Small Things Like These

Author: Claire Keegan | 128 Pages | Genre: Historical Fiction | Publisher: Faber and Faber | Year: 2021 | My Rating: 8/10

Birthday Stories

Edited by Haruki Murakami | 224 PagesGenre: Fiction | Publisher: Vintage Books | Year: 2006 | My Rating: 8/10

I’ve always loved receiving books on my birthdays, as far back as I can remember. When I was in elementary and middle school, my parents used to gift me books, and for several years, since I can recall, I often used my saved pocket money to buy myself the best books, something I still do on my birthdays. On my last birthday in 2025, a few friends and family members gifted me books that could keep me occupied for six months. Among them was “Birthday Stories” by Haruki Murakami. What an amazing way to start my birthday year!

Something is mesmerising about beginning a new year of one’s life with a book that itself revolves around birthdays, those strange markers of time when we pause, introspect and reflect, and sometimes feel the weight of becoming. Birthday Stories is not a novel by Murakami in the conventional sense, but a curated collection of short stories written by various authors, commissioned by Murakami for the Japanese magazine Monkey. The book is a rich anthology that explores how a single day in one’s life can hold joy, dread, memory, regret, longing, and transformation.

A birthday is such a universal ritual of cake, candles, wishes, gifts, and phone calls. Yet, through these 13 stories, the birthday becomes a moment where ordinary life tilts, revealing hidden fractures or unexpected openings. Some stories are gentle and reflective, others unsettling, a few laced with humour or quiet absurdity. As a reader beginning a personal ‘birthday year’ of reading, I found myself slipping into these stories with a peculiar intimacy, as if each one was asking me to examine my own relationship with time and personal evolution.

Murakami’s presence is felt more as a curator than as a dominating voice, which is refreshing. He resists the temptation to turn the anthology into a showcase of ‘Murakami-esque’ surrealism. Instead, he assembles a diverse range of voices that are playful, melancholic, and even experimental. The result is a collage of sensibilities that mirrors the many ways people experience birthdays, often not as a single emotion, but as a spectrum of moods. This diversity keeps the collection from becoming repetitive. Each story feels like a different room in the same house of memory and anticipation.

One of the pleasures of Birthday Stories is how subtly it captures the loneliness that can accompany birthdays. Even when surrounded by people, birthdays can heighten our awareness of time passing, unmet expectations, and relationships that have shifted gears. Several stories linger in this emotional space, portraying characters who are quietly dislocated on their special day. A birthday becomes a reminder of what has not happened as much as what has. This emotional undercurrent resonated deeply with me. Birthdays, after all, are checkpoints reviewing the year that has finished, and not just celebrations. They ask uncomfortable questions, like ‘where am I in my life? What have I become since the last candle was blown out?’

The collection of stories has a playfulness about it, a recognition that birthdays can be absurd social performances. Some stories gently mock the rituals we perform around ageing: the forced cheer, the obligatory gratitude, the awkward gifts. Others find wonder in small moments of a conversation, a remembered taste, a fleeting encounter that feels more meaningful than any grand celebration. This balance between lightness and introspection makes the book an easy yet thoughtful read. 

The anthology format also invites a particular kind of reading rhythm. I found myself reading one story at a time, allowing each to settle, and eventually taking 13 weeks to complete the book. It felt like savouring my favourite Lindt Intense Orange, one piece at a time. In doing so, Birthday Stories began to feel less like a book to be finished and more like a companion to the year ahead with short meditations on time, chance, and the quiet dramas of ordinary lives. It suited the idea of a reading calendar stretching over weeks, not rushing through but returning to in small, reflective doses.

Reading Birthday Stories at the start of my birthday year felt quietly symbolic. It reminded me that growing older is not a singular narrative of progress or decline, but a series of small, often unnoticed stories we accumulate. Some are strange, some tender, some unresolved. Murakami’s editorial touch brings these fragments together on how time moves through us. The book does not offer grand revelations about ageing or purpose; it brings an honest recognition of the ordinary magic and quiet unease that accompany the simple act of marking another year lived. In that sense, Birthday Stories was the perfect birthday gift. Not because it dazzled with literary fireworks, but because it sat beside me, nudging me to notice the emotional textures of passing time. As the months of my reading calendar unfold, I don’t think I will remember this book less for specific plots and more for the reflective awareness it left me with that every birthday, like every story, is a small doorway into who we are becoming.

Chinaman: The Legend of Pradeep Mathew

Author: Shehan Karunatilaka | 528 Pages | Genre: Fiction | Publisher:  Random House India|  Year: 2011 | My Rating: 9/10

“Sports can unite worlds, tear down walls and transcend race, the past, and all probability. Unlike life, sports matter.”-Shehan Karunatilaka, Chinaman

Chinaman: The Legend of Pradeep Mathew is one of those rare novels that begins as a playful, humorous love letter to cricket and gradually reveals itself as an exploration of obsession, loss, nationalism, truth, and the fragility of memory. The novel is both deeply local and universally resonant. While the novel has a story of sports mystery, its real subject is Sri Lanka’s beauty, contradictions, wounds, and unspoken histories. The story is narrated by Karunasena, a retired, alcoholic Sri Lankan sports journalist who spends his final years trying to piece together the fate, brilliance, and disappearance of Pradeep Mathew, a fictional left-arm spin bowler. Karunasena, physically failing and emotionally frayed, embarks on this investigation out of professional regret and to give his last days purpose, direction, and meaning. 

At the heart of the novel is a brilliant structural trick: Mathew may or may not have existed. Karunatilaka plays with documentation, statistics, commentary, interviews, cricketing lore, and Karunasena’s alcohol-induced lapses so convincingly that you might end up Googling the character. In blurring fact and fiction, the novel not only mimics the texture of cricket fandom but also comments on the ways nations construct their narratives. Sri Lanka, recovering from war and silences, becomes a metaphorical parallel of a country with many missing pages.

Karunatilaka’s writing is witty, sharp, and deeply musical. The novel is filled with irreverent one-liners, drunken ramblings, philosophical musings, cricketing trivia, newspaper excerpts, statistics, and lists. It reads like a mashup of journalistic diary, sports documentary, and detective fiction. Although cricket drives the narrative, Chinaman is not even a cricket book. Cricket becomes an entry into race, caste, class, corruption, media ethics, and the politics of memory formation. Sri Lanka’s cricketing establishment becomes a microcosm of the island itself. Mathew, a Tamil, is hinted to be sidelined, unrecognised, erased. The mystery of why such a brilliant athlete disappeared becomes research on institutional prejudice, the violence of bureaucracies, and the quiet, everyday injustices that never make headlines. Karunatilaka never moralises; instead, he simply places cricket where it has always belonged in the South Asia of not just being a sport, but a sociological text.  

The book’s experimental narrative may not resonate equally with everyone. Those unfamiliar with cricket’s technical language, historical rivalries, or South Asian cricketing culture might initially feel disoriented. The nonlinear storytelling, shifting formats, incomplete endings, and metafictional commentary demand patience. But these elements are intentional as they replicate the experience of uncovering a half-lost story, of living in a place where history itself is contested terrain.I thought the book was a triumph of narrative experimentation, cultural commentary, and emotional depth. It is funny without being frivolous, political without being didactic, tragic without losing hope. It is about cricket, but also about journalism, friendship, nationhood, obsession, and the human need to make meaning before time runs out.

Few novels manage to be simultaneously entertaining, intellectually provocative, and heartbreaking. For lovers of cricket, South Asian literature, postcolonial storytelling, or simply great fiction, Chinaman is a highly recommended read.

Payback: Debt and the Shadow Side of Wealth

Author: Margaret Atwood | 240 Pages | Genre: Non-Fiction | Publisher: Bloomsbury Publishing PLC | Year: 2008 | My Rating: 8/10

“Without debt, there would be no such thing as credit, and without credit, economies would not exist. But equally, without debt, there would be no such thing as forgiveness.”

-Margaret Atwood, Payback

Payback: Debt and the Shadow Side of Wealth was originally presented as the Massey Lectures in 2008. It is not a book about economics in the traditional sense, as it does not include balance sheets, market trends, or policy prescriptions. Instead, it is a work of literary and moral imagination, a wide-ranging meditation on what debt means, which is not only as a financial construct but as a moral, psychological, and even mythical one. Atwood has shared an idea that governs much of modern life, the idea of owing and being owed. The book’s tone is conversational yet filled with insights, blending history, literature, religion, and personal reflection. It says that debt is an idea that is created by humanity, and that it is closely connected to our concepts of justice, sin, and morality. 

The book is structured into five chapters: Ancient Balances, Debt and Sin, The Shadow Side, Payback, and Payback: The Shadow Side. Each chapter explores debt from a different perspective—cultural, literary, economic, and ecological, slowly building toward a conclusion about the balance between taking and giving, destruction and renewal.

The book traces the origins of debt to ancient times, where it was not only a financial but also a moral and spiritual one. In many cultures, debt has been synonymous with guilt. For example, the language of ‘redemption’ and ‘forgiveness’ in Christianity has deep economic roots. This moral overlap is not accidental. Instead, it reflects a psychological need for balance, for settling accounts not only in terms of money but in life.

Ancient systems of justice were often modelled on an eye for an eye, or a life for a life. The idea of fairness was inherently transactional. Thus, debt becomes a metaphor for all human obligations, between individuals, between human beings and gods, and eventually between humanity and the planet. Therefore, economic debt, moral guilt, and ecological imbalance all stem from the same root: the failure to honour reciprocity.

Atwood moves seamlessly through the Bible, Shakespeare, Dickens, Marlowe, and even pop culture, treating each as a kind of moral ledger. Ebenezer Scrooge, the most famous debtor and creditor in fiction, becomes a recurring figure. She also references Dr. Faustus, who sells his soul to the devil as a literal debt contract. Debt stories are also about identity, who owes whom, and what kind of person it makes you to owe or to be owed. These examples highlight how debt has long served as a narrative to explore human frailty, justice, and redemption.

In the third chapter, ‘The Shadow Side,’ Atwood dives into the psychology of debt and how it can enslave, corrupt, and distort. She talks about Jung’s idea of the hidden moral darkness within every person and society. In this way, debt is like the shadow side of wealth, showing the unseen costs of accumulating riches. Atwood uses historical examples, from debtors’ prisons in Victorian England to the 2008 global financial crisis, to show how societies often ignore moral responsibility. When people or institutions borrow more than they can handle, they’re not just taking financial risks but moral ones too. The book, published just before the 2008 crash, eerily predicts the crisis that was about to happen. Modern capitalism relies on the constant creation of debt, which is both the system’s driving force and its curse. Debt is everywhere, yet we rarely stop to think about its harmful effects.

In the book’s final chapter, a contemporary ‘Scrooge Corporation’ is visited by the Spirit of Earth Day Future. This eco-fable weaves together Atwood’s arguments into a narrative of humanity’s reckoning with the natural world. The spirit unveils to Scrooge the dire consequences of his unbalanced ledger, which comprises a planet drained of resources, tainted by waste, and devoid of moral responsibility. By reinterpreting a well-known moral story through an ecological lens, the book compels the reader to understand that the language of debt is synonymous with the language of survival. When we speak of ‘owing the Earth’ or ‘repaying our debts to future generations,’ these expressions are not merely metaphorical, as they represent literal truths.

Atwood’s writing is witty, elegant, sharp and ironic. Her ability to seamlessly transition from ancient myths to modern finance is truly remarkable, and she always reminds the reader that behind every number, there’s a story. There are moments of satire, especially when she targets corporate greed or political hypocrisy, but also passages of lyrical reflection that showcase her poetic sensibility.

The book is a mix of essay, cultural history, and allegory. Its interdisciplinary approach mirrors the complexity of its subject. Debt isn’t just about economics; it shapes our moral and social worlds. However, Atwood’s digressions and literary references, while enlightening, can sometimes overwhelm readers who aren’t familiar with them. Each chapter feels like a conversation with a brilliant, slightly mischievous teacher who loves turning assumptions upside down. The book is a moral reckoning disguised as a literary essay. It’s a call to remember that every ledger, no matter how abstract, has a human cost. Atwood’s lesson through this book is that living ethically means recognizing one’s debts, not just in money, but in gratitude, care, and responsibility.

Art of Gifting Books

A few of my friends, family members, and a couple of my colleagues gift me books, often on my birthdays, and sometimes in between. I inherited a love for reading from my parents, especially my mother and my grandfather, both of whom have been voracious readers. I received my first book as a birthday gift from my father when I was in school. It was ‘The History of Western Philosophy’ by Bertrand Russel. 

Few gifts in life feel as personal, thoughtful, and lasting as a book. When someone hands you a neatly wrapped rectangle hiding a world within its covers, the gesture means more than just the promise of pages. It carries thought, intimacy, and a recognition of who you are. A book is not merely a gift; it shows understanding. For a book lover like me, it has always represented one of the highest forms of affection, a conversation without words, a silent connection of minds and feelings.

Books reflect both the giver and the receiver. A book requires careful thought, unlike routine gifts like perfume, gadgets, clothes, or vouchers. This act of choosing is intimate, showing familiarity not just with the recipient’s reading habits but also with their inner lives, beliefs, and hidden thoughts. When a friend gives you a book, they often imply, “This reminded me of you.” That unspoken message carries emotional weight. It suggests that they have seen you through the lens of a character, a philosophy, or a poem. It’s like the giver is handing you a mirror showing part of yourself, which possibly one you hadn’t noticed before.

For avid readers, this connection is unmatched as a new book means a new journey and a new companionship. Receiving it as a gift indicates that someone cared enough to guide you toward that path. I have always viewed books as a form of emotional currency. They are not consumed quickly or superficially; they unfold over days or weeks, creating a lasting connection between the giver and receiver. Each time you open a gifted book, you also revisit the memory of the person who gave it to you.

A note inside the cover, like “Hope you love this as much as I did” or “Read and Reflect,” becomes an emotional bookmark for years. Even after the friendship has changed, the note remains, tangible and unforgettable. The book turns into a keepsake of that moment, of that relationship. In this way, books gather layers of meaning beyond their content; they absorb personal histories.

Unlike many modern gifts that can age or fade, books age gracefully. A book received in your twenties might reveal new insights in your forties. A book of poetry shared during a tough year can later offer comfort. In this way, books outlast their occasions; they evolve with the reader. I have re-read several books in my ever-growing collection over the last 20 to 30 years, and each time, I have gleaned a deeper understanding and gained more from the same pages.

Receiving books from family carries a sense of heritage, adding another layer of intimacy and history. Parents who give books to their children often share not just stories but also values and perspectives. When a parent gifts their favourite childhood novel or a worn copy of a classic, it reflects continuity. It communicates, “This shaped me, and I hope it shapes you too.”

Books create a kind of generational dialogue in many homes. A shelf represents a lineage of thought, with dog-eared pages and underlined passages marking the intellectual footprints of those before us. When you receive a book from a family member, you are essentially invited into their memory, to share their inner world for a while. I often have long conversations with my mother about a book, discussing its theme, author, and philosophy. For a book lover, inherited or gifted books become sacred objects. They may have notes in fading ink, dates marking birthdays or milestones, or the faint scent of another home. They are pieces of family history, connected not just by blood but also by shared words and ideas.

Books exchanged among colleagues hold a subtler but equally significant meaning. In professional settings often focused on efficiency and formality, a book gift feels almost revolutionary, reminding us of our shared humanity. When a colleague gives you a book, it usually reflects admiration or intellectual connection. It might be a management classic that inspired them, a work of fiction that echoes your discussions, or a slim volume of essays that reminds them of your curiosity. This gesture crosses the impersonal barriers of the workplace. It conveys, “I see more in you than just your title. I recognise a mind worth connecting with.”

At a time of emails and digital interactions, such gestures feel refreshingly real. A physical book on your desk serves as a reminder of shared curiosity and trust, sometimes sparking discussions that go beyond work. For a book lover, receiving books is like receiving invitations to journeys, friendships, and moments of reflection. The smell of new pages, the design of a cover, and the promise of a new story all bring joy that few other gifts can match. When people give books to an avid reader, they validate and celebrate a part of their identity. It’s as if they are saying, “I respect your passion enough to contribute to it.” 

Book lovers often remember who gave them which book. Their collections become social maps, each title linked to a person, a moment, or a story. That book from a college friend, that poetry collection from a sister, that biography from a mentor—they all combine to create an autobiography of relationships. Every gifted book is also an act of trust. It assumes that the receiver will take the time, reflect, and engage. By giving a book, one offers not instant pleasure but delayed joy. This trust that the recipient will fully experience those pages is deeply personal. Unlike digital or temporary gifts, books require solitude and contemplation. Receiving one gently reminds us of the value of slowing down in a fast-paced world. Perhaps this is why books promote patience, reflection, and empathy.

Moreover, books can be challenging gifts as they can push the reader’s perspectives, encourage new ideas, or even provoke discomfort. A well-chosen book can disrupt complacency while still showing care. This balance between affection and intellectual challenge makes gifting books a refined art. Over time, a personal library becomes a mosaic of gifts and acquisitions, but the gifted ones stand out. They are the volumes we seldom lend or part with. They carry signatures, notes, or memories that root them in our emotional landscape. There’s something almost sacred about rereading a book that once came wrapped in the hands of someone dear to us. The words on the page remain constant, but their meaning shifts as our memories of the giver change. At times, after the giver is gone, the book transforms into a presence, a voice that still echoes in the silence of our shelves.

Therefore, books are not just gifts; they also extend the presence of people. They traverse time, holding fragments of affection, thought, and memory. A gifted book is both a message and a monument as it says, “I thought of you,” and continues to do so long after. For a book lover, each gifted book is a quiet act of love—sometimes romantic, sometimes platonic, sometimes familial, but always genuine. It is a gift that does not fade and grows richer with each reading. In giving and receiving books, we engage in a timeless exchange, not of objects but of selves. Ultimately, every gifted book conveys one simple yet profound message: I see you, and for any reader, there is no greater gift than that.