Before the Coffee Gets Cold

Author: Toshikazu Kawaguchi |Translated by Geoffrey Trousselot| 224 Pages | Genre: Fiction | Publisher: Picador | Year: 2019 | My Rating: 8.5/10

” When you go back, no matter how hard you try, the present won’t change”
― Toshikazu Kawaguchi, Before the Coffee Gets Cold

The novel was originally published in Japan in 2015 and translated into English by Geoffrey Trousselot in 2019. The novel was also adapted into a film, Café Funiculi Funicula, which was released in Japan in 2018 and directed by Ayuko Tsukahara. Before the Coffee Gets Cold is an adaptation of a stage play. Kawaguchi was a playwright, and the original story was written for the theatre before being adapted into a novel. The theatrical influence remains visible throughout the book, with ‘clang-dong’ written as a scene shift as characters arrive and leave the cafe. Almost everything happens in one enclosed space where the characters enter, sit, talk, listen, and leave. The narrative is carried by dialogue. The result is a novel that sometimes feels less like conventional fiction than like a collection of intimate dramatic scenes.

The story is set in a small café in Tokyo, Funiculi Funicula, where a customer can travel into the past. There are rules, of course, as one must sit in a particular chair; one may meet only people who have visited the café; nothing said or done in the past can alter the present; and the traveller must return before the coffee becomes cold. The café is therefore less a machine for travelling through time than a chamber for confronting memory. The novel doesn’t have altered timelines, paradoxes, dystopian futures, or battles with destiny. The supernatural mechanism is deliberately narrow, where the past is sealed, and the future remains untouched. Only the traveller’s understanding of what happened can change, and time becomes another technology of human agency.

Kawaguchi is less interested in the mechanics of time travel than in its emotional residue. This novel is about the strange human wish to return to a moment in personal history, in which a conversation that ended a relationship, the apology that was never made, the goodbye that was too hurried, the person whose absence has become more real than their presence ever was. The café does not offer a second chance in the conventional sense. It offers something both smaller and, perhaps, more difficult chance to see the past without being able to repair it. The novel proposes that regret is not necessarily a desire to alter history. Sometimes regret is simply the recognition that we misunderstood history when we were living through it.

The novel’s emotional world is built from ordinary disappointments in life rather than extraordinary tragedies. The narrative follows four distinct visitors: Fumiko, who wishes to speak with the boyfriend who left her; Kohtake, a nurse seeking a letter from her Alzheimer’s-stricken husband, Fusagi; Yaeko, a bar owner mourning a final conversation with her late sister; and Kei, the café owner’s ailing wife who travels to the future to see her unborn daughter. Assisted by the quiet barista Kazu, the cheerful owner Nagare, and a quiet Ghost of a woman who guards the chair, these characters learn that while they cannot alter the present reality, the act of expressing their true feelings completely transforms their hearts and gives them the strength to face the future.

The brilliance of the café’s rules is that they remove the fantasy of control. In most stories about time travel, the past is a problem to be solved. Go back far enough, and one can prevent the accident, save the relationship, kill the tyrant, invest in the right company, or avoid whatever mistake has subsequently become intolerable. Time in the novel is not represented by a clock or some abstract metaphysical force. Instead, it is represented by a cup of steaming coffee and measured by the cup gradually losing its heat. The travellers to their past have only until the coffee becomes cold. The deadline is arbitrary, intimate, almost domestic, and yet it transforms the familiar cup of coffee into a measure of mortality. We have all experienced versions of this deadline. A conversation that we postpone, a phone call that we assume can be made tomorrow, parents we intend to visit during holidays, a friend we imagine will always be there, a relationship we believe has time to repair itself.

The characters who enter the café are not given additional time in any meaningful quantitative sense. They are given a few minutes. What changes is the quality of those minutes. The past becomes suddenly precious because the characters know precisely how little time they possess. Kawaguchi turns the familiar fantasy of ‘more time’ into better attention to the time already available. The novel asks its characters, and by extension its readers, to accept that the past cannot be changed. But it also constructs an elaborate fantasy in which people can return to the past precisely because they cannot bear to leave it alone. Acceptance is rarely achieved by simply deciding to accept. We revisit memories, replay conversations, imagine alternative sentences in our minds. We wonder what would have happened if we had arrived five minutes earlier or stayed five minutes longer. Kawaguchi’s café gives physical form to this universal mental habit. Kawaguchi ultimately asks a question that is simpler than its time travel premise and harder to answer: ‘If you were given one last conversation with someone you had lost, what would you say?’

Tomorrow, and Tomorrow, and Tomorrow

Author: Gabrielle Zevin | 476 Pages | Genre: Fiction | Publisher: Knopf Publishing Group | Year: 2022 | My Rating: 9/10

Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time; 
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury, 
Signifying nothing.

Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin is a novel about two friends who make video games together, but to describe it merely as a story about gaming would be as misleading as describing Moby-Dick as a novel about whale hunting. Zevin’s masterpiece is an exploration of creativity, friendship, ambition, grief, identity, and the fragile ways in which human beings love one another without always knowing how to express that love.

When I first picked up the novel, I expected an engaging literary story set against the backdrop of the video game industry. A few chapters later, I realised that the games were merely the canvas. Zevin was painting the extraordinary complexity of human relationships and the strange ways in which we create worlds, both real and imaginary, to survive the one we inhabit. Zevin understands that every act of creation, whether writing a novel, composing music, designing a game, or building a company, is an attempt to answer one of humanity’s oldest questions: how do we leave something meaningful behind? The medium, in this case video games, becomes almost incidental. The real story is about people trying to make worlds because they often struggle to inhabit the one they have been given.

The story follows two childhood friends and extraordinarily gifted individuals, Sam Masur and Sadie Green, whose lives become intertwined through collaboration, separation, misunderstanding, and extraordinary creative success. Their relationship defies easy categorisation, as they are not conventional lovers or just friends. They are collaborators, rivals, emotional anchors, and occasionally strangers to one another. Zevin refuses to reduce their bond into the familiar romantic template that dominates contemporary fiction. Instead, she asks a more difficult question, that can two people become the defining relationship in each other’s lives without ever fitting into society’s conventional definitions of love? That question becomes the emotional centre of the novel.

Reading their story reminded me that the people who influence us most are not always those we fall in love with. Sometimes they are the ones who challenge us intellectually, provoke us creatively, infuriate us endlessly and yet remain impossible to erase from our lives. Some relationships cannot be explained because they are not meant to fit into conventional categories. They simply exist, shaping us in ways we understand only in retrospect.

Having spent much of my own professional life designing programmes, developing products and trying to build ideas into reality, I found these sections deeply familiar. Every creator knows the strange mixture of excitement and insecurity that accompanies making something new. You begin with certainty. Halfway through, you become convinced the entire idea is flawed. Then, somehow, persistence carries you to the finish line. Creation is less an act of inspiration than an act of endurance. That may be why the novel resonated so deeply with me. It understands that building anything worthwhile, whether a business, a social movement, a novel or even a meaningful life, is emotionally expensive. Every achievement extracts a cost that outsiders rarely notice.

Popular culture often celebrates the myth of the solitary genius—the lone inventor, the brilliant artist, the visionary entrepreneur. Tomorrow, and Tomorrow, and Tomorrow dismantles that myth. Great creations emerge not only from talent but from friction where ideas are challenged, egos bruised, compromises negotiated, and failures endured. Sam and Sadie create remarkable games because they disagree passionately. 

The novel treats video games as an art form deserving the same intellectual seriousness traditionally reserved for literature, cinema, or painting. This is perhaps the novel’s most refreshing contribution. Too often, games are dismissed as entertainment or escapism, but Zevin recognises that games are narrative architecture. They are spaces where people rehearse choices, explore identities, confront loss, and imagine alternative futures. The novel argues that games possess a unique emotional power because they require participation. Unlike readers or film audiences, players make decisions. They fail, they try again, they persist, and in that sense, games resemble life more closely than almost any other artistic medium.

Another remarkable strength of the novel is its understanding of friendship. Contemporary fiction often privileges romance as the highest form of intimacy. Friendships frequently exist only to support romantic plots. Zevin reverses that hierarchy and makes friendship the central emotional relationship, possessing every complexity usually reserved for marriage or romance. Sam and Sadie hurt one another in ways that only deeply significant people can. Their conflicts rarely emerge from malice. Instead, they arise from silence, assumptions, pride, and emotional immaturity. Zevin understands that relationships often fail not because people stop caring but because they become incapable of communicating what they most need to say.

The supporting characters deserve equal appreciation, particularly Marx Watanabe, whose warmth and emotional intelligence provide a necessary counterbalance to Sam and Sadie’s intensity. Marx embodies generosity without becoming sentimental. He possesses the rare gift of seeing people as they are rather than as they wish to appear. In many ways, he becomes the novel’s emotional conscience.

What impressed me most was the novel’s refusal to produce heroes or villains. Every major character behaves selfishly at times and generously at others. They make admirable decisions alongside regrettable ones. Zevin understands that adulthood rarely consists of moral certainty. Instead, it is an ongoing negotiation between personal ambition and responsibility toward others. Relationships remain ambiguous because real relationships often are. Love does not always seek possession. Friendship does not always remain stable. Success does not guarantee happiness. Closure, when it arrives, is partial rather than complete.

By the final page, I realised that the book’s most profound insight had very little to do with technology or gaming. It was about the people who make us more creative, more courageous and more ourselves. The greatest masterpieces we produce are rarely individual achievements. They emerge from conversations, collaborations, disagreements and relationships that leave permanent fingerprints on our lives.

Tomorrow, and Tomorrow, and Tomorrow deserves its reputation as one of the finest contemporary literary novels not because it speaks to gamers but because it speaks to anyone who has ever created something, lost someone, pursued an impossible ambition, or struggled to articulate love in all its imperfect forms. Gabrielle Zevin has written a novel that is intellectually stimulating, emotionally devastating, and quietly hopeful. Long after finishing the novel, I found myself thinking that the most important creations in our lives are often not the products we build, but the relationships that make those creations possible. Everything else is temporary. The worlds we imagine together, however, continue to echo, tomorrow, and tomorrow, and tomorrow.

Economyths

Author: David Orrell | 320 Pages | Genre: Non-Fiction | Publisher: Icon Books | Year: 2012 | My Rating: 8/10

Every profession and subject has its myths, like medicine once believed illness was caused by imbalances of bodily humours! Astronomy once believed that Earth sat at the centre of the universe. Economics, despite its mathematical sophistication and Nobel Prizes, is no exception. David Orrell’s Economyths examine some of the stories modern economics tells us and ask whether they still deserve our trust.

What makes this book particularly engaging is that Orrell, a Canadian mathematician, is not writing as an economist defending one school of thought against another. Orrell approaches economics with the curiosity of an outsider and the scepticism of a scientist. He argues that many of the assumptions that underpin mainstream economic thinking are treated as objective truths when they are, in fact, useful stories, simplifications, and sometimes outright myths.

The book systematically dismantles ten such myths. Markets are not always efficient, people are not perfectly rational, money is not neutral, growth is not synonymous with wellbeing, and risk is not always measurable. These ideas may sound obvious after the financial crisis of 2008-09, market bubbles, and widening inequalities of recent decades, but Orrell demonstrates how they are deeply embedded in economic models, policy discussions, and public discussions.

One of the most refreshing aspects of the book is its insistence that economics is not a physics problem. Human societies are messy, emotional, political, and adaptive. Unlike atoms, people change their behaviour when circumstances change. They are influenced by culture, fear, aspiration, power, and relationships. Any attempt to reduce economic life to neat equations inevitably leaves something important out.

As someone working in the social development sector, I found myself reflecting on how often development conversations are shaped by economic assumptions that go unquestioned. We celebrate GDP growth while overlooking ecological degradation. We measure income while ignoring dignity, and optimise for efficiency while neglecting resilience. The book reminded me that the indicators we choose are never neutral, as they shape what we value and what we overlook.

The book encourages intellectual humility and reminds us that economic models are maps, not territories. Useful maps matter, but problems arise when we mistake them for reality itself. Reading Economyths also felt surprisingly relevant beyond economics. In many ways, the book is about the dangers of oversimplification. Whether in public policy, business strategy, or personal life, we often gravitate towards elegant frameworks because complexity is uncomfortable. Reality rarely conforms to tidy narratives, as the world is interconnected, dynamic, and often unpredictable.

The book questions whether economics is ultimately about how societies organise resources to support human development, and then what exactly are we optimising for? Wealth? Growth? Efficiency? Security? Sustainability? Happiness? The answer matters because different goals produce different systems and different outcomes.

More than a critique of economic theory, Economyths is a reminder that every model reflects a set of values. The challenge is not to abandon economics but to recognise its limits, question its assumptions, and remain open to perspectives that better capture the complexity of human life. I finished the book with greater scepticism toward economic certainties but also with greater appreciation for the importance of asking better questions. In a world increasingly driven by metrics, forecasts, and optimisation, that may be one of the most valuable lessons of all. Economyths is a thoughtful and provocative read for anyone interested in economics, public policy, development, business, or simply understanding the assumptions that quietly shape modern society.

The Living Mountain

Author: Amitav Ghosh | 48 Pages | Genre: Fiction | Publisher: Fourth Estate India | Year: 2022 | My Rating: 7.5/10

The Living Mountain by Amitav Ghosh is a 48-page wonder of a striking ecological fable that narrates a profound moral argument. This book, published during the COVID-19 pandemic, feels less like a conventional story and more like a parable for the Anthropocene, urgent, allegorical, and quietly unsettling.

The narrative revolves around Mahaparbat, a sacred ‘living mountain’ revered by indigenous communities who coexist with it through restraint and ritual. This fragile balance is disrupted when outsiders, symbolically named ‘Anthropoi,’ arrive to exploit the mountain’s resources, triggering ecological and social collapse. The story, framed almost as a dream, distils humanity’s extractive relationship with nature into a stark moral conflict between reverence and domination.  

What makes the book compelling is its deliberate simplicity. Ghosh avoids dense scientific exposition, common in his earlier works like The Great Derangement, and instead uses myth and metaphor to communicate the climate crisis. This shift to fable is effective as it bypasses intellectual resistance and speaks directly to ethical intuition. The mountain is not just a setting but a sentient presence, embodying a worldview where nature is alive, reciprocal, and deserving of respect.

However, this same simplicity is also the book’s limitation. There is little narrative ambiguity or character complexity where the Anthropoi represent greed, the villagers represent harmony, and the trajectory is predictably tragic. Readers looking for layered storytelling or nuanced psychological depth may find it overly didactic. I thought that I was reading an Indian version of the Hollywood movie Avatar from 2009!

In a literary landscape crowded with sprawling climate narratives, The Living Mountain functions like a sharp intervention, almost a moral pamphlet disguised as fiction. It can be read in a single sitting, but its implications linger, forcing reflection on how modern development mirrors the destructive ascent of the Anthropoi.

The book also resonates with contemporary India and the Global South, where tensions between development and ecological preservation are immediate and visible. Ghosh subtly aligns indigenous knowledge systems with sustainability, challenging dominant models of progress that equate exploitation with advancement.The Living Mountain is less about storytelling and more about warning. This fable is didactic, symbolic, and purposeful. While it may lack narrative complexity, it succeeds as a powerful ecological allegory, reminding us that the crisis we face is not just environmental, but civilizational.

Surely You’re Joking, Mr. Feynman!

Author: Richard Feynman and Ralph Leighton | 368 Pages | Genre: Autobiography | Publisher: Random House UK | Year: 1985; My edition: 1992 | My Rating: 10/10

Richard Feynman’s ‘Surely You’re Joking, Mr. Feynman!’ is a collection of humorous anecdotes by a Nobel Prize-winning physicist. The book is based on taped conversations between Feynman and his friend and drumming partner, Ralph Leighton. But to read it just as a funny memoir is to miss its deeper magic. For readers like me, especially those who have spent their childhoods peering into dismantled radios, mixing mysterious liquids in bottles, or trying to build impossible machines from scrap, the book becomes a reunion with a forgotten version of themselves.

While reading this book, I found myself constantly drifting back to my own childhood. We had a small shed behind our house that I had quietly converted into my own science laboratory. It was hardly a lab in the formal sense, just a chaotic kingdom of wires, bent glass tubes, Bunsen burners, mirrors, batteries, magnets, flasks, tools, and endless curiosity. I tinkered with electronics, experimented with liquids whose chemical properties I barely understood, and spent entire afternoons building strange contraptions that had no practical purpose except satisfying my fascination with how the world worked.

I invented instant drink mixes long before I knew anything about food chemistry. I tried constructing radios that could capture the ‘sound of wind.’ I assembled crude telescopes and spent nights searching the sky for constellations I had only read about in books. Sometimes, when I discovered a cluster of stars I could not identify, I gave them names of my own, convinced for fleeting moments that perhaps I had discovered something unknown to the rest of humanity. I built magnetic toys and small windmills that generated weak electric currents. None of it was commercially useful, scientifically rigorous, or even particularly successful. But it gave me the feeling of living inside wonder. Reading Feynman felt like meeting an older, wiser version of that child.

What makes Feynman extraordinary is not simply his brilliance, but an almost rebellious purity of his curiosity. He approached life as an endless playground. He learned to crack safes at Los Alamos Laboratory during the Manhattan Project because locked systems irritated his curiosity, and it has nothing to do with espionage. He learned to play the bongo drums, decipher Mayan hieroglyphics, sketch nude models, repair radios by ‘thinking,’ and wander into entirely unfamiliar worlds simply because they intrigued him.

The joy of the book lies in how effortlessly it demolishes the myth of the ‘serious scientist.’ Feynman was serious about understanding, but never about preserving intellectual image, as he distrusted pretension. Again and again, the memoir reveals his refusal to worship authority, academic rituals, or social performance. He could converse with elite physicists one moment and spend the next chatting with mechanics, bar workers, or artists with equal enthusiasm. Knowledge, for him, was not hierarchical, and curiosity democratised the world. That spirit resonated deeply with me because childhood curiosity often exists free from the burdens we later acquire as adults with career anxieties, social expectations, professional respectability, and fear of failure. In that shed behind my house, I never worried whether my experiments were ‘important.’ I simply wanted to know what would happen. Feynman reminded me that the purest scientific instinct begins there.

One of the most beautiful aspects of the book is how it captures the emotional texture of curiosity itself. Feynman describes discoveries as the delight of figuring things out. There is a childlike excitement in his storytelling, whether he is discussing quantum mechanics or the mechanics of picking locks. Even his failures become adventures, transforming the memoir into something profoundly human. It is not a book about genius descending from the heavens, but about attention, playfulness, persistence, and freedom from intellectual vanity.

In many ways the book is also about reclaiming permission to experiment without fear of looking foolish. Modern education systems, especially in countries like India, often reward correctness more than curiosity. Children who endlessly ask ‘why’ are gradually trained to seek marks, degrees, and stable careers.

Feynman stood in rebellion against that entire process where labs became exam halls, science became syllabus, and wonder became productivity. He reminds us that science was born from restless minds staring at ordinary phenomena and refusing to accept easy explanations, rather than institutional structures. The child dismantling a radio to understand its circuitry may possess the same essential impulse that drives theoretical physics. The scale differs, but the instinct is identical.

While reading the memoir, what moved me most was recognition and not nostalgia alone. Feynman validated a type of childhood that many adults later dismiss as impractical. The lonely hours spent experimenting in sheds, building things nobody asked for, or imagining invisible worlds are not wasted time. They cultivate a relationship with reality that is deeply creative and alive.

The book also reveals that true intelligence is playful. Feynman’s mind remained flexible because he never stopped playing with ideas. He explored problems the way children explore abandoned buildings with excitement rather than intimidation. This perhaps explains why he could move fluidly between profound physics and absurd adventures without contradiction. For him, existence itself was interesting enough. Many children possess the raw spirit Feynman celebrates, but adulthood often erodes it. We become specialists, managers, administrators, professionals, and optimise ourselves for systems. We stop wandering intellectually, building strange devices simply because they fascinate us, and stop naming stars!

The book made me wonder how many potential inventors, scientists, artists, and thinkers disappear because the world slowly convinces them that curiosity without immediate utility is indulgence, and not because they lack ability. Feynman resisted that domestication throughout his life. The memoir never turns self-important despite its philosophical depth and remains wonderfully entertaining. The stories are filled with humour, mischief, embarrassment, and unpredictability. His adventures in Brazil, his interactions with academics, and his fascination with puzzles and systems are narrated with disarming honesty. He never tries to appear morally perfect or intellectually invincible, and this vulnerability makes the book remarkably accessible even to readers without scientific backgrounds.

The prose mirrors Feynman’s personality, which was conversational, energetic, and unpretentious. You feel less like you are reading a formal autobiography and more like you are listening to a brilliant, eccentric friend narrate impossible stories over coffee late into the night. The accessibility is deceptive because beneath the humour lies a radical philosophy of life to think independently, remain curious, distrust intellectual conformity, and never lose the ability to be astonished.

For me this memoir became more of an archaeological discovery of memory than a literary experience. Every chapter reopened fragments of my own forgotten experiments, of the smell of soldering wires, the excitement of designing new circuits on cardboards, the thrill of discovering patterns in the night sky, the irrational confidence that perhaps something extraordinary could emerge from homemade inventions. Feynman did not merely remind me of science; he reminded me of a mental state. In the end, Richard Feynman emerges as a defender of intellectual freedom. His greatest lesson may have little to do with equations and everything to do with attitude. The universe, he suggests, is too strange and beautiful to approach with boredom. And somewhere behind my childhood home, in that cluttered little shed filled with mirrors, magnets, circuits, wires, and impossible dreams, I suspect I understood that once too.