With Ruskin Bond. The Man who gave me so much,,,,
This book is one of Ruskin Bond’s most delightful memoirs—a witty, affectionate, and deeply personal ode to the hill town he has called home for decades. Unlike his more contemplative works like Rain in the Mountains, this book carries a distinctly playful tone.
Bond invites us on a meandering walk through Mussoorie’s winding roads, but also through his memories, friendships, and the jokes he has accumulated over a lifetime.
The structure of the book is that of a travel diary blended with reflective essays. Bond writes about the ascent to Mussoorie, the various walking routes, seasonal changes, and the lively characters who inhabit the hill station.
He begins with an almost mock-serious warning about the risks and rewards of walking in the hills, immediately setting the humorous tone.
His tongue-in-cheek commentary about potholed roads, unpredictable weather, and overenthusiastic monkeys establishes the blend of observation and comedy that carries the narrative.
One of the recurring joys of the book is Bond’s portrayal of the people of Mussoorie. From chatty taxi drivers to eccentric shopkeepers, lazy porters to gossipy neighbours, each character is presented with affectionate humour.
Bond has always been a master at writing about ordinary people with extraordinary charm, and here he excels.
The townsfolk become part of Mussoorie’s living landscape—individuals full of quirks, warmth, and unpredictability.
His reflections on walking are especially insightful. For Bond, walking is not merely a mode of movement; it is a philosophy. It allows introspection, stories, encounters with nature, and unexpected adventures.
The essays on his favourite walking routes—Camel’s Back Road, Landour, Barlowganj—read like love letters to Mussoorie’s geography.
He describes them with sensorial richness: the scent of pine needles, the crunch of gravel, the distant echo of a school bell, and the shifting moods of mist.
The book also contains moments of nostalgia. Bond recounts the Mussoorie of the 1950s and 60s, contrasting it with modern changes.
Yet, unlike many writers who lament urban transformation, Bond does so with gentle humour.
He is realistic, not cynical. He accepts change as inevitable while holding onto what remains timeless: the mountains, the rain, the people, and the quiet beauty of simple living.
His anecdotes—from being chased by a wild goat to misadventures with old friends—showcase Bond’s natural storytelling gift.
Even the smallest memories feel vivid, partly because Bond draws them with such warmth and partly because they reflect universal experiences: growing older, recalling lost companions, rediscovering joy in familiar places.
The book ends with a series of humorous essays and even letters, which add to its personal, diary-like feel.
Bond clearly enjoys making the reader laugh, and he does so effortlessly, using playful self-deprecation and sharp comic timing.
Ultimately, Roads to Mussoorie is a celebration of belonging. It expresses Bond’s gratitude for the town that shaped him and embraced him.
It is also a reminder of the quiet beauty of routine, the richness of small details, and the comfort of familiarity.
Few writers can make a simple walk sound like an epic adventure or transform a creaky hillside road into a metaphor for life—but Bond does exactly that, and with remarkable charm.
Most recommended.