The Golden Harvest of Memory: A Review of Ashok Chowkulkar’s ‘Corn on the Cob & Stories’

The Golden Harvest of Memory: A Review of Ashok Chowkulkar’s ‘Corn on the Cob & Stories’


In a literary landscape often dominated by fast-paced thrillers and complex psychological dramas, there is a profound, grounding comfort in finding a book that feels like a long, leisurely conversation with an old friend. Ashok Chowkulkar’s debut collection of personal essays, “Corn on the Cob & Stories: Portraits of Life,” published by Evincepub Publishing, is precisely that—a heartfelt harvest of memories that celebrates the quiet influencers of a life well-lived.

The Metaphor of the Cob

The book opens with a beautifully crafted Prologue titled “A Table Set for Memory,” where Chowkulkar introduces his central metaphor: the diversity of corn. He observes that just as corn comes in ruby red flair, dependable white, or resilient coarse types, the people we encounter flavor our existence in unique ways. Some people are the “silky golden threads” of velvet armor, protecting us from the sun’s tantrums; others are the “hearty, earthy” wisdom that nourishes without turning life into a “TED Talk”. This framing sets a warm, nostalgic tone for the “harvest” of essays that follow.

The Pillars of Influence

The book is structured into thematic parts, beginning with “Part 1: The Pillars,” which pays tribute to the author’s immediate family.

  • The Rock: This chapter is a poignant tribute to the author’s father, Sham Rao (Anna). Described as a man forged in “sun, sweat, and street,” Anna was a pillar of protection and discipline. Chowkulkar recounts the heartbreaking story of how his father’s business partner cheated him, leading to financial ruin and a decline in health. Yet, the narrative focuses on Anna’s resilience—his ability to bear losses with “the dignity of an unpaid bill” and his final message of developing “mental and emotional toughness”.
  • The Gentle Presence: Here, we meet the author’s mother, Vimal, a woman of “quiet determination” who navigated an era of limited opportunities with a “pragmatic outlook”. She was a pioneer of her own kind, teaching local women tailoring to ensure their financial independence and enforcing a “Magna Carta” of equal chores for her sons. The author’s raw honesty regarding his regret at not being by her side when she passed in 1986 is deeply moving.
  • The Beacon of Light & The Bookmark: These chapters honor his brothers, Prakash and Satish. Prakash is remembered as the “quiet light,” a banker and mentor who shouldered the family’s burdens during crises. Satish, or Satish ji, is portrayed as a “joyful rebel” and a prolific writer whose manuscripts—ranging from mystery novels to spiritual poetry—were discovered only after his passing.

The Sparks and the Steel

Moving beyond the home, Chowkulkar explores the “sparks” that fly when we interact with the wider world. “Part II: The Sparks” includes one of the book’s most striking essays, “The Silent Volunteer”. Set in 1980s Agartala amidst rising militancy, it follows PKK Nair, a reticent colleague who spent his Sundays volunteering at a local government hospital. Through Nair, the author learns that “if you need applause, you are not really volunteering. You are just marketing”.

“Part V: The Men Who Forged Steel” shifts the lens toward the author’s professional life in the Central Reserve Police Force (CRPF). These essays are masterclasses in leadership and mentorship:

  • Major K. Chatterjee is credited with teaching the author that responsibility does not wait for comfort.
  • Commandant D. K. Suri modeled “structured empathy” through his monthly darbars with jawans.
  • Colonel Umrao Singh is remembered for his unique “rationing” of his cigarette habit and his belief that “small ailments don’t deserve full rest”.
  • Commandant B. K. Karkera, a soldier-turned-lawyer and author, is celebrated for his “unifying mind” and his commitment to a secular spirit within the battalion.

Legacy and Character Sketches

Chowkulkar’s writing shines in his ability to capture the essence of a person through small, vivid details. In “The Officer & A Gentleman,” we meet Wing Commander Ram Hingorani, a man who carried the aura of Gregory Peck and treated every meal of fish and chips as a celebration. In “The Neighbour Who Noticed,” we meet Mangala Tai, whose “quiet presence” anchored a neighborhood in Hyderabad and who could resolve a flood with nothing more than a gardening spade and her innate dignity.

The Alchemical Bond

One of the most touching sections is “Part IV: The Alchemy of Two,” dedicated to Vasant (Dada) and Shalini Pandit. Dada, a chemist who lost his business to a flood in 1960, is remembered for living “lightly” and donating his body to medical research—a final act of usefulness. Shalini, the “Catalyst,” supplemented the family income by selling insurance, proving that “quiet demeanour, calm thinking and courage” can weather any storm.

Literary Style and Conclusion

The prose in “Corn on the Cob & Stories” is unpretentious yet lyrical. Chowkulkar possesses a gift for the “wry smile” and the “twinkle in the eye” in his writing, balancing the weight of loss with the levity of shared laughter. He frequently references authors like Mitch Albom, particularly For One More Day, reflecting a recurring theme of the book: the desire to have just one more conversation to say the things left unsaid.

The book concludes with an Epilogue titled “A Seat Still Kept,” reinforcing the idea that while these figures have departed, their influence remains a permanent fixture at the author’s table.

“Corn on the Cob & Stories” is more than a memoir; it is a gratitude journal written for the public. It reminds us that our identities are not solo constructs but a “harvest” of every person who has ever offered us a piece of advice, a firm hand, or a shared plate of bhutta. For anyone looking to reconnect with the “flavours” of their own past, Ashok Chowkulkar’s collection is a nourishing, golden read.

Title: Corn On The Cob & Stories

Author: Ashok Chowkulkar

Publisher: Evincepub Publishing

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