Tag: bangla-novel

Writer Debjani Halder’s Book on Short Stories ‘Wrinkles in Memory’ Launched


Video: Writer Debjani Halder’s Collection of Short Stories Launched

The book launch of Debjani Halder’s book Wrinkles in Memory took place at Oxford Bookstore in the august presence of director Raja Sen and Alokananda Roy.

New-short-stories-collection

The book Wrinkles in Memory consists of twenty two short stories based on the theme of nostalgia and reminiscence. The foreword of this book has been written by award winning author, Rebecca Lloyd.

short-stoties-collection

Speaking at the occasion, writer Debjani Halder said “There are memories which we remember and there are memories which we forget. I still remember the time when I made my first paper boat and sailed it in a pond. The book will remind you of many memories and you will surely love it”.

Alokananda Roy who was also present at the launch of the debut novel of the writer was full of praises for her. “She has this strong determination and strong will which is so very impressive. Added to that is her caring and loving heart which makes her such a darling. I do not have much knowledge to speak about her writing skills but what I have read, I find her stories to be very appealing” said Alokananda Roy.

The book is readily available at leading book stores and also at the online stores.

Priyanka Dutta

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Collection of Fairy Tales in Bangla ‘Nanan Desher Nana Ranger Roopkotha’ Launched in Kolkata

Bengali-short-stories-collection

Albert Einstein — ‘If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales.’ With this idea in mind octogenarian Ram Mihir Sen released a book on fairy tales named “Nanan Desher Nana Ranger Roopkotha” at Starmark in the presence of Dr. Satyabrata Bhattacharya.

The book Nanan Desher Nana Ranger Roopkotha is a collection of twenty fairy tales from countries like India, Arabia, Austria, Denmark, France, Hungary, Italy, Ireland, Malaysia, Nepal, Norway, Russia, Spain, United Kingdom and Poland. With as many as nineteen of them translated in Bengali for the first time ever, a conscious effort has been made not to include those stories which are already very popular among the Bengali readers. This has been done so as to increase the interest levels of the readers to a great extent in reading the stories in the book.

Bengali-Fairy-Tales-collection

Speaking at the occasion Ram Mihir Sen said “There is a growing tendency among the children not to read story books-especially those of fairy tales. Even I have seen parents who dislike their children reading such fairy tales. They approve of Harry Potter series but they disapprove of the fairy tales written by the various authors. But I will like to highlight on the fact that reading fairy tales is a good thing in developing the imagination of children. Moreover it helps in development of language too”.

The proceeds from the sale of this book will be donated to the Binapani Ashram, Moldanga in Sriniketan.

Priced at Rs. 150, this will be a good gift for your children and also help in enhancing the literary skills and imagination of the younger audience considerably in the long run.

Priyanka Dutta

 

 

Collection of Stories ‘Chena Ochena Kichhu Choritro’ by Annwesh Mukherjee

Chena-Ochena-Kichhu-Choritro

Chena Ochena Kichhu Choritro Short description :

The book contains three stories, spanning across generations and time. The salient feature in all the stories is the characterization. The author tries to delve into the deep philosophical and human elements of life which are never so easy to fathom, yet most intriguing to study. A blend of personal assessment and examination of rudimentary aspects of society is what the book offers to its readers. A short snippet on each story is presented below:

1) Taap O Onutaap – This is a simple story on the concept of friendship, starting from one generation and ending in another. This is a story filled with emotion that can only be felt in the context of friendship.

2) Atmabhimaan – This is a story of today, a generation riddled with confusion. A short face-to-face with reality strikes the mind of the protagonist as he tries his best to understand the pangs of the society.

3) Sebabrati – This is a narration of the life of a woman who finds herself in an amazing whirlwind of life. To her, the life is a straight line but is it really meant to remain straight throughout?

Reviews :

Review 1 –

“The stories present you an array of mesmerizing characters which can leave you with a sense of Dejavu. At certain  points you will find yourself empathizing with them and they can leave you with a sweet melancholy strain that can be enjoyed in the company of silence. They question your individuality, your perception of happiness, your realization of success and celebrate innocence.  The narrator has managed to peep through the eyes of time and the canvas covers how the society has translated in the eyes of time.”

Souvik (Friend and well-wisher)

Review 2 –

“Annwesh starts his literary journey with three well crafted novellas. They are different in a sense of time, setting and characters but at the same time sewn together in a subtle melancholy string of humanity. A deep exploration of human emotions, life and reality manifests itself through the different characters Annwesh depicts. Sometimes they are ordinary, yet the next moment they showcase that inner eternal life which make each one of us special. A thought evoking book, it is a fascinating portrait of life.”

Shubhabrata (Friend and well-wisher)

The Author Annwesh Mukherjee

Anwesh Mukherjee

Mr. Annwesh Mukherjee who is a software engineer by profession and is a Swedish National is also a story-writer, a poet and an essayist, who thrives on human values and human emotions, and who embodies in his works, elements from past and present generations of human society. A formidable grip on characters allows him to document complexity and openness with equal ease. The poetic charm gets mixed with a narrative flavor which creates a unique description of incidents in Annwesh’s works. A mind molded in the realm of simplicity of yester-years yearning to reach out to the audacious vivacity of the new age life is a simple depiction of Mr. Mukherjee as an author and a smooth and lucid blend of lyrical words with some commonplace expressions best describes the language the Annwesh the author cherishes the most.

Sarat Chandra Chattopadhay Novel Choritroheen; A Fresh Perspective on Sarat Chandra’s Liberated Leading Ladies

Choritroheen (the CharacteSarat-Chandra-Chattopadhyay-Novelrless) the Sarat Chandra Chattopadhay Novel is a saga of love.

It is primarily the story of Sotish and Sabitri who are in love but succumb to the social barrier of caste and creed. Along with them we find Upendra, Surabala, Kironmoyee and Sarojini trying to make meaning out of life and love.

Though in the novel we get to see the socio-economic panorama of Chattopadhay’s time, and the novelist raises pertinent questions against the ills of the then society, yet I find it to predominantly be a saga of love and love of particularly four women, namely Sabitri, Kironmoyee, Surabala and Sarojini. An interesting image that emerges out of the plot, that didn’t escape a first time reader of the novel, as I was, is that these four women can be paired into two sets of alter egos. Sabitri and Kironmoyee. Surabal and Sarojini. We can also call these sets the coming together of two polarities.

Let us first look at Sabitri and Kironmoyee. Sabitri, born in a Hindu Brahmin family, and thus of a higher caste, widowed at nine, is forced to take up the role of a low class household maid for a living. Kironmoyee too, a high caste woman, is married of as a child, and becomes a widow when Haran dies. Both are educated. Both are self-willed and full of self-respect. But the similarities end here. While Sabitri remains uncorrupted by the lustful men and their tempting offers, Kironmoyee’s ineer world falls prey to the luring of her outer world. Unloved by her husband and denied of all conjugal bliss, this lonely woman leaves her ailing husband in his sick bed to enjoy the bitter-sweet company of his family physician, Dr. Ananta. Sabitri falls in love with Sotish, a high caste staunch Brahmin, who equally loves her but she, throughout the novel, keeps herself away from him for his well-being. She denies herself the love of Sotish, pretends to love another man, Bipin babu, and stays away from Sotish, only so that Sotish does not ruin his life and his social well-being by associating himself with a base woman like herself. On the other hand, Kironmoyee, in love with Upendra, and rejected by him, seeks revenge for being spurned in love, pretends to love Dibakar, and elopes with him, only so that she can hurt Upendra and tarnish his social iamge. While Sabitri is an idol of pure, selfless and unconditional love, Kironmoyee is the image of vengeance and impure passion. Thus they become the alter egos to each other.

Coming to Surabala and Sarojini. Unlike the other set, there is hardly any similarity between the two. Surabala, wife of Upendra, is a devout and religious woman, and a dedicated lover to her husband. She is uneducated, unlike Sarojini who is convent educated. Surabala is deeply rooted in her own religion, voraciously reads religious texts like the Mahabharata and believes every word written in them. Sarojini, on the other hand, is brought up in a Western culture, wears Western clothes and mixes with like-minded men. She is the woman who is uprooted from her roots, her religion and who adopts a culture and lifestyle foreign to her soil. She debunks Hindu religion, mocks religious texts and questions the usual social norms of a staunch Hindu society. She even laughs at Surabala’s blind faith in her religious texts.

But interestingly, these four women, strikingly opposite to one another, are brought together by Sarat Chandra, in the way they respond and finally submit to love. Surabala loves only one man throughout her life, that is her husband Upendra. She even dies in his arms. Sarojini too, though her alter ego, when falls in love, she loves only one man, and that is Sotish. Even when she is mixing with men like Shashanka, in her heart she keeps loving Sotish. While Surabala is an epitome of marital love, Sarojini’s fate too culminates in her betrothal to Sotish.

On the other hand, Kironmoyee, after all her attempts to hurt Upendra and avenge his rejection of herself, comes a full circle when she returns to him in his deathbed and falls at his feet in tears. Sabitri too remains unflinchingly devoted to Sotish, and her unconditional selfless love for him ultimately makes her accept his marriage to Sarojini and go away from him for his betterment.

All these four women, different from one another in their lifestyle and ideologies, divided by their strikingly opposite walks and talks, finally emerge as mirror images of one another in the way they love their men and are devoted to them.

But there is one point of contention. Often it is said that Sarat Chandra portrayed women as much ahead of time in their belief systems and lifestyle. It is believed that he was a strong supporter of women’s liberation.  True in a way. He portrays Sabitri as a self-willed woman, full of self respect and pride, working for a living and loving a man after her widowhood, a phenomenon unthinkable by the widows of Chattopadhay’s time. Another widow, Kironmoyee, is an educated woman, vociferously questions the social norms and religious institutions, denounces the idea of God and deconstructs the notion of morality and sexuality. She, as a married woman, has the guts to love another man, Upendra, and as a widow, has the courage to elope with another man, Dibakar, much junior to herself. She is a woman much ahead of her own time. Sarojini too is portrayed as someone much out of social conformity and ahead of her time in her thoughts and lifestyle. She rebuts Sotish’s ideas of religion and society, submerges herself in a foreign, and thus a tabooed culture, to the point that her mother has to worry about who will marry her.

It is true that Chattopadhay initially sketches these women as modern and liberated. But one wonders where this leads to. At the end Sabitri can’t break the taboos of the society and embrace Sotish. She shirks away from him and his passionate love for her, worrying about the social repercussions of Sotish’s marrying a low caste woman like herself. Therefore, at the end, dear readers, isn’t she giving into the social barriers of caste creed and taboos? Kironmoyee too, who once questioned the idea of God and institutionalized religions, the basis of morality and propriety, is seen, at the end, to go for ‘Ganga-snan’ every day to wash away her sins in the holy river, and goes to offer prayers at Kalighat for Upendra’s recovery. Love makes her lose her sanity and run after institutional religious leaders asking them if God exists and if he will listen to her prayers.  Sarojini, the social outcast and rebel, in love, dons a traditional sari and cooks for Sotish. She, who once scorned Sotish’s society and his orthodox social and religious ideas, gives into him in love. Surabala remains from beginning to end an ideal replica of social conformity, religious fervor and blind faith in socio-cultural institutions.

So, at the end of the novel, one may tend to become bewildered by the fates of Chattopadhay’s so-called liberated leading ladies. Individualistic and enlightened in the beginning, they all fall into line in love. While one expects liberation and socio-cultural salvation of these woman, Chattopadhay sadly brings their redemption through their giving into what they first questioned. One wonders why Chattopadhay didn’t uplift his women in their journey and destiny of love but makes them literally ‘fall’ in love.

Author:

Nivedita-DeyMs. Nivedita Dey is a Post Graduate in English from Stella Maris College, Chennai and has been working in the films and television industry since 2006 as a story and script writer and creative consultant. Nivedita has written for TV programs for channels like Star Jalsha, Life OK, Star Plus, Channel 8 etc. Nivedita has spent quite a few years in Mumbai working in the entertainment Industry there and is currently based in Kolkata and is working as a writer and creative consultant for Kolkata’s leading Production House Shree Venkatesh Films.

Nivedita has keen interest in literature, cinema, social and political issues and enjoys expressing her views by way of guest blogs and articles in popular columns and web portals.

Interview: Eder Messias, Brazilian Comic Artist who has added the Master Strokes to the Graphic Novel Devi Chaudhurani

Eder Messias interview

It is our pleasure to introduce Eder Messias, the guest artist from Sao Paulo, Brazil who contributed in the Graphic Novel ‘Devi Chaudhurani’. To get to know more about this rising talent we conducted an interview with Eder and he was nice and kind enough to oblige us despite his busy schedule.

Eder Messias interview

Sholoana Bangaliana: Hi Eder, please tell us a little about yourself and your career in comics.

Eder:  I started my career in comics with Rascunho Studio in December 2010 with a Graphic Novel called ‘Assassin and Son’. A book that tells the story of a murderer who decides to leave his life of crime after raising a family, but he saw that this decision would not be as easy as he imagined . It was a crime noir action drama and a very fun book to draw. The full book was around 350 pages, and I spent a  whole year drawing the book. I also host workshops and teach young artists in the field of comics and animation. Presently I am also doing a lot of commissioned artwork.

 Eder Messias Interview

Eder Messias Interview

Eder Messias Interview

Eder Messias Interview

Sholoana Bangaliana:  How did Devi Chaudhurani happen for you? How did Shamik get in touch with you?

Eder: I have known Shamik approximately for 6 years. I met him through the Social Media platform of Orkut and we became good friends. Shamik’s work in Indian comics fascinated me, especially Ramayan 3392 AD. For a long time we have been trying to do a book together, but due to circumstances it was not working out. However, when the opportunity came with his new Graphic Novel Devi Chaudhurani, I grabbed it readily. It is really great fun to work with him. Though it was just approximately 8 pages of Devi which I did, I had a gala time working on them.

Eder Messias Interview

Sholoana Bangaliana: We Indians especially people in Kolkata are crazy about football, and we are huge fans of the Brazilian team but we never knew Brazil had such a rich culture of Comics as well. Many Brazilian and Latin American artists work with big companies like DC or Marvel. Some of them are on the top tier of artists in these companies. Please tell us more about the culture of comic books in Brazil. Who are the most prominent and famous Brazilian artists in comic book industry?

Eder: Very true, Brazil is growing every day in the Comics art. After football and movies, comics are the most popular form of entertainment here in Brazil. Everywhere you will see a school of design training people in comics and animation. People are making careers on comic and graphic novel art, I myself am a teacher of Art and Comics, Manga, cartoon, caricature. A lot of Brazillian artists work with big American and international houses like DC, Marvel and others. Some of the most popular and talented Brazilian artists in Comics are Mike Deodato, Ivan Reis, Ed Benes Daniel Hdr my friend and my neighbor RB Silva. Among comic book fans of Brazil these people are as popular as Kaka, Ronaldo, Grarrincha or even Pele.

Mike Deodato

(Mike Deodato, one of Marvel’s top artist, has worked on Incredible Hulk, Spiderman and Avengers)

Ivan-reis

(Ivan Reiss, one of DC’s top artists worked on Green Lantern, Superman, Justice League and others)

Ed_Benes

(Ed Benes, one of the veteran artists of DC Comics, worked on Supergirl, Birds of Prey, Justice League and others)

Sholoana Bangaliana: This is the first time a Brazilian artist has worked with an India based company and in an Indian Graphic Novel. What prompted you to work in a book which is intrinsically Indian in nature? What attracted you towards the story of Devi Chaudhurani?

Eder:  What attracted me? Why, the sheer wealth in history, the richness in detail. Indian culture and art has got fascinating details, and your country is filled with beautiful women, objects, clothes and buildings. Moreover I always love to draw girls and since this book has got a strong female kick ass protagonist I was immediately drawn towards it. Regarding the story, I must honestly say I got a very vague outline but the gist was exciting enough. It is about this young woman and her followers fighting the Invading foreign imperialists. It is a story of revolution and as you know we Latin Americans have got a thing for revolutions, moreover, what’s better than seeing an attractive woman heading that?Eder Messias InterviewSholoana Bangaliana: Would you like to collaborate with Indian comic companies and writers in future?

Eder: Oh surely, I love Indian concepts and themes. Shamik always discusses them and I am drawn towards them. This was just a short stint of 8 odd pages, but I would surely like to do full books. Any writers or publishers interested?

Sholoana Bangaliana: This might sound a little silly, but do you play football as well?

Eder: Hahaha…almost everyone here in Brazil plays football. I do too and as a matter of fact I am quite good at it. If I had not been a comic artist and designer, I would have surely become a football player.+

Sholoana Bangaliana: Thank you Eder for sharing your thoughts with us, we would be looking forward to your work in Devi Chaudhurani.

Eder: The pleasure is mine, and hey all of you reading this…buy the book, I swear this is gonna be a great enjoyable read for you all, and watch out for my work!

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Image Credits: Google Images