, “Wait, there’s one guy who cracked the code!” The tone is upbeat, and it sets up a new story, making us curious about this person’s secret. It’s a shift from the essay’s complaints to a possible solution.

He lends books and yet retains his library in shape.

This person lends books but still keeps their collection complete and organized. The phrase “in shape” paints a picture of a perfect, tidy library, which is impressive after all the stories of loss. This sentence clarifies what makes this person special, and it keeps the tone admiring, like Narayan respects their skill. It’s a hopeful moment, showing that lending without losing is possible, even if it’s rare.

He has an elaborately built-up library at home, and he is most enthusiastic in lending out books—provided the borrower, even if he happens to be his son-in-law, signs a ledger and returns the book on the proper date.

Narayan describes the person’s system: they have a big, fancy library and love lending books, but only if the borrower (even a close relative like a son-in-law) signs a record book and returns the book on time. The phrase “elaborately built-up” suggests a beautiful, well-organized collection, and the son-in-law detail is funny because it shows no one gets special treatment. This sentence explains the strict rules that make the system work, and the tone is detailed and impressed, like Narayan is amazed by this person’s discipline. It’s a vivid picture of someone who loves books but isn’t naive.

He levies a fine of six pies per day if the book is held over beyond the due date and he ruthlessly demands replacement of any book that’s lost.

The person charges a small daily fine (six pies, a tiny amount of money) if the book is late and insists on a new copy if it’s lost. The word “ruthlessly” shows they’re strict, not letting anyone off the hook. This sentence adds more detail to the system, showing how serious this person is about their books. It’s funny because a fine for a book feels like something a library would do, not a friend, but it’s also admirable because it works. Narayan’s tone is precise, almost like he’s listing the rules with respect, and it makes the person seem both tough and smart.

If he should be told: ‘My brother-in-law must have taken it and I don’t know where he is,’ he would have replied: ‘Surely you wouldn’t have allowed your brother-in-law to walk off with one of your chairs, coats, or spoons.

If someone blames their brother-in-law for taking the book, the person would snap back, saying you wouldn’t let a relative steal your furniture or clothes, so why let them take a book? The brother-in-law excuse comes up again, tying back to the earlier borrower, which is funny because it’s such a common dodge. The comparison to chairs and spoons is clever—it makes books sound just as valuable as everyday items, which shows how much this person cares. Narayan’s tone is argumentative and witty, like he’s channeling the person’s no-nonsense attitude, and it’s a strong defense of treating books with respect.

How dare anyone think that he can be as irresponsible as he likes where a book is concerned?

The person is shocked that anyone would treat a book so carelessly, like it doesn’t matter. The phrase “how dare” is bold, showing their anger and disbelief. This sentence emphasizes the person’s belief that books deserve the same care as any important possession. It’s a powerful moment, and Narayan’s tone is indignant, like he agrees with the person’s passion. It’s also funny because it’s such a strong reaction to something small, but it makes you nod along if you love books too.

Don’t tell me about your brother-in-law.

The person cuts off the borrower’s excuse, saying they don’t want to hear about the brother-in-law. This short sentence is blunt and commanding, showing the person’s focus—they care about the book, not the borrower’s stories. Narayan’s tone is sharp, mimicking the person’s impatience, and it’s a satisfying moment because it shuts down the kind of dodging we saw earlier. It’s like the person is saying, “No more nonsense!”

I am interested only in my books.

The person makes it clear they only care about getting their books back, not the borrower’s problems. This sentence is straightforward, showing their single-minded focus on their library. It’s a strong statement of priorities, and Narayan’s tone is firm, almost proud, like he admires this clarity. It’s a moment that contrasts with the lender’s earlier politeness, showing a better way to handle borrowers.

It costs nine rupees plus postage.

The person tells the borrower exactly how much it costs to replace the book, including shipping. This sentence is practical, showing the person’s no-nonsense approach—they know the price and expect it to be paid. The specific amount (nine rupees) adds realism, like this is a real conversation. Narayan’s tone is businesslike, emphasizing the person’s efficiency, and it’s funny because it’s so direct, like a shopkeeper demanding payment.

Write at once to so-and-so, booksellers.’

The person orders the borrower to immediately contact a bookseller to replace the book. The phrase “at once” shows their urgency, and “so-and-so, booksellers” is vague but realistic, like they know exactly where to get a new copy. This sentence wraps up the person’s system, showing how they take charge and get results. Narayan’s tone is commanding, reflecting the person’s authority, and it’s a satisfying end to their story because it shows how to win at lending.

This book lover has been called rude, pugnacious (aggressive), petty-minded, and so forth.

Narayan admits that people criticize this person, calling them rude, aggressive, or small-minded because of their strict rules. The words “pugnacious” and “petty-minded” are harsh, showing how others see the person’s toughness as a flaw. This sentence acknowledges that not everyone likes this approach, which makes the person seem human. Narayan’s tone is defensive, like he’s ready to stand up for them, and it sets up the idea that their strictness is worth it.

But it does not bother him.

The person doesn’t care about the criticism—they’re confident in their system. This short sentence shows their strength and independence, like they’re above the gossip. Narayan’s tone is proud, almost defiant, and it’s a moment where you admire the person’s ability to stick to their principles. It’s like he’s saying, “They don’t let the haters get to them, and that’s why they win.”

He knows where his favorite volumes are to be found at any given moment.

Because of their strict system, the person always knows where their books are, especially their favorites. The phrase “favorite volumes” adds a touch of warmth, showing their love for books, and “at any given moment” emphasizes their control. This sentence is a triumphant end to the person’s story, proving their method works. Narayan’s tone is satisfied, like he’s celebrating their success, and it’s a hopeful note that contrasts with the essay’s earlier despair.

As an author, my problem is a little more complicated.

Narayan shifts to his personal experience, saying that as a writer, his book-borrowing issues are trickier than most people’s. This sentence brings the essay back to him, making it more intimate. The word “complicated” hints that his situation has extra layers, and it piques our curiosity about what makes it different. Narayan’s tone is reflective, like he’s sharing a new side of the story, and it sets up the final section where he talks about his own books.

I have (or rather try to have) in my shelf, not only books written by others but also those written by me.

He explains that he wants to keep both other people’s books and his own on his shelf, but it’s hard to do. The phrase “try to have” is honest, admitting that his own books often go missing too. This sentence shows why his situation is unique—he’s not just a book lover but an author who values his own work. Narayan’s tone is personal and a bit frustrated, like he’s confessing a struggle, and it’s relatable because it’s about wanting to hold onto something you created.

An author may be pardoned if he likes to have his own books too in his library.

Narayan defends himself, saying it’s understandable for an author to want their own books in their collection. The word “pardoned” is playful, like he’s asking for forgiveness but doesn’t really need it. This sentence is a plea for empathy, explaining that authors have good reasons for keeping their books. Narayan’s tone is reasonable, almost charming, as he tries to win the reader over, and it’s a moment where you nod along because it makes sense.

It may not at all be vanity.

He clarifies that wanting his own books isn’t about being proud or egotistical. The word “vanity” suggests people might think he’s showing off, but he’s quick to deny it. This sentence is defensive, addressing a possible criticism before it comes up. Narayan’s tone is humble, like he’s trying to set the record straight, and it shows his awareness of how others might see him. It’s a small but important moment that keeps him likable.

He may have to work further on it for a subsequent edition or he may value it for being the first copy to arrive from his publishers.

Narayan gives two practical reasons for keeping his books: he might need them to revise for a new edition, or he cherishes the first copy sent by the publisher. The phrase “subsequent edition” shows his work as an ongoing process, and “first copy” adds a sentimental touch, like it’s a special keepsake. This sentence makes his reasons clear and relatable, showing that his attachment is about work and emotion, not ego. Narayan’s tone is logical but warm, blending professionalism with personal feeling, and it strengthens his case.

A publisher gives only six copies for presentation when a book comes out.

He explains that publishers only give authors six free copies of their book to give away. This sentence shows why his own books are rare and valuable—there aren’t many to spare. The word “presentation” suggests these copies are meant for gifts, which adds pressure to give them away. Narayan’s tone is informative, almost complaining, like he’s frustrated by the limit. It’s a detail that makes his situation feel real and adds to the essay’s personal vibe.

While I am prepared to scatter five abroad, I like to be free to keep the sixth.

Narayan says he’s happy to give away five of the six copies but wants to keep one for himself. The phrase “scatter abroad” is poetic, suggesting he’s generous with his books, sending them far and wide. This sentence shows his balance of generosity and self-interest—he’s not selfish, but he has a right to one copy. Narayan’s tone is fair, like he’s making a reasonable request, and it’s a moment where you respect his choice.

But where is it?

He laments that even the one copy he wants to keep is often missing, probably borrowed and not returned. This short sentence is a cry of frustration, echoing the earlier stories of lost books. The question “where is it?” is simple but powerful, capturing his sense of loss. Narayan’s tone is exasperated, with a touch of humor, and it ties his personal experience to the essay’s bigger theme of book-borrowing woes.

Whenever I wish to see any of my own books for any purpose, I borrow it from a library.

Narayan reveals the irony: when he needs one of his own books, he has to borrow it from a library because his copy is gone. This sentence is both funny and sad—it’s absurd that an author can’t keep his own work, but it’s also a real loss. The phrase “for any purpose” suggests he has practical needs, like work or reference, which makes the situation worse. Narayan’s tone is ironic, poking fun at the ridiculousness, but there’s a sting of disappointment too.

I wish others would also do the same thing instead of asking complacently, ‘Why should an author want his own books?’

He wishes people would borrow his books from libraries instead of taking his personal copies and smugly questioning why he wants to keep them. The word “complacently” paints the borrowers as arrogant, like they think they know better. This sentence is a final plea for understanding, asking people to respect his needs. Narayan’s tone is annoyed but hopeful, suggesting a simple solution (use libraries) while criticizing the borrowers’ attitude. It’s a strong ending that wraps up his personal story with a call for change.

Summary

The essay ” A Bookish Topic” was written by R.K. Narayan. was first published in 1961 as part of his collection Next Sunday: Sketches and Essays. The essay reflects Narayan’s characteristic wit and keen observation of human behavior, drawing from his personal experiences as a book lover and author.

In A Bookish Topic, R.K. Narayan shares a funny, relatable rant about the headache of lending books and never seeing them again. He calls people who borrow books “book pirates” because they sneak away, avoiding him by hiding behind bushes or speed-walking like they’re late for an emergency. These borrowers give lame excuses—they’re too busy, forgot about the book, or say it’s with some random relative, like a brother-in-law who’s always “on tour.” Over time, they even start to dislike the book and get annoyed with Narayan for lending it to them.

Narayan explains how kind-hearted lenders (like himself) let borrowers keep books too long, hoping they’ll read them. But months or even years pass, and the book never comes back, leaving a sad, empty spot on the shelf. This drives him so crazy that he jokingly wishes he could report it to the police or vote for a political party that bans book borrowing altogether.

He offers a simple rule: if you love your books, don’t lend them to anyone. It’s like trying to eat a cake and keep it—you just can’t do both. But he tells the story of one guy who’s cracked the code. This person lends books but runs their library like a boss: borrowers have to sign a record, return books on time, pay a small fine if they’re late, or buy a new copy if the book’s lost. No one, not even family, gets a free pass. People call this guy rude, but it works—his books always come back.

As an author, Narayan has it worse. He wants to keep his own books for work or because they’re special, like the first copy from his publisher. But people borrow them and act like he doesn’t need them, asking, “Why would an author want his own books?” So, he ends up borrowing his own books from libraries! He wishes everyone would just use libraries instead of taking his copies.

Through funny examples and honest frustration, Narayan shows why lending books often leads to regret. His big message? Hold onto your books tightly, because sharing them might mean losing them forever.

Key Points

Author: R.K. Narayan (Rasipuram Krishnaswami Iyer Narayanaswami)

R.K. Narayan (1906–2001) was one of India’s most famous writers, known for his novels, short stories, and essays that capture everyday life with humor and warmth. Born in Madras (now Chennai), he grew up in a small South Indian town, which inspired his fictional town of Malgudi, the setting for many of his stories like Swami and Friends and The Guide. Narayan wrote in English, making his work accessible to a global audience, and his simple, clear style made complex human emotions relatable. By the time he wrote A Bookish Topic, published in 1961, he was an established author with a knack for turning ordinary experiences into funny, meaningful stories. As a book lover and writer, his personal connection to the essay’s topic—lending and losing books—shines through, giving it an authentic, heartfelt tone.

Introduction

The essay starts with a bang: Narayan declares that his “blackest thoughts” are for people who borrow his books and don’t return them. This opening is dramatic but funny, instantly grabbing the reader’s attention by exaggerating his frustration. He calls borrowers “book pirates,” setting a playful yet bitter tone that hints at the adventures and annoyances to come. The introduction establishes the essay’s focus—why lending books is a risky, often painful act—and invites readers to laugh and nod along, especially if they’ve ever lost a beloved book to a borrower.

Structure

The essay is structured as a first-person narrative, with the author sharing personal reflections and experiences. It unfolds in a linear fashion, moving through the stages of a book being lent out, the subsequent non-return of the book, and the interactions between the lender and the borrower. The essay is divided into several distinct sections:

Opening frustration: Narayan begins with his strong negative feelings towards those who fail to return books. He humorously refers to them as “book pirates.”

The initial lending phase: The narrator describes the initial act of lending a book with goodwill, followed by the gradual shift in the borrower’s behavior.

Escalating frustration: As months pass without the return of the book, the narrator’s frustration intensifies. He humorously depicts the ridiculous excuses and evasions made by the borrower.

The ideal book lender: Narayan introduces a character who perfectly manages to lend books while maintaining control over his collection, providing a contrast to the irresponsible borrowers.

The author’s own dilemma: Narayan concludes by discussing the peculiar predicament of authors who wish to keep their own books for personal use, and the ironic situation where an author ends up borrowing their own book from a library.

Setting

The setting of the essay is primarily domestic and social. It is set in an everyday Indian context where people have personal libraries, and book lending is a common activity. The settings include the home of the narrator, the homes of the borrowers, and social gatherings where the issue of the missing book is raised. The essay is devoid of any specific physical locations or elaborate descriptions but instead takes place in the interactions between people—specifically the author and those who borrow his books.

Theme

The main theme is the conflict between sharing and preserving something you love. Narayan explores how book lovers want to share the joy of reading but risk losing their books when they lend them. This leads to frustration, broken trust, and even resentment, as borrowers often don’t value the book as much as the lender does. Another theme is human nature’s flaws, shown through borrowers who dodge responsibility with excuses or grow to dislike the lender. Narayan also touches on the value of books, portraying them as treasures that deserve respect, like furniture or clothes. Finally, there’s a theme of learning from experience, as Narayan offers practical advice (don’t lend books) and a model (the strict librarian) to avoid the pain of loss.

Style

Narayan’s style is simple, conversational, and packed with humor, making the essay feel like a chat with a witty friend. He uses:

Humor and Exaggeration: He calls borrowers “book pirates” and imagines reporting them to the police, which makes his frustration funny rather than heavy. Scenes like borrowers hiding behind bushes are vivid and playful.

Relatable Anecdotes: His stories of dodging borrowers and hearing excuses (like the brother-in-law) feel real, like something we’ve all experienced.

Vivid Imagery: Phrases like “gap in your bookshelf” or “stoops beside his hedge” paint clear pictures that stick in your mind.

Irony and Sarcasm: He mocks borrowers’ fake urgency (“desperately in search of a doctor”) and their smug questions (“Why should an author want his own books?”).

Personal Touch: By sharing his struggles as an author, he makes the essay heartfelt, connecting with readers who love books.

Clear Advice: The cake metaphor and the “don’t lend” rule are simple, memorable ways to deliver his point.

The style is light but sharp, blending laughter with truth to make the essay both entertaining and thought-provoking.

Message

The essay’s big message is: if you love your books, don’t lend them, because sharing often means losing. Narayan shows that lending books is a risky act that can lead to frustration, lost friendships, and empty shelves. He urges readers to protect their books like treasures, learning from his mistakes and the borrowers’ bad habits. But he also offers hope through the strict librarian’s example, suggesting that lending can work with clear rules and discipline. For Narayan, books are more than objects—they’re pieces of your heart, and you should guard them carefully. He also gently critiques human nature, encouraging us to be more responsible and respectful when we borrow something precious.

R. K. Narayan

Full Name: Rasipuram Krishnaswami Iyer Narayanaswami

Born: October 10, 1906, in Madras (now Chennai), India

Died: May 13, 2001, in Chennai, India

R. K. Narayan is regarded as one of India’s greatest and most influential English-language writers. He is best known for his simple yet profound storytelling, rich characterizations, and deep understanding of the nuances of everyday life. His works capture the essence of Indian culture, particularly through the fictional town of Malgudi, which serves as the backdrop for many of his stories. Narayan’s writing is known for its warmth, humor, and gentle critique of societal norms.

Early Life and Education:

R.K. Narayan was born into a Tamil family in Madras. His father was a school headmaster, and his mother was a homemaker. Narayan’s early education took place in Madras, and later, he attended the University of Madras, where he completed his graduation. Although he was not initially inclined toward writing, Narayan’s experiences growing up in India during the British colonial period profoundly shaped his later works.

Literary Career:

R.K. Narayan’s writing career began in the late 1930s when he wrote Swami and Friends (1935), his first novel. It introduced the world to the fictional town of Malgudi, which would become a central setting for many of his future works. The novel’s success marked the beginning of Narayan’s prolific literary career. He continued to write novels, short stories, and essays that explored the lives of ordinary people, often focusing on the simple joys, struggles, and absurdities of life.

Some of his other notable works include:

The Bachelor of Arts (1937)

The Dark Room (1938)

The English Teacher (1945)

The Guide (1958) – One of his most famous works, The Guide won the Sahitya Akademi Award and was later adapted into a successful Bollywood film.

Malgudi Days (1942) – A collection of short stories that introduced readers to the charming town of Malgudi and its inhabitants.

The Man-Eater of Malgudi (1961)

The Vendor of Sweets (1967)

Narayan’s writing style was marked by simplicity, humor, and deep empathy for his characters. His ability to depict complex human emotions and situations in a straightforward manner made his works accessible to a wide range of readers. He was also known for his ability to blend the everyday with the extraordinary, making even mundane events seem rich with meaning.

Writing Style:

Narayan’s writing style is characterized by:

Simplicity: He used clear, simple language, making his work accessible to a wide range of readers. His writing is free from elaborate or flowery language, focusing instead on the essence of the story.

Humor and Irony: Narayan often employed humor, gentle irony, and satire to highlight the absurdities of life. His works often provide a lighthearted yet poignant commentary on human nature and social customs.

Characterization: His characters are ordinary people with complex personalities. Through their simple lives, Narayan explored profound themes of love, betrayal, ambition, and spirituality.

Depiction of Indian Culture: Narayan’s works often explore the daily lives and cultural complexities of Indian society. His stories reflect the values, traditions, and struggles of ordinary people, often set in small-town India.

Malgudi as a Microcosm: Malgudi, the fictional town that Narayan created, is central to many of his stories. The town acts as a microcosm of Indian society, with its own quirks, characters, and traditions. Narayan used this setting to delve into the lives of his characters in a way that made larger social issues feel personal and immediate.

Themes in His Work:

R.K. Narayan’s works often revolve around the following themes:

Human Nature: Narayan’s stories reflect the complexities of human nature, capturing characters’ desires, fears, and flaws with compassion and understanding.

Spirituality: Many of Narayan’s works explore spiritual questions, often reflecting the conflicts between religious devotion and worldly desires. Characters in his stories frequently undergo journeys of self-discovery.

Social Critique: Narayan’s stories often reflect on the inequalities, absurdities, and contradictions in Indian society, particularly the impact of colonialism and the complexities of modern life.

Relationships: The author frequently focused on family dynamics, friendships, and romantic relationships, portraying the intricacies of human connections in both joyful and sorrowful ways.

Recognition and Awards:

R.K. Narayan received numerous accolades for his contribution to literature. Some of the notable awards include:

Padma Bhushan (1964) – The third-highest civilian award in India.

Sahitya Akademi Award (1960) – For his novel The Guide.

Padma Vibhushan (2000) – Posthumously, this is India’s second-highest civilian award.

A.C. Benson Medal (1980) – From the Royal Society of Literature, UK.

Personal Life and Legacy

Narayan’s life wasn’t always easy. His wife, Rajam, died young in 1939, leaving him to raise their daughter, Hema, alone. Her death deeply affected him, and he later explored spiritual themes in his writing. He lived simply, mostly in Mysore, and kept writing into his 80s, even starting a publishing house, Indian Thought Publications, to control his work.

When he died on May 13, 2001, at age 94, Narayan left a legacy as India’s storytelling master. His Malgudi feels like a real place, and his characters—like the borrowers in A Bookish Topic—are timeless because they capture how people act, whether in 1961 or today. He showed that simple stories about everyday life could be profound, making readers laugh, think, and cherish the little things, like a favorite book on a shelf.

Conclusion:

R.K. Narayan was a giant of Indian literature, born in 1906 in Madras, who created the fictional town of Malgudi to tell stories about ordinary people with humor and heart. His clear, funny style, seen in A Bookish Topic (1961), made his novels, stories, andessays beloved worldwide. He wrote about human quirks, like dodging book lenders, and won awards like the Sahitya Akademi and Padma Vibhushan. His personal love for books shines in A Bookish Topic, where his frustration as an author losing his own work adds a special touch. Narayan’s legacy lives on through his timeless stories that make us smile and see the beauty in everyday life.

Significance of the title

The title A Bookish Topic is significant because it captures the essence, tone, and focus of R.K. Narayan’s essay in a simple yet clever way. Below is an explanation of its importance, to highlight how it reflects the essay’s themes, style, and purpose.

1. Focus on Books and Book Lovers

The word “Bookish” immediately signals that the essay is about books and the world of reading. It sets the stage for Narayan’s exploration of the joys and frustrations of being a book lover, particularly the act of lending books and the pain of losing them. The title suggests a topic that resonates with anyone who cherishes their books, making it instantly relatable. In the essay, Narayan describes books as precious treasures, and “Bookish” reflects this deep, almost obsessive love for them, which drives his humorous rant about “book pirates” and empty bookshelves.

2. Light and Playful Tone

The word “Topic” gives the title a casual, conversational feel, like Narayan is chatting about something ordinary yet interesting. It matches the essay’s humorous, storytelling style, where he exaggerates his frustration (like wanting to call the police over lost books) while keeping things light and fun. The title avoids sounding heavy or academic, inviting readers into a relatable, witty discussion rather than a serious lecture. This playful tone is clear when Narayan jokes about voting for a party that bans book borrowing, and the title prepares us for that mix of humor and truth.

3. Broad Yet Specific Appeal

A Bookish Topic is broad enough to cover any book-related issue but specific in hinting at the essay’s focus: the social dynamics of lending books. It doesn’t give away the whole story—like the borrowers’ excuses or Narayan’s personal struggles as an author—but it points to a subject (books) and a perspective (a “topic” worth discussing). This balance makes the title intriguing, encouraging readers to dive in to see what Narayan has to say. The essay’s universal theme—wanting to share but not lose something you love—fits the title’s open-ended yet focused vibe.

4. Reflection of Narayan’s Style

The title reflects Narayan’s simple, understated style, which turns everyday experiences into meaningful stories. “Bookish” is a warm, slightly old-fashioned word that evokes the cozy world of reading, while “Topic” suggests a modest, down-to-earth discussion. Together, they mirror how Narayan takes a small issue (lending books) and makes it feel big through humor, vivid imagery (like borrowers hiding behind hedges), and relatable emotions. The title’s simplicity hides the essay’s depth, much like Narayan’s writing seems effortless but carries sharp insights about human nature.

5. Personal Connection to the Author

As an author, Narayan has a special stake in books, which he reveals in the essay’s final section, where he laments losing his own works to borrowers. The title A Bookish Topic hints at this personal connection, suggesting not just any topic but one close to his heart. It reflects his identity as a writer who values books for both their content and their sentimental worth (like keeping the first copy of his published work). The title’s focus on “bookish” matters underscores his plea for readers to respect books, making it a subtle call to action.

6. Universal and Timeless Relevance

The title’s generality ensures it remains timeless. Books and the act of lending them are universal experiences, and A Bookish Topic could apply to any era or culture where people share and lose their treasures. In 1961, when the essay was published, books were especially precious due to limited access to libraries or bookstores in many places, but the title’s appeal endures today, as book lovers still face the same dilemmas. It invites readers to connect their own experiences—whether with books or other cherished items—to Narayan’s story.

Summary

The title A Bookish Topic is significant because it perfectly captures the essay’s focus on the love and loss of books, delivered with R.K. Narayan’s signature humor and simplicity. “Bookish” highlights the passion of book lovers, while “Topic” keeps the tone light and conversational, inviting readers into a funny, relatable discussion. It reflects the essay’s universal theme of sharing versus preserving, Narayan’s personal connection as an author, and his witty style that turns a small issue into a timeless story. The title is both an entry point to the essay’s world and a nod to its deeper message: books are treasures, and lending them is a risky act worth talking about.

A Bookish Topic Questions and Answers

Very Short Answer Questions

Who is the author of A Bookish Topic?

R.K. Narayan.

When was A Bookish Topic published?

1961.

In which collection was A Bookish Topic included?

Next Sunday.

What is the main topic of the essay?

The frustration of lending books and not getting them back.

What does Narayan call people who don’t return books?

Book pirates.

How do borrowers avoid Narayan in the essay?

They hide behind hedges or rush away.

What excuse does a borrower give for not returning a book?

It’s with their brother-in-law.

What does Narayan notice on his bookshelf?

A gap where the book used to be.

What does Narayan jokingly want to report to the police?

The loss of his books.

What does Narayan say he’ll vote for in an election?

A party that bans book borrowing.

What rule does Narayan give about lending books?

Don’t lend books if you love them.

What metaphor does Narayan use for lending books?

You can’t lend books and keep them, like eating and keeping a cake.

Who is the one person Narayan knows who lends books successfully?

A strict librarian-like person.

What does the strict person make borrowers do?

Sign a ledger and return books on time.

What happens if a book is late in the strict person’s system?

They charge a fine of six pies per day.

What does the strict person demand if a book is lost?

A replacement copy.

Why does Narayan want to keep his own books?

For work or as sentimental first copies.

Where does Narayan have to borrow his own books from?

A library.

What do borrowers ask Narayan about his own books?

Why an author needs his own books.

What is the essay’s main message?

Protect your books by not lending them.

Short Answer Questions

What is the main problem Narayan discusses in A Bookish Topic?

Narayan describes the frustration of lending books and not getting them back. Borrowers, whom he calls “book pirates,” avoid returning books by making excuses or dodging him, leaving empty spots on his shelf. This upsets him because books are precious, and their loss feels personal. The essay humorously explores this common issue faced by book lovers.

How does Narayan describe the behavior of book borrowers?

Narayan portrays borrowers as sneaky “book pirates” who avoid him to escape returning books. They hide behind hedges, rush away pretending to be busy, or give vague excuses like the book being with a brother-in-law. Over time, they grow to dislike both the book and Narayan. His funny descriptions make their irresponsibility both annoying and amusing.

What role does humor play in the essay?

Humor makes Narayan’s frustration entertaining and relatable, keeping the essay light despite his anger. He uses exaggeration, like calling borrowers “pirates” or joking about police reports, and vivid images, like hiding behind bushes. This humor softens his complaints, making readers laugh while understanding his pain. It also highlights the absurdity of borrowers’ excuses.

What lesson does Narayan offer about lending books?

Narayan advises never to lend books if you love them, as sharing often leads to losing them. He compares it to eating a cake—you can’t have it both ways. This rule comes from his own experiences with unreturned books. He suggests protecting your books to avoid the heartache of empty shelves.

Who is the strict person Narayan describes, and what makes them successful?

Narayan describes a person who lends books but keeps their library intact using strict rules. Borrowers must sign a ledger, return books on time, pay a fine for delays, or replace lost books. Even family members aren’t excused, ensuring accountability. Their disciplined system works, unlike Narayan’s lenient approach, proving lending can succeed with structure.

Why is Narayan’s role as an author important in the essay?

As an author, Narayan has a personal stake in books, especially his own, which he needs for work or values as first copies. He laments that borrowers take his books and question why he wants them. This adds a deeper layer to his frustration, making his plea to respect books more heartfelt. It connects his personal experience to the essay’s broader theme.

How does Narayan use the brother-in-law excuse to highlight borrower behavior?

The brother-in-law excuse is a funny, recurring example of how borrowers dodge responsibility. They vaguely claim the book is with this relative, who’s always “on tour” or unreachable, frustrating Narayan. This shows their dishonesty and avoidance, making the lender feel helpless. It’s a relatable tactic that adds humor and emphasizes the borrowers’ irresponsibility.

What is the significance of the title A Bookish Topic?

The title reflects the essay’s focus on books and the love of reading, capturing Narayan’s passion as a book lover. “Bookish” suggests a topic dear to readers, while “Topic” keeps the tone casual and inviting. It hints at the universal issue of lending books without revealing the humor or personal angle, making it intriguing and fitting.

How does Narayan’s style contribute to the essay’s appeal?

Narayan’s simple, conversational style makes the essay feel like a friendly chat, easy to read and relatable. He uses humor, vivid imagery (like borrowers hiding), and irony to make his frustration fun. Short sentences and relatable anecdotes keep the pace lively. This approachable style draws readers in, making his message about protecting books memorable.

What broader theme about human nature does the essay explore?

The essay shows how people can be irresponsible and avoid accountability, as seen in borrowers who make excuses or grow to resent the lender. It highlights the conflict between generosity (lending) and self-preservation (keeping books). Narayan humorously critiques these flaws but also offers hope through the strict person’s example. It’s a lighthearted look at human behavior through the lens of books.

Essay Type Questions

Write the critical appreciation of the Essay.

Introduction: “A Bookish Topic” by R.K. Narayan is a humorous and insightful essay that captures the frustration and absurdities that arise when lending books to others. Through witty writing, Narayan explores the emotions involved in lending, borrowing, and the inevitable consequences that follow when books are not returned. The essay is both relatable and funny, offering a light-hearted commentary on human nature, responsibility, and possession.

Theme:

The central theme of this essay revolves around the frustration of lending books and not getting them back. Narayan explores how lending a book, which seems like a simple act of generosity, can lead to feelings of betrayal and helplessness. Through the character of the “book pirate,” who borrows a book and never returns it, Narayan critiques the irresponsibility and avoidance that many people exhibit when it comes to returning borrowed items.

Additionally, the essay touches on themes of possession, responsibility, and the attachment people feel toward their belongings, especially something as personal as a book. Narayan humorously points out the ironic situation that authors find themselves in, where they often have to borrow their own books from libraries, a situation that seems absurd but is very relatable.

Structure and Style:

The structure of the essay is straightforward, beginning with the narrator’s frustration about lending books, followed by the various excuses given by borrowers, and then culminating in the narrator’s decision to stop lending books altogether. The essay follows a clear progression, from the initial act of lending to the growing frustration and final realization about the impossibility of lending books without complications.

R.K. Narayan’s writing style is simple, direct, and conversational. He uses humor and irony to make his point, and the tone of the essay is light-hearted yet critical. By exaggerating the situation, such as the evasiveness of the “book pirate,” Narayan turns a common problem into an absurd and humorous story, making the readers laugh while also reflecting on the truth in his words. His writing is relatable, as many readers have experienced the frustrations of lending or borrowing books.

Characterization:

In the essay, Narayan introduces two key characters:

The “Book Pirate”: This character represents someone who borrows books but never returns them. He is portrayed as evasive, always coming up with excuses to avoid the return of the book. The “book pirate” symbolizes the irresponsible borrower who lacks accountability.

The Ideal Book Lender: This character is someone who manages to lend books without losing track of them. He meticulously keeps a record of borrowed books, charges fines, and demands replacements for lost books. Although this character may seem rude or petty to some, Narayan presents him as the ideal way to manage a library, showing how a more structured approach can help avoid the problems that the narrator faces.

Through these characters, Narayan humorously highlights different attitudes toward lending and borrowing, making a serious point about human behavior and responsibility.

Message and Social Commentary:

The essay’s message is clear: if you love your books, don’t lend them, as sharing often leads to loss. Narayan reinforces this with the memorable metaphor—you can’t lend books and keep them, just like you can’t eat a cake and have it. However, he offers hope through the example of the strict person who lends successfully with rules, suggesting that accountability can make sharing possible. This practical wisdom, delivered with humor, encourages readers to protect their treasures while reflecting on their own behavior as borrowers.

Conclusion:

A Bookish Topic is a gem of an essay that turns a small annoyance into a universal, laugh-out-loud story. Narayan’s humor, simple style, and keen observations make it a joy to read, while its themes of sharing, loss, and human nature resonate deeply. The personal touch of his authorial struggles adds authenticity, and the practical lesson—don’t lend books you love—feels like wisdom from a friend. Despite its narrow focus, the essay’s wit, relatability, and timeless appeal make it a standout in Narayan’s work, offering both entertainment and a gentle nudge to cherish and protect what matters most.

Write long note on RK Narayan as Essayist.

R.K. Narayan as an Essayist

R.K. Narayan, one of India’s most renowned writers, is not only celebrated for his novels but also for his essays. His essays, much like his fiction, reflect his deep insight into human nature, his humor, and his profound understanding of Indian society. Narayan’s essays are characterized by their simplicity, warmth, and wit, which allow him to engage with a variety of topics—from personal experiences to societal observations—without losing the reader’s interest. His work as an essayist is a significant part of his literary legacy, showcasing his ability to weave insightful commentary into everyday life.

Characteristics of R.K. Narayan’s Essays

Simplicity in Style: Narayan’s essays are known for their simplicity and clarity. He writes in a straightforward, conversational tone, making his essays accessible to a wide audience. Unlike other essayists who might use complex language or overly academic terminology, Narayan’s style is free of pretension. His simplicity makes his essays relatable and easy to follow, even for readers who are new to English literature. He believed in the power of plain speech, and his writing reflects this philosophy. His essays are not bogged down by academic jargon; instead, they resonate with the common person.

Humor and Wit: One of the most distinctive features of Narayan’s essays is his use of humor. His humor is gentle, witty, and often laced with irony. Narayan has an extraordinary ability to turn ordinary situations into humorous reflections on human nature. Whether discussing the behavior of people in everyday situations or offering commentary on society, his humorous touch often makes the essay engaging while still maintaining depth. This ability to blend humor with serious reflection allows him to subtly critique society and human behavior without being overtly critical.

Personal Reflections and Observations: Narayan’s essays are deeply personal, reflecting his own thoughts, experiences, and observations. Much like his novels, which often draw on his life and the fictional town of Malgudi, his essays are infused with personal anecdotes. In doing so, he provides a window into his mind, offering his readers a glimpse of his thoughts and opinions on various subjects. His personal experiences—whether related to travel, relationships, or the human condition—serve as the basis for many of his essays. By sharing his reflections in a casual, almost confessional tone, he creates an intimate connection with his readers.

Focus on Indian Society: As an essayist, R.K. Narayan was particularly interested in the social and cultural fabric of India. His essays often explore the complexities of Indian life, the contradictions inherent in Indian society, and the nuances of human relationships. Whether commenting on the rituals of everyday life or critiquing the changing nature of Indian society in the post-colonial period, Narayan’s essays provide insightful perspectives on the country’s evolving identity. In essays like “A Bookish Topic” and “The World of Books”, he reflects on cultural phenomena with an eye for detail and a deep understanding of the societal contexts that shape people’s behavior.

Philosophical and Thought-Provoking: Despite their simplicity, many of Narayan’s essays are rich in philosophical reflections. He frequently delves into the deeper meanings behind daily experiences and human interactions. While the tone of his essays might appear lighthearted or humorous, they often carry profound insights into life, morality, and the human condition. He was deeply concerned with the tensions between modernity and tradition, the nature of spirituality, and the importance of maintaining personal integrity. In his essays, he explores both the personal and universal, offering meditations on life’s more complex issues in a way that is relatable to his readers.

Themes in Narayan’s Essays

Books and Literature: One of the recurring themes in Narayan’s essays is his love for books and literature. In essays like “A Bookish Topic”, Narayan humorously critiques the act of lending books, expressing his frustration with borrowers who fail to return them. His reflections on books are often deeply personal, as he shares his own experiences with literature and the impact it has had on his life. Narayan also writes about his experiences as an author, the relationship between a writer and their work, and the challenges of being an author in the post-independence era.

Human Nature and Society: Narayan’s essays frequently explore the complexities of human behavior. He is fascinated by the contradictions and quirks of human nature, and this interest is evident in his essays. His keen observation of people—whether in social settings or in the midst of everyday tasks—provides insight into the motivations, desires, and insecurities that drive human actions. Narayan does not judge his characters but instead presents them with empathy and humor. Through his essays, he subtly critiques the social norms and values that shape individuals’ lives, particularly in post-colonial India.

Modernity and Tradition: Narayan was deeply aware of the tensions between modernity and tradition in India. His essays reflect the impact of colonialism and the challenges of modernization, particularly in the years following India’s independence. Narayan explores how traditional values often clash with the demands of a rapidly modernizing society. This theme is explored in several of his essays, as he contemplates the challenges of reconciling the old and the new, the past and the present.

Spirituality and Philosophy: Narayan often touches upon themes of spirituality and philosophy, especially in the context of Hinduism and Indian traditions. His reflections on spirituality are subtle but meaningful. He frequently writes about the importance of inner peace, self-reflection, and the pursuit of personal growth. His essays delve into the complexities of faith, belief, and the search for meaning in life.

R.K. Narayan’s Influence as an Essayist

R.K. Narayan’s contribution as an essayist lies in his ability to bring humor, insight, and relatability to serious subjects. His essays helped shape the landscape of Indian English literature, making it more accessible to a global audience. Through his work as an essayist, Narayan was able to bridge the gap between Indian traditions and modernity, capturing the essence of everyday life with sensitivity and wit. His essays are not only an exploration of the human condition but also serve as a document of Indian society during a time of great change.

Narayan’s essays, much like his fiction, are timeless. They provide readers with a window into the heart and soul of Indian life, offering both laughter and reflection. His work as an essayist highlights his mastery of the genre, showcasing his ability to comment on society, culture, and human behavior in an engaging and thought-provoking way.

Conclusion

R.K. Narayan, as an essayist, demonstrated his exceptional skill in observing and reflecting on human life with humor and wisdom. His essays are marked by simplicity, wit, and a profound understanding of human nature. Through his essays, Narayan gave voice to the experiences and observations of everyday people, making them accessible and meaningful to a broad audience. His work as an essayist is an integral part of his literary legacy and continues to inspire readers today.

Easy Literary Lessons

A Bookish Topic by RK Narayan

A Bookish Topic by RK Narayan

Essay Analysis

Summary

Key Points

R. K. Narayan

Significance of the title