The genesis of FATKARE is in Uddhav Thackeray's aspiration to bring his iconic father's collection in the form of a book. History in the Making (इतिहास घडताना) was the perfect vehicle for Uddhav Thackeray to express fond memories of his eminent father. In the words of Uddhav Thackeray -

"MARMIK" and I were born in the same year. My childhood home at Dadar was a modest house with a small backyard lined with lush and intoxicatingly fragrant green plumeria. Illustrating with his paraphernalia of the drawing board, pencils, clean white sheets, Mandarin black ink, armed with Winsor and Newton brush, Balasaheb was a common sight. He rarely used charcoal. The dull and drab white paper springing to life with his brushstrokes always enthralled me. All it took was one stroke, a Masterstroke, no touch-ups, no reverts. His distinct thoughts, candid opinions, vivid imagery, crisp illustrations, and confidently drawn strokes breathed life into contemporary politicians' caricatures. One could visualize their vices and virtues and peculiarities too. Comic, crafty, cunning, weird-looking, big-nosed characters with funny ears were detailed to the minutiae. One could decipher the personality just by seeing the silhouette from the back. He could aptly depict maximum dimensions with minimum strokes. Subtlety was his second nature.

It was an era ignited with actions, aspirations, motion, and movement. We shed blood for Amchi Mumbai but Amcha Marathi Manus (our own Marathi people) was in great misery in his own Mumbai. Amidst the protests and rallies, the Seema Prashna Andolan (Border dispute) broke out.

Shootouts and lathi charges were rampant. The arrest of Saheb put Mumbai (then Bombay) on fire. I can visualize it vividly while going down memory lane.

Publishing a book was a great challenge. We were helpless without the original cartoons, besides a few torn copies of MARMIK. Shortlisting cartoons was a daunting task. Every cartoon was priceless. The devoted Shiv Sainiks came to our aid. They solved our problem by handing over their cherished possessions to us. Lakhotia of Free Press generously offered his treasure trove of Saheb's cartoons.

This valuable cooperation enabled us to publish and present this book before you for contemplation. These illustrations throw light on the history of Maharashtra and the whole nation. It's a live commentary on the time. No doubt Balasaheb was the uncrowned Emperor of strokes."

After quitting the Free Press, Balasaheb along with his South Indian friends launched a daily namely 'News Day' but it had to be closed down. Balasaheb left it before its closure as he found it difficult to put his ideas into practice. Being very meticulous about money matters he could not stand the mish-mash of it by his colleagues.

After 'News Day' and prior to the commencement of Marmik, Balasaheb took up multifarious jobs. He joined L.I.C.as an illustrator, made advertisements for Wadia, Movietone, worked for Pathare Pandit studio as an artist, and worked for the Lintas advertising agency.

Reputed newspapers like 'Bharat Jyoti', Acharya Atre's 'Navyug', and Lokmanya Tilak's renowned 'Kesari' published his cartoons. Balasaheb not only earned a reputation as a distinguished cartoonist on a regional or national level but also as an internationally acclaimed cartoonist. It was a matter of great pride and honour for him when Japan's 'Asahi Shimbun' and 'New York Times' published his cartoons. His three cartoons were included in the caricatural biography of Winston Churchill. London-based newspaper 'Daily Observer' offered him a post as a cartoonist but Balasaheb turned it down on health care issues of his revered father.

Though his cartoons were relevant to contemporary people, the related challenges remain timeless and this precisely makes him a unique and unprecedented personality.