Books of Sattajit Roy




Apur Pnachali
**Download Link:
Anath babur Bhoy
**Download Link:
Anko Sir Golapi Babu Aar Tipu
**Download Link:
Anukul  
**Download Link:
Batik babu  
**Download Link:
Feludar Goendagiri
**Download Link:
Fotic Chand
**Download Link:
Sera Satyajit
**Download Link:
Royal Bengal Rohosso (feluda)
**Download Link:
Gorosthane Sabdhan (feluda)
**Download Link:
Chinnomostar Abhishap
**Download Link:
Dr. Munsir Diary
**Download Link:
EkeBole yi Shooting
**Download Link:
Ekhon Satyajeet
**Download Link:
Gurghutiyar Ghotona
**Download Link:
Jahangirer Swarnamudra
**Download Link:
London-e Feluda [Birth Day Special]  
**Download Link:
Picz Article Intervew And Others on Gupi-Gaine Bagha-Baine  
**Download Link:
Professor Shonkur Diary
**Download Link:
Robertson-Er Ruby
**Download Link:
Sonar Kella (feluda)  
**Download Link:
Jakhon Choto Chilam
**Download Link:
Barin Bhoumiker Byaram
**Download Link:
Bhuto  
**Download Link:
Gagon Chowdhurir Studio  
**Download Link:
Golokdham Rohosso
**Download Link:
Gonesh Mutshuddir Prorate
**Download Link:
Joy Baba Felunath
**Download Link:
Kanaie Kotha
**Download Link:
Patal Babu Film Star
**Download Link:
Punoscho Professor Shonku
**Download Link:
Shadhon Babur Shondeho
**Download Link:
Sheth Gongaramer Dhon Doulot
**Download Link:
Shonkur kando karkhana
**Download Link:
Vokto
**Download Link:
Tarini Khuror Kirti Kolap  
**Download Link:
Feluda Ebaar Kando Kedarnath-E [Comics]
**Download Link:
Gangtoke Gondogol By Feluda Comics
**Download Link:
Gosaipur Sargaram By Feluda Comics
**Download Link:
Jahangirer Sornomudra By Feluda Comics
**Download Link:
Robertson Er Rubi By Feluda Comics
**Download Link:
Seal Debota Rohossyo By Feluda Comics
**Download Link:
Bishoy Cholochitra
**Download Link:
Ek Sringo Ovijan
**Download Link:

Books of Shirshendu Mukhopadhyay

Astapurer Britanta
**Download Link: 

Boxer Ratan
**Download Link:
 
Chayamoy
**Download Link:
 
Dakater Bhaipo
**Download Link: 

Jhiler Dhare Bari
**Download Link: 

Manojder Adbhut Bari
**Download Link: 

Nobigonjer Doittyo
**Download Link: 

Parthibo [Part.1]
**Download Link: 

Parthibo [Part.2]
**Download Link: 

Parthibo [Part.3]
**Download Link: 

Parthibo [Part.4]
**Download Link:
 
Parthibo [Part.5]
**Download Link:
 
Parthibo [Part.6]
**Download Link:
 
Pagla Saheber Kobor
**Download Link: 

Pidimer Aalo
**Download Link: 

Shiuleer Gandho
**Download Link: 

Tithi
**Download Link:
 
Jao Pakhi
**Download Link:
 
Bikeler Mrittu
**Download Link:
 
Vul Korar Por
**Download Link: 

Golmaal  
**Download Link:
 
Chena Ochena
**Download Link:

১.২০৩০ সালের একদিন ওঅন্যান্য
     লিঙ্ক: Download

২.আমার বন্ধু রাশেদ
  লিঙ্ক:  Download

৩.আমরা ও ক্র্যাব নেবুলা
 লিঙ্ক: Download

৪.আখি এবং আমরা কজন
লিঙ্ক: Download


৫.বৃষ্টির ঠিকানা
লিঙ্ক: Download

৬.নিতু আর তার বন্ধুরা
লিঙ্ক: Download

৭.বেজি
লিঙ্ক:  Download


৮.বিবর্ণ তুষার
লিঙ্ক: Download


৯.বৈশাখের হাহাকার
লিঙ্ক: Download


১০.সন্তান
লিঙ্ক: Download


১১.ত্রিনিত্রি রাশিমালা
লিঙ্ক: Download

১২.দেশের বাইরে দেশ
লিঙ্ক: Download


১৩.মেয়েটির নাম নারীনা
লিঙ্ক: Download


১৪.রঙ্গিন চশমা
লিঙ্ক: Download

১৫.গণিতের মজা
লিঙ্ক: Download

১৬.নাট বল্টু
লিঙ্ক: Download

১৭.কাজলের দিনরাত্রি
লিঙ্ক:  Download


১৮.ক্যাম্প
লিঙ্ক: Download


১৯.ছায়া্লীন
লিঙ্ক: Download



২০.দিপু নাম্বার টু
লিঙ্ক: Download



২১.একজন দুর্বল মানুষ
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/n0wxb9326ia7txt/Ekjon+Durbol+Manush+By+Muhammad+Jafar+Iqbal+%28allbdbooks.com%29.pdf



২২.এখনো স্বপ্ন দেখাই
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/8f2u85cihodp44c/Ekhono+Shopno+Dekhay++By+Muhammed+Jafar+Iqbal+%28allbdbooks.com%29.pdf


২৩.বদনখানি মলিন হলে
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/h48i8zz32hhi3iu/Bodonkhani+Molin+Hole+by+Md.+Zafar+Iqbal+%28allbdbooks.com%29.pdf


২৪.বিজ্ঞানী সফদার আলীরমহা মহা আবিস্কার
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/44kklalqdv01usv/Bigyani+Sofdor+Alir+Moha+Moha+Abishkar+%28allbdbooks.com%29.pdf



২৫.প্রোগ্রামার
➥ডাউনলোড লিঙ্ক:  http://www.mediafire.com/download/dt2h0elu6ofoi64/Programmer+%28allbdbooks.com%29.pdf


২৬.সিস্টেম ইডিপাস
➥ডাউনলোড লিঙ্ক:  http://www.mediafire.com/download/c6fj1gbrw57c1n6/System+Ediphus+%28allbdbooks.com%29.pdf


২৭.টি- রেক্সের  সন্ধানে
➥ডাউনলোড লিঙ্ক:  http://www.mediafire.com/download/wt6j7w4p56oc7an/T-Rax_Er_Sondhane_(allbdbooks.com).PDF


২৮.টাইট্রন একটি গ্রহেরনাম
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/bdoj3r01q09db5k/Titron+Ekti+Groher+Naam+%28allbdbooks.com%29.PDF



২৯.প্রডিজি
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/p668ac8k6kw1kkv/Prodigy_By_Muhammad_Zafar_Iqbal__(allbdbooks.com).pdf


৩০.বিজ্ঞানী অনিক লুম্বা
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/g7dd487y12e0s78/Biggani+Anik+Lumba+By+Muhammed+Jafar+Iqbal+%28allbdbooks.com%29.PDF


৩১.প্রজেক্ট নেবুলা
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/f5s9ac04wg2xdwf/Project_Nebula_by_Muhammed_Jafar_Iqbal_(allbdbooks.com).pdf


৩২.রবো নিশি
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/xq1pq06qdervdne/Robo_Nishi__By_Muhammed_Jafar_Iqba_(allbdbooks.com).PDF


৩৩.অন্ধকারের গ্রহ
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/8wfm8w81tqfhodg/Andhokarer+Groho+By+Muhammed+Jafar+Iqba+%28allbdbooks.com%29.PDF


৩৪.জলমানব
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/ob941qibfc9r3b7/Jolo_Manod_By_Muhammed_Jafar_Iqba_(allbdbooks.com).pdf

৩৫.অবনীল
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/g3smsioi378i7yg/Abonil+By+Muhammed+Jafar+Iqbal+%28allbdbooks.com%29.pdf

৩৬.কপোট্রনিক সুখ দুঃখ
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/2k6q7egbxr7joaj/Copotronic+Shukh+Duhkho++By+Muhammed+Jafar+Iqbal+%28allbdbooks.com%29.pdf

৩৭.ক্রোমিয়াম অরন্য
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/6pkq833u6nha2n1/Chromium+Oronno+By+Muhammad+Jafar+Iqbal%28allbdbooks.com%29.pdf

৩৮.ক্রুগো
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/n1zbd0zmsn6a3j0/Crugue_By_Muhammad_Jafar_Iqbal(allbdbooks.com).pdf

৩৯.দানব
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/38k8htx1fwiz65j/Danob__By_Muhammad_Jafar_Iqbal(allbdbooks.com).pdf


৪০.দেখা আলোর না দেখা রূপ
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/jsqsej12gb1344d/Dekha_Alor_Na_Dekha_Rup_By_Muhammad_Jafar_Iqbal(allbdbooks.com).pdf


৪১.ইরণ
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/am143spxh651sl2/Eeron__By_Muhammed_Jafar_Iqbal_(allbdbooks.com).pdf

৪২.একজন অতিমানবী
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/xfmna7rl1km1706/Ekjon_Otimanobi_By_Muhammad_Jafar_Iqbal_(allbdbooks.com).pdf

৪৩.ফোবিয়ানের যাত্রী
➥ডাউনলোড লিঙ্ক:  http://www.mediafire.com/download/z5oawqq2ufeyvoe/Fobianer+Jatri++By+Muhammad+Jafar+Iqbal+%28allbdbooks.com%29.pdf


৪৪.হাতকাটা রবিন
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/jibkgj5aax5trxf/Hat+Kanta+Robin++By+Muhammad+Jafar+Iqbal+%28allbdbooks.com%29.pdf

৪৫.হিমঘরে ঘুম ও অন্যান্য
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/huo14lad5q50vdh/Himghore_Ghum_O_Annano__By_Muhammad_Jafar_Iqbal_(allbdbooks.com).pdf


৪৬.জলজ
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/9a162dc1u27m2p5/Jalaj__By_Muhammad_Jafar_Iqbal_(allbdbooks.com).pdf


৪৭.রাতুলের রাত রাতুলেরদিন
➥ডাউনলোড লিঙ্ক:  http://www.mediafire.com/download/ci4ysbhqja9a785/Ratuler+Raat+Ratuler+Din+By+Muhammed+Jafar+Iqbal+%28allbdbooks.com%29.pdf

৪৮.যারা বায়োবট
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/crhjdqwmt6xfg2c/Zara+Biobot+by+Md.+Zafor+Iqbal+%28allbdbooks.com%29.pdf



৪৯.একটুখানি বিজ্ঞান
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/dajhyszwr4xx8k4/Ektukhani_Biggan_By_Muhammad_Zafar_Iqbal_(allbdbooks.com).pdf


৫০.মুক্তিযুদ্ধের ইতিহাস
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/lreto3lk7uh6xo1/Muktijuddher_Itihas__(allbdbooks.com).pdf


৫১.আধুনিক ঈশপের গল্প
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/lg2alyuu1jf3l2i/Aadhunik+Ishop-erGolpo++%28allbdbooks.com%29.pdf


৫২.আগন্তুক
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/bxmjok4gecny37l/Aagontuk+%28allbdbooks.com%29.pdf


৫৩.আইনস্টাইন
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/6okwcae9mkxbxas/Ainstain+%28allbdbooks.com%29.pdf

৫৪.ব্যাঙ্ক ডাকাত
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/rsgnf0ttutx86v1/Bank+Dakat+%28allbdbooks.com%29.pdf

৫৫.ক্যাপ্টেন জুক
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/5hfqwdbsjd4u8s2/Captain+Juke+%28allbdbooks.com%29.pdf

৫৬.দ্বিতীয় অনুভূতি
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/ihyhycyn624h7i4/Ditiyo_Onuvuti_(allbdbooks.com).pdf

৫৭.একটি কুৎসিত প্রানী
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/v574z2dvkk2y7ag/Ekti_Kutsit_Praani_(allbdbooks.com).pdf

৫৮.ইকারাস
➥ডাউনলোড লিঙ্ক:  http://www.mediafire.com/download/a74yc78bb69d53g/Ikaras_(allbdbooks.com).pdf

৫৯.ঈশ্বর
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/zix06gqpw67xi3a/Ishwar_(allbdbooks.com).pdf

৬০.জনৈকা যুক্তিহীনা নারী
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/n9mz9vv5cgehake/Jonoika_Juktiheena_Naaree_(allbdbooks.com).pdf


৬১.নিউরণ ম্যাপিং
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/uffp9ruwfw7mji6/Neuron_Maping_(allbdbooks.com).pdf


৬২.অন্য জগত
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/n8sn2w5wt5uwd20/Onnyo_Jogot_(allbdbooks.com).pdf

৬৩.অপারেশন অপক্ষেপ
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/mpmwu9yvz31m4um/Operation_Opokkhep_(allbdbooks.com).pdf

৬৪.ফিনিক্স
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/vqi7kbqlt3bkqvr/Phoenix_(allbdbooks.com).PDF

৬৫.পৃ
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/dyx2q626h4ulild/Pree_(allbdbooks.com).pdf

৬৬.প্রেত
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/2mb863kre1jbgf3/Pret_(allbdbooks.com).PDF


৬৭.রবো-নগরী
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/nhujfjsz13dq9gz/Robo-Nogori_(allbdbooks.com).pdf

৬৮.সবুজ ভেলভেট
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/fiu3cd0m5qdf607/Sobuz_Velvet_(allbdbooks.com).pdf

৬৯.তুরিন টেস্ট
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/m87y4sc10upl8s8/Turin_Test_(allbdbooks.com).pdf

৭০.Y-ক্রোমোসোম
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/nh81hu74pt3mmaq/Y-Chromosome_(allbdbooks.com).pdf

৭১.ছেলে মানুষী
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/o5rq7d1xbsgjwvj/Chele+Manushi+++By+Muhammed+Jafar+Iqba+%28allbdbooks.com%29.pdf

৭২.একটি মৃত্যুদন্ড [ছোটগল্প]
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/okpks1be0r0o1ai/Ekti_Mrittudanda_%5BChoto_Golpo%5D_By_Muhammed_Jafar_Iqba_(allbdbooks.com).pdf

৭৩.রাশা
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/ndiwfresh4ve33d/Rasha__By_Muhammed_Jafar_Iqba_(allbdbooks.com).pdf

৭৪.রূপ রুপালি
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/h144vyp16cirgb6/Rup+Rupali+by+Muhammed+Zafar+Iqbal+%28allbdbooks.com%29.pdf

৭৫.সাধাসিধে কথা
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/k651iwajwp4eije/Sadhasidhe_Kotha_By_Muhammed_Jafar_Iqbal(allbdbooks.com).pdf


৭৬.দলের নাম ব্ল্যাকড্রাগন
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/2sgo7en024ijsna/Doler_Naam_Black_Dragon_(allbdbooks.com).PDF

৭৭.আমি তপু
➥ডাউনলোড লিঙ্ক:  http://www.mediafire.com/download/b95h586l0n4skju/Ami+Tapu+By+Muhammed+Jafar+Iqbal+%28allbdbooks.com%29.pdf

৭৮.মিকু কাহিনী
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/9vn2knn5xsgcp6x/Meku+Kahini+By+Muhammed+Jafar+Iqbal+%28allbdbooks.com%29.zip

৭৯.টুকুনজিল
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/63uhlja83orvwjv/Tukunjil_(allbdbooks.com).pdf

৮০.আধ ডজন স্কুল
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/c3sh8ftnh9suxg8/Adh+Dozon+School+By+Muhammad+Jafar+Iqbal+%28allbdbooks.com%29.pdf

৮১.বাচ্চা ভয়ংকর কাচ্চাভয়ংকর
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/2dv2ahvirjrjctm/Baccha+Voyonkar+Kaccha+Voyonkar++By+Muhammed+Jafar+Iqbal+%28allbdbooks.co.pdf

৮২.বকুলাপ্পু
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/n1vx3111998e9mk/Bokulappu++By+Muhammed+Jafar+Iqbal+%28allbdbooks.com%29.pdf


৮৩.দুষ্টু ছেলের দল
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/6cr8g2jth8j8kvf/Dushtu_Dushto_Cheler_Dol_By_Muhammed_Jafar_Iqbal_(allbdbooks.com).pdf


৮৪.গাব্বু
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/nay6re0f0ljcm7n/Gabbu_By_Muhammed_Jafar_Iqbal_(allbdbooks.com).pdf


৮৫.লাবু এলো শহরে
➥ডাউনলোড লিঙ্ক: http://www.mediafire.com/download/sh658jq738br53k/Labu_Elo_Shohoray_by_Muhammed_Jafar_Iqbal_(allbdbooks.com).pdf

০১। টুনটুনি ও ছোটাচ্চু ২ – মুহাম্মদ জাফর ইকবাল
http://www.pdf-archive.com/2014/07/20/tuntuni-o-chotacchu-2/tuntuni-o-chotacchu-2.pdf
File size: 4004 KB, 75 pages
০২। রুহান রুহান – মুহাম্মদ জাফর ইকবাল
http://www.pdf-archive.com/2014/07/12/ruhan-ruhan/ruhan-ruhan.pdf
File size: 6210 KB, 147 pages
০৩। মেকু কাহিনী – মুহাম্মদ জাফর ইকবাল
http://www.pdf-archive.com/2014/06/16/meku-kahini/meku-kahini.pdf
File size: 8225 KB, 98 pages

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অনুভূতিরা কোথায় জন্ম নেয়? নাটক,সিনেমা,রকস্টারের কনসার্টে? হয়তো। তবে পৃথিবীর সবচেয়ে বেশি অনুভূতিরা মনে হয় জন্মায় বইয়ের পাতায়। সাদা কালো লাল নীল ধূসর আর নাম না জানা কত অজানা রঙের অনুভূতি যে বইয়ের অক্ষর থেকে উঠে এসে মগজে আঘাত করে,এই পৃথিবীর ভাষায় তাদের সবার নাম দেয়াও সম্ভব নয়। এই পৃথিবীতে তারা জন্মায় না।

মানুষের মনে হয় অনেক রকম দুঃখ হয়। একরকম দুঃখ আছে,যেটা মানুষকে দুঃখবিলাসের আনন্দ দেয়। মানুষ এক মুভি বার বার দেখে,এক বই বার বার পড়ে দুঃখ পায়। দুঃখ পেয়ে কাঁদে । কেঁদে আনন্দ পায়। এ তাদের দুঃখ আনন্দ মেশানো কান্না। দুঃখের জন্য কান্না। দুঃখকে অনুভব করতে পারার আনন্দ।

আমার ব্রেনে অন্য পৃথিবীর এক দুঃখের জন্ম হয়েছিল তারাশংকরের 'কবি' পড়ার পর। বইটা পড়ার পর কয়েকদিন যে ভয়াবহ বিষাদের অনুভূতি আমার পৃথিবী নীল করে রেখেছিল, আজকেও সেই কথা মনে পড়লে মন খারাপ হয়ে যায়। এই বিষাদ চোখে কান্না আনে না,কান্নাকাটিকে সিরিয়াস ধরনের ফাইজলামি মনে হয়। এই বিষাদ নিয়ে নিয়ে দুঃখবিলাস করা যায় না,সে এতো সস্তা না । ঈশ্বরের কাছে প্রার্থনার মত এই বিষাদের কাছে ক্ষমা প্রার্থনা করতে হয়। হে বিষাদ,তুমি আমাকে ছেড়ে চলে যাও।

এখনো নীলক্ষেতে গেলে ফুটপাতের এক পাশে তারাশংকরের সমগ্র চোখে পড়ে। আমি অনেকক্ষণ দাঁড়িয়ে দাঁড়িয়ে বইটার দিকে তাকিয়ে থাকি। দাম জিজ্ঞেস করতে গিয়ে থমকে যাই,সাহস হয় না। তারপর সামনের দিকে হাঁটা দেই।

 দেশ বিভাগ: পশ্চাৎ ও নেপথ্য কাহিনী

লেখক: ভবানীপ্রসাদ চট্টোপাধ্যায়
আয়তন: ৭.২৩ মেগাবাইট
ফরম্যাট: পিডিএফ


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MY REVIEW

18th Century Calcutta!!
An Extravagant Environment, with all Glory, Splendor, Grandeur and Magnificence, this is nothing but an EPIC!!

Featuring Powerful Personalities of Indian Renaissance :- Ishwarchandra Bidyasagar, Bankim Chandra Chatterjee, Michael Madhusudan Dutt, Debendranath Tagore, Rani Rashmoni, bit of Sepoy Mutiny, Dinabandhu Mitra, Mangal Pandey, Pramath Nath Bishi, Henri Derozio, John Bethun. . . . . . . . who isn't there!!??

Fact and Fiction mixed up to form an unique and magnanimous quanta of literature!!


Seriously, One should read this book at least once in her/his lifetime!! This can't be explained in mere words!!



Story - 9[i am cutting one for its lengthiness a bit].
Writing Style - 10[no choice. Its just brilliant]
Environment - 8.5[vast and enormous]
Characterization - 10[Again!]

Here is the download link of Professor Shonku Somogro...........
Click here

শঙ্কু সমগ্র (Professor Shonku Complete Collection)

by Satyajit Ray (Author & Illustrator), সমীর সরকার (Illustrator)

 

প্রফেসর শঙ্কু কে? তিনি এখন কোথায়? এটুকু জানা গেছে যে তিনি একজন বৈজ্ঞানিক।

কেউ কেউ বলে তিনি নাকি একটা ভীষণ পরীক্ষা করতে গিয়ে প্রাণ হারিয়েছেন। আবার এও শোনা যায় যে তিনি কোনো অজ্ঞাত অঞ্চলে গা ঢাকা দিয়ে নিজের কাজ করে যাচ্ছেন, সময় হলেই আত্মপ্রকাশ করবেন।

প্রফেসর শঙ্কুর প্রতিটি ডায়েরিতে কিছু না কিছু আশ্চর্য অভিজ্ঞতার বিবরণ আছে। কাহিনীগুলো সত্য কি মিথ্যা, সম্ভব কি অসম্ভব, সে বিচার পাঠকরা করবেন!

চাঁদের পাহাড়

by Bibhutibhushan Bandyopadhyay 

 

 

বাঙালীর ছেলে শঙ্কর, পাকা খেলোয়াড়, নামজাদা বক্সার, ওস্তাদ সাঁতারু—এফ্-এ পাশ করে সুবোধ ছেলের মত কাজকর্মের সন্ধান করল না, দাশান্তরের হাতছানি পেয়ে সে পাড়ি দিল সুদুর পূর্ব-আফ্রিকায় । ইউগান্ডা রেলওয়ের নতুন লাইন তৈরী হচ্ছিল—চাকরী পেয়ে গেল । ডিয়েগো আলভারেজ নামে দুর্ধর্ষ এক পর্তুগীজ ভাগ্যান্বেযীর সঙ্গে হঠাৎ সেখানে তার দেখা । শঙ্কর এই দুঃসাহসী ভাগ্যান্বেষীর সঙ্গ ধরে মহাদুর্গম রিখটারস্ভেল্ড পর্বতে অজ্ঞাত এক হীরের খনির সন্ধানে চলে গেল । ডিঙ্গোনেক বা বুনিপ নামে অতিকায় এবং অতিক্রূর এক দানব-জন্তু সেই হীরের খনি আগলিয়ে থাকত । পর্যটকেরা যারা নাম দিয়েছিলেন চাঁদের পাহাড় সেই রিখটারস্ভেল্ড পর্বতে গিয়ে জীবনমৃত্যু নিয়ে শঙ্করকে যে রোমাঞ্চকর ছিনিমিনি খেলতে হল তার আশ্চর্য বিবরণ যে-কোনো বয়সের কল্পনাকে উত্তেজিত করবে ।

বিখ্যাত ভ্রমনকারীদের অভিঞ্জতা অনুসরণে আফ্রিকার বিভিন্ন অঞ্চলের ভৌগোলিক সংস্থান এবং প্রাকৃতিক দৃশ্যাদির যথাযথ বর্ণনা দিয়েছেন লেখক । এবং গল্পের পাশাপাশি হুবহু আফ্রিকান পরিবেশের যে-সব নিপুণ ছবি আঁকা হয়েছে তা বাংলা বইয়ের জগতে আদর্শ স্থানীয় । বিভূতিভূষণের হাতে তরুণদের জন্যে লেখা এ-বই ক্লাসিক হিসেবে পরিগনিত হবার যোগ্য ।

I don’t remember how I came here. The knowledge of the road only known to a chosen few. I remember opening my eyes to see two tall hills, the tallest, till all your eyes could see. Between the two tallest hills ran a sparkling blue stream. The grey pebbles separating the sparkling blue of the stream from the lush green of the trees, one would seldom see civilians roaming around freely. The only people moving around within a 10 mile radius were men, skins darkened by the sun, usually sporting a small coarse dark beard and always with an AK-47. These men voluntarily living away from home and fighting for what they accept, a common cause. To kill someone, one had to always say ‘neel senar joy’, a sacred tradition as considered.

It has been almost five years, since I first set my foot in these jungles. Before I did that, my father, brother and both uncles had already martyred their lives to the cause, the same I am part of right now. It was only a matter of time, for me to follow his footsteps. At the age of 15, I joined the blue army or locally known as ‘neel sena’. The only cost of joining-leave with your death. But the person who almost single handedly inspired me to join the blue army most was Boro.
Boro had gained almost a cult status in the neighbouring villages. A pacifist between his brothers and antagonist for the zamindars and industrialists. How he single-handedly fought off twenty Zamindar’s men, still remains one of the most discussed happenings in our village; at least that was so the last time I was home.
Here, at the blue camp or Neel dera as it was locally known as, Boro was the only other from my village. We used to occasionally meet up and discuss places, where to put up the next blockage or which minister or businessman to target next. They were all the same, some selling coal, some iron, some copper and some Adivasi land (that was quite profitable as well) and these people were easiest to get money out of since they mostly had it in black, but so you would think. Taking money out of these hardened criminals was always tougher than innocent civilians. But that was not what we were after, the easy money.
Boro was like a big brother to me. He was the one would listen to me and share his ideas and principles. In him, I kept my faith. One afternoon, Boro told me ‘Pack your kit, we are going in for the big kill. ‘Being only a field apprentice, unaware of the codes, I asked ‘What big kill?’
‘Don’t ask question, just get ready, jaldi!’ (Fast)
Ironically Neel sena does not wear blue, but a green overall with no pockets. It is rumoured that a blue solider either gets shot or his pockets get caught (by the tree branches), one can guess which is more embarrassing.
By the time we reached, it was already dark. The roadblock was already set up and we were just in time. It were only a matter of minutes that the white ambassador would halt, or so was the plan. A walkie-talkie confirmed that the car had entered the valley. All cars stop at the roadblock, they know it’s a certain death otherwise. And so did this one.
There were three inside, the driver and two sitting behind. I had witnessed dozens of roadblocks but this one was different, it had a different air to it. We maintained silence for quite some time, this doesn’t usually happen. Khurpa the camp leader approached the car. Without a single remorse, he uttered the words ‘neel senar joy’ and shot the man, the driver and the third member. Wait! This is not how we go about missions. There is always a negotiation! We are redistributors, rebels and outlaws, but not murderers.
As I neared the white ambassador now with glasses red with splashes, I recognized the face. The man sitting behind was a minister, in his early thirties, short hair and the khadi shirt which had now stopped draining blood. I have seen him earlier, in the camp TV, a strong man of principles, liked as well as disliked for his stand on anticorruption issues, also a man with strong opinions against the Blue movement. On the other side a kid, barely half my age, the bullet through the side of his temple implied that he had not been woken up from his dreams when he was put into another. Khurpa came to me, while I was still lost in the illusionary peaceful gaze of the child. He knew about this, everyone must have known about this, we always do.
‘Wake up kid! Help me push this car to the ditch’, his voice echoed in my mind.
He shook me twice before I came back to my senses.
A knee jerk reaction to the existing authority governing my actions, burst my mind with thousands of questions full of anger and disgust. My mind was set-run. Run anywhere but from this terrible place with terrible people. People calling behind me to stop. I ran and ran, until I no more could.
No food, no water, it felt like it had been hours. Honestly, I didn’t know where I was running, it could be towards the camp itself. It was almost dawn till I heard a familiar voice calling my name. It was Boro! He was here, maybe he too had left the camp after the gruesome murder and came trying to follow my trail. Two heads are always better than one.
He was alone, hence trustable. I called out his name. In response he screamed ‘neel senar joy’. Somewhere behind me, I heard two gunshots. My eyes closed slowly as the numbness of the bullets grasped me and I fell to the ground. Maybe there was a tear in my eye as it blurred the vision and dulled my imagination.

This post is from An Intimate History of Bengal, published by Wordsmith University Press  ( $ 12.99) and was written in 2006. After a decade, I revisited the book (for the next edition) and find that in this decade, the process of re-barbarization has progressed in Bengal. Study of Tagore remains important, not for those who will be carried by the dominant current.
——————————————————————-
An Intimate History of Bengal
BOOK XVI
CALCUTTA, CULTURE CLAIRVOYANCE: TAGORE AND GLOBALIZATION OF BENGAL
The Pre-Conception: Tagore as an Artist and as an Institution
This BOOK owes its existence, in a mixed way to the efforts of my Housing Co-operative in organizing a cultural programme to mark the birthday of Rabindranath Thakur, wrongly but conveniently called Tagore. We will use this misnomer to call him all along, which has dual advantage; first of all it modulates the concept of Bengali-association with him and secondly, it de-modulates the eulogizing epithets bestowed on him quite liberally for a surprisingly long period of time. Any discussion centered on Tagore, in order to remain consistency has to be selective and focused due to the very width of the personality and   gravitation of it. Majority of commentators fall into the subtle trap of losing the distinction between Tagore, the person and Tagore, the institution. Hence, many commentators, otherwise quite sincere, learned and having the virtue of objectivity criticize the person Tagore for the inconsistencies of the institution Tagore. On the other hand, institutional evaluation or the use of the institution called Tagore projects a personality-cult which later generation of rebel poets deplored as worship (Rabindra-Puja). Readers may like to read the small volume authored by Buddhadev Basu where he discusses those issues from an objective standpoint without sacrificing the historical connection he shares with the subject. What makes his work interesting is the fact that Buddhadev as a poet and a critique was a very sensitive man not to have ignored the forces that were shaping poetry in other parts of the world. To him and perhaps to him alone goes the credit of this signal service to Bengali literature and it is no wonder why he could write an essay like Ek Grishe Dui Kabi ( Two poets in the same summer) where he discusses the works of two ‘poets‘ of the same country but of different type : Dostoevsky and Chekhov. In this petite volume on Tagore, there appears more substance and signposts for posterity than are to be found in the formidable array of works done on the subject, by individual or by the Institution Tagore founded in Bolpur.
On 9^th May this year, I have been passing my days of royal luxury in a flat at Purbachal Housing Complex, Saltlake, Calcutta. With family in vacation, my father in his visit to North Calcutta and I have no office to go, I decided to spend my time in home, wasting time in anticipation as Bertrand Russell has provided the piece of wisdom – Wasted time is not Waste of Time. As I was wasting my time, Tagore reminded me that it is his birthday as songs after song wafted in the air, as if soaking the strength of the May sun, becoming stronger each minute. The songs were coming from a stage which was some two hundred yards away from my second floor window. Tagore, I remembered had passed quite a considerable part of his youth in doing things which in typical Bengali society would be considered either worthless or waste of time. My self-love urged me to discover the parallel between Tagore‘s free-wheeling life on the boat of the river Padda and mine own spent in speculation in this East Calcutta suburb. By coincidence, after two days, Bengal was going to polls, one of the historic ones not in terms of the results but in terms of the cause behind the result that had been speculated upon
            Since 1960s, the frontline literary artists of Bengal started to ponder over the relevance of Tagore in future. For some, this thought   was nothing short of a blasphemy and the opposition came most from the Institutional Tagore-scholars. Buddhadev, while writing about the imitations and imitators of Tagore gave a honourable coup-de-grace – ‘Having sacrificed themselves in the flaming sun (Rabi-tap), they have provided next generation with a necessary and useful warning‘. These imitations were nothing unique for Tagore or for Bengal. As soon as flame of creativity shines stronger, lesser lights tend to borrow. However, in case of Tagore it was the flame of a true genius, a genius which finally consumed the bearer of the gift and also the lesser gifted ones who came in close quarters, personally or institutionally. At certain point in the literary history of Bengal and among some honourable men and women, Tagore‘s work approached the applicability of that of Homer as regarded by the classical Greeks that all wisdom can be found in Homer. As logical mind as that of Greeks could have thought that Homer has something for everything. Homeric odes were sung and consumed not as an artistic product alone but as narrating process of knowledge, wisdom and many other desirable things which we don’t demand from literature anymore now. However, Homer became part and parcel of the Greek world and wherever Greeks went they carried their Homer. At the matured period of classical Greece in 4^th century BCE, Homer was synonymous with the idea that was called Greece. The Bengali colonists did the same as late as 1980s with sincerity and conviction. Later, it became a form of habit, having little to do with any inner conviction or internalization or even identification.
Bearing in mind the fundamental differences that remain between classical Greeks and Bengali mind and situation, the colonization process has some interesting parallel. From 1880 to 1930s – these fifty years witnessed some of the grand crystallization of historical deposits in the history of Bengal. In this half a century, her past Buddhist tradition, her reinterpretation of Bhakti spearheaded by Sree Chaitanya and her interaction with Europe through British ambassadorship provided a throbbing scene which was pregnant to give birth to highly unique personalities. Literature, one of the strongest and most sensitive areas of Bengal‘s psyche found in Tagore a culmination of all these forces. In this way, Tagore the artist functioned like fractal image of tradition where local historical tradition of last thousand years found a complex and convoluted space. His syncretism could seamlessly travel from the domains of Chandalika (Buddhist) to Bhanusingha (Vaishnav Lyrical poetry) and Bramho-sangeet (the monotheism). It is interesting to note that he had reconciled and could persuade us through the artistic instrument of willing-suspension-of-disbelief of the fundamentally different philosophical ramifications underlying these traditions. This power of persuasion has been the most profound aspect of the Tagore the person or Tagore as an artist. If he were born in other cultural space-time, he would have done the same synthetic persuasion. His songs, a part of his short stories and a selected part of his poetry symbolize this power of persuasion at the deepest level. Aided by a remarkable gift on language, he became the architect-builder and craftsman of Bengali language. It is a logical confirmation that today, after a century after he wrote those works, his works of persuasion at the deepest level never ceases to fascinate us.
However, as soon as we study the institution Tagore where he was a political activist, a strategist in terms of practical methods of swaraj, a patriot or nationalist, builder of institution and as soon as he took his greatest gift as an aid of persuasion in these areas, we could always find almost exactly opposite results. This remains at the root of his failure as a novelist, as an artist who failed to mirror the agony of his time and for some Western critics, – a boudoir poet.
During my stay in London as a student last year, I could read a columnist in The Guardian, while writing about Nobel winners bracketed Tagore with Pearl Buck under the heading – who are not read anymore and are not part of any living tradition.  Off came a reprimand from the Bishop of Oxford who justly rebuked the author for his euro-centricism and extolled the virtues of lush mysticism of Tagore‘s poetry. This action-reaction sequence has an interesting lesson: his syncretism as an artist or an institution has a more lasting appeal than one of the artistic hallmarks of portraying the agony of the age. In this way, the characters of his novels have little life, they raise no singularities on existential issues, they speak no truth which only a novel can utter^[1][1] and they smell too much of design and craftsmanship and have no element of fantastic in them. On the other hand, in his short stories, he was guided by his own spirit and his conscious and unconscious efforts gave birth to certain characters and sequences that are unique in Bengali literature. They represent what Tagore the artist always tried and succeeded and Tagore the institution has failed most often: to re-present the eternal human dilemma.
Buddhadev has drawn our attention to the historical setting of Tagore‘s mind while being active as an artist. He argues that in his artistic geography, he was citizen of another historical time. This capacity remains his greatest strength and greatest weakness, depending on the form of his art and what his readers or critics are looking for. The fault was not Tagore‘s, nor Tagore was ignorant of the complaints of his readers. Being acutely self-aware, he was sensitive to his relevance also for the next generations to come. But when the setting is right, when the historical age or the theme is beyond and pervading all or any historical time, Tagore becomes the chosen instrument of melody and yearning and we could detect a melting of the creator with the creation. To the language, to the landscape and to the mind of Bengal, he gave the idea and hope that the universe reflects here too, in spite of our repeated folly of spinning a web of homilies and familiarity. If the entire landmass of Bengal in some geological aeon goes under the sea or some catastrophe destroys the land and the people altogether, if entire Bengali language is forgotten, still it is possible to convey the essence of the land and its people from his work. His life as a creative artist was an intense laser beam which opened a new channel between the retina of the eye and the mind‘s eye and once that‘s opened, the language and the meaning never remained the same. Also, this new faculty, actually a miracle, in course of time became something so natural that it has been taken for granted. We will focus our discussion on the relationship between the Bengal landscape and Tagore as a creative artist. He has been an intimate artist of Bengal and instead of going into the bemoaning discussion as why or why not young people read him today, we would discuss some of the current trends having influence on this landscape, to which the greatest poet of the post-Tagore generation would like to have eternal return.
Globalization and Landscape of Bengal:
The core competence of Bengal, in spite of all complex rhetoric and marketing communications remains her land, her geography and her fields. Modern technology, in spite of its formidable power cannot add another Bengal in the globe although it can destroy it in a violent frenzy or through slow degeneration. Since the age of empires in India, fertility of Bengal‘s land has been the major agenda in the policy of conquest, colonization, settlement or exit^[2][2]. This Bengal includes East and West Bengal alike. Forever washed in the water of the sky and water of the innumerable of large and small rivers, biological sustenance was never a problem in the land. If it was, it was always the greed or the inefficiency of the people who controlled the generation or distribution of the produce. It is a miracle that for last two hundred years or so, this landscape could maintain a low-cost, abundant and healthy supply of elements required for biological sustenance. There is a major debate raging now in the land as to whether using the farmland for industrial expansion will bring public good or not. This debate is important and more important is to define the co-ordinate of the participant in order to escape the follies of sentimentalism and conditioned response so common in the land today. Another interesting experiment is to imagine Tagore as a participant in this debate, separately as an artist and an individual and then trace his reaction. This exercise would also bring an important aspect on the larger theme – Tagore in the Globalized Bengal. Before undertaking that exercise, there remains a little task of analyzing various choices of positions a commentator of Bengal can take up, including me.
Nirad C Chaudhri had informed us, while rating five of the greatest Bengalis, certain yardsticks and strangely, he argues that all of them share a trait common – they are all un-Bengali. We may also argue that the first criterion of attaining greatness for a Bengali is to shed his Bengali conditioning. This is applicable in a general way, said long ago by the Master of Galilee – A prophet is seldom respected in his homeland.  After a continuous struggle with the position of myself as a student of the cultural history of Bengal, I had undergone a process of evolution which has left me with few options lately. I would briefly narrate this process of evolution. My first position was that of intense identification, i.e. an insider. In this position, the greatest danger is that of being sucked into the staid pool of chandimantap culture of Bengal which tends to make one critical about everything else except that of one‘s own belief systems and cultural make-up. The next was that of an observer without qualification and there comes a bigger challenge – experience teaches me that in this land, an observer needs to be always aware of the fact that he is dealing in much deeper waters. He always stands a chance to deceive himself simply because under the simplicity of these people lies a complex net of historical forces and being acutely unaware of history, they deny it more, only to confirm its presence. The next position was that of intellectual modeler and it was discarded as I soon found that these people, highly sensual and sentimental in nature are governed less by intellect than by feeling. In this process, I tried to look into the land with the eyes and mind-set of an observer who might have come here on an assignment and has no contract or obligation whatsoever to respect any of the belief systems of the land. One implicit element in this kind of position has a necessary power equation and I have no qualms to declare that mine is essentially an aristocratic position where I am acutely aware of the divisive line between my acquired world-view and the view that could have come from a natural association. Since I am not bound by the obligations of a judge, a curator or a researcher with grant or a media professional, I may always retain the autonomy of my position. I have few ears to please than my own fancy. The greatest admiration that people have here if an individual can maintain his own fancy and these is the people who are also the target for criticism for the chandipantap culturists. This group of people can be found everywhere here – in the Offices, in the shops, in schools and colleges, in LIG, MIG, HIG (Low, Medium, High Income group) colonies. They believe that if things are fine in their own little world, then the world must be running alright. It never crosses their mind that their little world (sukhi grihakon^[3][3]) might have been intimately connected with the larger world. This group also radiates a most despicable form of irritation and they carry it with them. This group constitutes the largest proportion of the population and since this irritation is quite impotent, no revolution so much worshipped by the Bengali elite of earlier generation would ever take place here. I have heard Asoke Mitra‘s lament ^[4][4] but cannot sympathize as readily with him on his lament on the general loss of quality in contemporary Bengali poetry.
Tagore – the aristocrat by birth and aristocrat by temperament had to deal with this mass of people all through his life and interaction in Bengal. His aristocracy has the characteristics of ownership and that is the reason why he could call any human product as his own irrespective of its origin in time and geography. Amarty Sen, in his essay on Gandhi and Tagore in The Argumentative Indian has brought this feature of Tagore‘s attitude that permeate his views on nationalism, civilization conflict and cultural exchanges^[5][5].  Tagore himself was well read in Kalidas and he was fond of a Sanskrit word and concept – Jananatar-sauhridani – it is impossible to convey the soft and subtle sweetness of Sanskrit but it roughly means friendship between one person and another. He would not have been surprised while finding the stark contrast between the pogrom of Gujrat and the liberal spirit of Bengal. He would have approved Nirad‘s displeasure of the naming of Bangladesh for Bengal^[6][6] or Bangla-desh had an integral cultural and existential unit in his mind. When the poet bestows the artistic gift to Nawalkishore – Nawalkishore tomai dilam bhuvan-dangar math – this is no Bengal or India, he is offering the whole world – not the globe and globalization of any variant but what signifies in the Sanskrit verse – Vasudwiva Kutumbakam, Swdesha Bhuvana-Trayam. It is no wonder that Gandhi and Tagore would have to have a radical disagreement over the contribution of Western Civilization in view of the contemporary situation of India under the colonial rule or mis-rule of the English – one of the pre-eminent representatives of the European Civilization. For Gandhi as a mass-leader and that too of the mass of India, it was politically and temperamentally impossible to be aware of the distinction between the European Civilization and the English administrators of India, petty or big. Tagore always did. He gave a very practical advice to his countrymen that there is a distinction and that distinction is fundamental, that lies between the English spirit and the behaviour and policy of English colonists in India.^[7][7] Applying this concept with regards to India, he grasped the highly significant aspect of contemporary Indian attitude to India‘s ancient past. In one of his essays, he mocks the attitude of some of the elites proclaiming the so-called Aryan heritage mixed-up with a hotchpotch of spirituality, science, and technology and we-have-done-it-all-prehistorically. It was the reaction to this attitude that James Mill had to observe that any Hindu pundit would come in contact with modern scientific and technological ideas and immediately find those in their own books.^[8][8] I have heard this hotchpotch and this variation of themes so many times from many educated and respectable people that I wonder how heroic was for him to escape those follies. For him, India‘s ancient tradition was as much as connected with him as that of other civilizations and other cultures. He was also well-aware that to consider us as the Aryans is equivalent to comparing the mammoth with the elephant. It is not false and being half-truth and shaded truth is more dangerous if taken without proper critical and common sense attitude. Hence, his globalization was of a variety which is equally mysterious to the champion of Hindu pasts of the past days as well as those of the present. His loneliness is his own making and that provides the clue why he is being considered not a living tradition by certain commentators. These commentators are not insincere nor all of them have very shallow knowledge about him and his works, but it is the difference of the quality of thought and perception that lies at the root of underlining the observation.
It is now natural and interesting to review two questions which are not important for Tagore anymore but for us.^[9][9]  Firstly: how the globalized and globalizing Bengalis would continue to find Tagore in their intellectual and cultural life? Secondly: how significant and relevant the ideas of Tagore will remain in this globalized environment?  In the next two sections these two questions will be tackled, not from a scholarly standpoint but from circumspection and observation, much of it personal and acquired while working within the contemporary environment of Bengal.
[1][1] Milan Kundera commenting on the Truth of Novel. He argues that the truth of novel is that which only novel can unveil or discover. I find this definition most appropriate for such a highly complex art form like novel.
[2][2] I read in the newspaper that the Central Government of India is thinking of passing a law to forbid any agricultural land to be handed over to private industrial houses to build industries. In case of Bengal, it seems that there is no such land which is not cultivatable. This is an evidence which adds fuel to the highly charged debate of  building up a car factory by Tatas in Singur.
[3][3] Literally means Happy House-Corner and I have discovered in the streets that there is a magazine goes by this name.
[4][4] Kabita theke Michile – Collected Essays by Asoke Mitra meaning From poetry to procession.
[5][5] Gandhi and Tagore – The Argumentative Indian
[6][6] As quoted by Taslima Nasreen in her essays – Diwakhandita – Part 2
[7][7] Choto o Boro – Kalantar
[8][8] Amartya Sen as quoting in The Argumentative Indian.
[9][9] Buddhadev Basu paraphrased while he spoke about the lack of quality translation of Tagores work and the loss thereof.

Story of a subcontinent unchanged

AUTHOR: SHARATCHANDRA CHATTAPADHAY

REVIEWED BY SARWAT SARAH

Bollywood has implemented the idea in my mind that the world of Sharatchandra Chattapadhay is one big glittering film set. Dancers swish and swirl on marbled floors, surrounded by music, hookah and intoxicants. Every man is a zamindar or a poet while every woman is either a beautiful courtesan or a rich zamindari with kohl-rimmed eyes larger than life. Music, hookah and intoxicants are, of course, plentiful. I admit my ideas are naïve but, caught between songs that made me do the thumka and Shahrukh Khan's overly overacting, it never occurred to me to delve deeper. That is, until I started reading 'Srikanta'.
'Srikanta' is a semi-autobiographical novel of a wandering Brahmin living in pre-independent India crumbling under the weight of caste segregation, communal dissidence and the boot of British colonization.With no compass to his own life, Srikanta leads a life that is alternately freeing and constricting, molded by the women he encountered.
To be fair on the protagonist, he makes no qualms about who he is and paints a very ruthlessly honest portrait of himself. The story begins with the narrator as a little orphan boy, leading a pastoral life in a seemingly tranquil village. After being befriended by Indranath, a rebellious Brahmin who saves Srikanta from a group of village bullies, the two paddle around the river to embark on dangerous expeditions. In these adventures, Srikanta had his first glimpse of society's hypocrisy towards caste and gender. It was also in one of these adventures that Srikanta encountered Annada Didi, Indranath's high-born sister who, because of her marriage to a drunken snake-charmer, is shunned by the villagers.  After the death of her husband, Annada Didi disappears into the vast Indian territory, never to be seen again. Nevertheless, her quiet patience and fortitude in the face of poverty cast a lasting impact on Srikanta's mind and for the rest of his life he sought women who would remind him of Annada Didi.
As Srikanta journeys through life trying to find the elixir to his confused soul, he encounters a host of individuals along the way who shape his ideas on life. His ideals are molded by the unique women who come and go in his life and leave a lasting impact. From the dancing girl Pyari (a woman as confused, lost and annoying as Srikanta and naturally the love of his life), to the determined Arannya who lived life following her own moral code, to the elusive Kamal Lata; each woman left her mark on Srikanta who struggles to make peace with the longings of his heart with the rigorous demands of Indian society, ultimately discarding the latter for the former.
Through the eyes of Srikanta we part the glittering veils and witness the imposition of centuries old traditions on common people and its effect on caste and gender. We see the caste system (a 'tradition' still enforced in India and many other parts of South Asia) and how it allows one man to think himself superior to his brother simply because of name. We see how women are maltreated based on religious hypocrisies and how society as a whole is united in making them helpless and marginalized.
It is the ultimate mark of Sharatchandra's genius, and a tragedy that, by writing a social narrative a hundred years ago, he captured the essence of modern Indian subcontinent that is still as regressive and cruel, with no lessons learned from the past. Perhaps, Srikanta's confusion and helplessness is a stark reflection of society, and us, as a whole. He is a reminder to us bystanders who quietly watch our world crumble around us, ineffectually screaming internally, our voices drowned by the more powerful around.

Book: পাহাড়তলীর ভূত (The Ghost of Pahartoli)

Author: Shawkat Osman

Genre: Horror Short Story

Target Reader: Teenagers

Publisher: Soptodingha (Book Fair Stall# 521)

1st Published: December 2016

Copyright: Shawkat Osman

Dedicated to: Ruben, Rupen, Oarid & Gang

Cover: Niaz Chy. Tuli

Graphics Illustration: Shamim Mithu

Price: 80/- (At Book Fair: 50/-)

ISBN: 978-984-92273-1-1

''TOM DUM DIM BONG TOMTOM DONG!''
The narrator, a Bangladeshi born, is somehow stuck for 30 good years for work somewhere with a view of the Great Himalayan Range, surrounded by jungle, and unmanned paths. His neighbors are mostly not so civilised and believers of the jungle's ways.
To the adventurous ones among you, the place might seem amazing, but the narrator himself is scared and tired of his life there. So, one rainy morning when his school friend Moshtak, now a big shot Magistrate, pays a sudden visit, he is overwhelmed!
They go out for hunting, long walk, and they talk and talk till they crash out of tiredness. Night falls quickly there and the weather is a killer! At one point of night, the narrator wakes up and discovers Moshtak all armed in khakis, boots and a hunting rifle, whispering in his ears to wake up!
A big bad storm has started and Moshtak is riddled by a noise that seemed like countless people gasping for a little breath of air, while someone or something is strangling them with inhuman power!

Moshtak is all set to get out and save the dying people but his friend asks him to go back to sleep as it is a common sound that the nature makes during rain & storm. Not impressed Moshtak goes back to bed.
Next day his friend makes Moshtak's eyes sparkle with excitement telling that there are actually stories behind the noise, one being a long lost cruel jungle king sacrificing human lives by strangling them to death at a place called 'Pahartoli' just couple of miles away. And the noise is believed to be the death screams of those unfortunate ones.
A worse storm strikes that night. Moshtak, adamant to find the truth, and his friend, a believer of the supernatural, start their journey towards 'Pahartoli' with one lantern. The distance, though a few miles, is hilly and hardly ever walked before! Halfway there, they are stopped by a new noise, as if drums are being played in a perfect rhythm- “TOM DUM DIM BONG TOMTOM DONG/ TOM DUM DIM BONG TOMTOM DONG” ..

Bangajayi

Author: Md Shazzad Hossain

Cover Lettering: Rafique Ullah

Published by Swapnolok, February 2017

Price: 100.00 BDT
Bangajayi is a book of poetry by Md Shazzad Hossain, a textile engineer by profession. The engineer-cum-writer maintains rhythmic style in the book with 983 lines. It is the year-long effort of the poet who tries to highlight the entire life history of Father of the Nation Bangabandhu Sheikh Mujibur Rahman (from his birth to death) in the poetry. The book was brought out at Ekushey Boi Mela on February 21 this year. It was published by Firoj Khan, proprietor of Swapnolok. Although the author is an engineer, he has been involved with writing since his boyhood. It is now available at Swapnolok, 19, New Eskaton Road, Ramna, Dhaka-1000.

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