the road by which they find their way home

In my book, Borders of the Inner World, I wrote about something closely related to this in the chapter “A Place Called Home.” I wrote that carrying home with us often means preserving its rituals: preparing a particular dish because our mother once made it, returning to a familiar song, or holding on to an ordinary object that quietly connects us to another time.

I was thinking then about the rituals adults preserve because they remember.

But there is another side to it.

Children remember because we repeat.

A family tradition does not always begin with the announcement that a tradition is being created. Most of the time, nobody decides that a particular evening, meal or sentence must become important. It simply happens once, then again, and then often enough that a child begins to expect it.

Perhaps it is pancakes or noodles on a Sunday morning.

Perhaps it is the same birthday song sung slightly out of tune every year.

Perhaps it is a father making a tent from blankets in the living room, a mother preparing a certain meal whenever it rains, or everyone climbing into the same bed for a story before sleep.

These things may appear too small to deserve the word tradition. Yet childhood is built from such smallness.

Adults tend to remember the unusual days. Children are often shaped by what happened repeatedly.

They remember the sound of someone returning home at a particular hour. The cup in which milk was served. The words spoken before the light was switched off. The place where everyone sat during dinner. The song played during long drives. The way birthdays began. The smell that filled the house on certain mornings.

None of it appears especially important while it is happening.

That may be precisely why it becomes important.

It enters memory without asking permission.

The quiet architecture of belonging

A child is born into a world whose rules they do not yet understand. Days arrive and disappear. Adults leave for work. Schools begin. Houses change. People visit and return to distant places. Even the seasons seem unreliable.

Repetition gives shape to this uncertainty.

When something familiar returns, it quietly says:

I know this.

I have been here before.

This part of the world belongs to me.

This is why the value of a tradition is not necessarily found in how elaborate it is. A costly holiday may become a beautiful memory, but so might the way the family gathered around the kitchen counter while tea was being made. Children do not measure meaning according to expense. They notice presence, atmosphere and repetition.

They notice that everyone came.

They notice that someone remembered.

They notice that a place had been kept for them.

What repeats becomes a kind of emotional furniture. It gives the child somewhere inwardly familiar to sit.

We are always telling our children a story

Every family tells its children a story about who they are.

Most of that story is not told directly.

It is revealed through what the family repeatedly makes time for.

When people eat together despite busy days, the story may be: We return to one another.

When birthdays are marked, even simply, the story may be: The day you entered our lives matters.

When the same relatives are called during festivals, the story may be: Distance does not remove people from the family.

When an old recipe is prepared, the story may be: There were people before you, and something of them remains here.

When bedtime ends with the same words, the story may be: However the day went, you are safe and loved at its end.

Children absorb these messages long before they have the language to explain them.

Years later, they may not remember every conversation that took place around the dining table. They may not know why a particular meal was always cooked on a certain day. They may even find some traditions embarrassing when they become teenagers.

Still, the deeper message remains.

This is how we lived.

This is what we returned to.

This is how love behaved in our house.

The danger of making it perfect

Perhaps one reason families hesitate to create traditions is that we imagine they must be impressive.

We picture beautiful decorations, coordinated clothes, carefully prepared meals and photographs in which everyone appears delighted to belong to one another.

Real family life is rarely so cooperative.

Someone is tired. Someone refuses to eat. A child cries while the photograph is being taken. The cake leans to one side. The planned outing is shortened because everybody is irritable. The bedtime story is read by a parent who is struggling to keep their eyes open.

Yet traditions do not require perfection. In fact, their beauty may depend upon their ability to survive our imperfections.

The child may not remember that dinner was late or that the decorations were uneven. What they may remember is that, every year, the house changed a little for their birthday. Someone placed their name on a cake. People gathered and sang because they existed.

The ritual does not need to be performed flawlessly.

It only needs to return.

Traditions must also be allowed to grow

Not everything must be preserved exactly as it was.

Children change. Families move. People grow older. Work becomes demanding. Someone who once sat at the table may no longer be there. A ritual that was once joyful may gradually become burdensome.

Tradition should not become a command issued by the past.

The purpose is not to imprison a family within repetition, but to give continuity to love.

A weekly outing may become a monthly meal. A bedtime story may become a late-night conversation. A young child who once helped mix the cake may one day bake it for everyone else.

The form can change while the meaning survives.

Perhaps that is when we know a tradition has truly become part of the family. It no longer belongs to the person who began it. It has entered the shared language of the home.

What they may carry away

One day, children grow beyond the rooms in which these rituals began.

They leave for university, work or a home of their own. They enter unfamiliar kitchens. They spend birthdays among new people. They discover that not every household eats at the same time, celebrates the same occasions or says the same words before sleep.

And sometimes, without planning it, they begin to repeat something.

They make the meal they once watched being prepared.

They play the song that used to fill the car.

They call home on the day everyone always called home.

They say to someone they love the words that were once said to them.

In that moment, the tradition reveals what it had been doing all along. It was not merely organising family life. It was planting a small piece of home inside the child, something portable enough to survive distance and strong enough to outlive the room in which it began.

We may never know which ordinary habit will remain with them.

It could be the Friday evening drive.

The special plate used for birthdays.

The stories told about grandparents.

The tea made when somebody is unwell.

The way everyone waited for one another before beginning a meal.

The little celebration after the last day of school.

Or simply the words spoken every night before the door was gently closed.

That is why family traditions do not need to be grand.

Their deepest work is almost invisible.

They tell a child:

You were expected here.

Your presence changed the shape of our days.

There were things we did simply because you were part of us.

And years later, when childhood has become a distant country, those small repeated moments may become the road by which they find their way home.

By the way, did you know that I’m actively writing in malayalam also these days. Find them here. I’ve written a small book as well if you’re into that. If you like listening to stuff, do scroll through the selection of podcasts. If you’ve time, have a look at the visuals I’ve made. Instagram link for some visual updates.
Grateful for your moment here. Keep coming back here : )

before the world teaches him the lines

Ehan is drawing a boat.

At least, that is what the page seems to say: a mast, a dark sail, a body floating in an impossible blue, small circles of colour gathered around it like buoys, planets, or things for which he has not yet learned the correct name.

But I keep looking at this photograph and thinking that the drawing is not really the thing being made here.

Something else is.

A way of seeing.

There is an age when the world has not yet been divided completely into what is right and what is wrong. The sea does not have to be a particular shade of blue. A sail can carry black across half a page without anyone worrying about balance or perspective. The sun may appear where it wishes. Proportion is negotiable. The laws of physics are, for a little while longer, merely suggestions.

And perhaps this is one of the quiet tragedies of growing up: we become increasingly skilled at drawing inside the world as it already exists.

We learn where the lines are.

We learn that boats must look like boats, that skies have acceptable colours, that houses have sensible roofs, that success has certain shapes, that adulthood should proceed in a particular sequence. We become very good at correcting ourselves before anyone else has the chance.

Children have not yet acquired this habit.

Look at the hand holding the brush.

There is no hesitation in it.

He is not wondering whether the picture deserves to exist. He is not comparing it with another child’s boat. He is not imagining an audience somewhere deciding whether the sail is technically convincing.

There is only the remarkable seriousness of making.

A brush goes down.

A world appears.

And I wonder when exactly we lose that kind of courage.

Not the heroic courage we celebrate publicly, but the smaller, rarer courage of putting something into the world before knowing whether it will be admired.

Perhaps creativity begins there.

Perhaps life does too.

One day, Ehan will learn perspective. He will learn that shadows fall in particular directions and that boats obey engineering and oceans obey gravity. He will discover rubrics, examinations, deadlines, expectations, professions, mortgages, traffic, calendars, and all the invisible rulers with which adulthood measures a human life.

He will become better at many things.

I hope he never becomes entirely better at this.

I hope some part of him continues to believe that an empty sheet of paper is not an absence but a possibility. That when the prescribed colours run out, another colour can be invented. That something does not have to be perfect before it can be loved. That sometimes the most important question is not “Am I doing this correctly?” but simply:

“What do I see?”

There are wooden sticks scattered on the table. Tiny cups of paint. A toy car waiting in the background. The ordinary debris of childhood.

Nothing monumental is happening.

And yet, perhaps these are the moments from which a life is actually assembled.

Not the photographs we deliberately pose for, but these unnoticed afternoons when a child is absorbed in becoming himself.

Years from now, this little painting may disappear into a cupboard, a box, a forgotten folder. The paper may yellow. The colours may fade.

He may not remember making it at all.

But I think I will remember the hand.

That small hand suspended above an unfinished world, completely certain that there was still something worth adding to it.

And perhaps that is what I want childhood to leave with him:

not the belief that the world is perfect,

but the belief that it is unfinished.

And that he is allowed to pick up a brush.