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“The most significant part of any thriller is its climax. The sub-heads read: Immediate take-off, lively characters, “what happens next” element, prominence to dialogues than description, and spectacular ending. He hands over a printout outlining an easy blueprint for a “nail-biting thriller”. Over the years, Pathak would write about heroes who were rakes and criminals and pepper his plots with high-octane chases, mildly scandalous sexual escapades and gory details of violence. “After Safi, came a slew of writers like Om Prakash Sharma, Gulshan Nanda, Ved Prakash Kamboj, and later, Ved Prakash Sharma of Vardi Wala Gunda fame, whose books were very popular…(Pathak) is undoubtedly the biggest name in that segment,” says Gautam Padmanabhan, CEO, Westland, which has just published the first of Pathak’s three-volume autobiography, Na Bairi Na Koi Begana. In old Delhi, Allahabad and in Meerut, an industry devoted itself to these pocket books - Raja Pocket Books, Ravi Pocket Books, Tulsi Pocket Books and Sooraj Pocket Books. This Was the underbelly of Hindi publishing, geared to churn in moolah from assembly-line sales at railway stations, roadside kiosks and second-hand book shops. Subscribe Now to get 66% OFF Surender Mohan Pathak at his Noida home. The city had its own codes of violence, but on long train journeys, and in between soulless work in factories, mills and stations, here was a world that gave them what their hearts sought: adventure, titillation, and hyper-masculine heroes whose exploits would let them vicariously experience the thrill of trumping the system. Its target? The big cities of the Hindi heartland, where lower middle-class men and women had landed up to seek a future. This was about love, sex and dhoka - the more lurid, the better. Here was not the kind of writing that genteel folks discussed in their drawing rooms over sips of first flush Darjeeling, that literary critics waited for or publishers boasted of as their book of the year. The system won’t spare him, but can Vimal play it and break out to the other side? Or this: a corrupt cop with scant regard for the law goes on to become the chief minister of a state. Sample this: An accountant in Allahabad with a love for Kabir’s dohas is set up in a false case of embezzlement by his wife and her lover. Priced at anything between Rs 2 and Rs 25, and printed on cheap lugdi or pulp paper - which gave the genre its name - the novels were characterised by garish covers, provocative titles (think Khoon Ke Ansoon, Murda Jee Utha, Qatil Kaun? or Vardiwala Gunda) and enough plot twists to keep readers hooked. The world of Hindi pulp fiction, with its cocktail of murder, lust, femme fatales, and an unlikely sleuth in the pursuit of truth, goes as far back as the early Forties, with the rise of writers such as Ibne Safi (1928-1980) and Om Prakash Sharma (1924-1998). But, as he says in his 2012 hit, Double Game: “Maanav jeevan parahit abhilaashee hee hona chaahiye (Human life should be aspiring)” so, the trappings of success are not easy to shrug off. Pathak, 78, would have himself much preferred the middle-class rhythms of east Delhi’s Krishna Nagar, where he spent over five decades, and spun over 250 of his nearly 300 bestselling titles. It’s far removed from the places Pathak’s characters are used to: chaotic railway stations, bustling traffic intersections, perfect for a chase or two. Apartment visits are preceded by entries in logbooks vehicular entries and exits are stringently monitored. Neither would Sunil Chakravarty, or, for that matter, even Abhijeet Singh - there’s just too much emphasis on security. Sardar Surender Singh Sohal, urf Vimal, would not feel at home inside the sprawling gated community in Sector 93, Noida, which is home to Surender Mohan Pathak. Over the years, Surender Mohan Pathak would write about heroes who were rakes and criminals and pepper his plots with high-octane chases, mildly scandalous sexual escapades and gory details of violence.