Ek Dojon Goppo

The index runs as:

1. Septopaser Khide
2. Bankubabur Bondhu
3. Bipin Chowdhuryr Smritibhram
4. Dui Magician
   
5. Anathbabur Bhoe
6. Sibu Aar Rakhyaser Katha
   
7. Pterodactyler Dim
   
8. Badur Bibhishika
9. Patalbabur Filmstar
   
10. Neel Atanka
11. Feludar Goendagiri
12. Kailas Chowdhuryr Pathar

It was quite coincidental that back in 1985, within days of receiving two of my most precious gifts in the form of the books, ‘Joy Baba Felunath’ and ‘Sonar Kella’ that Calcutta Doordarshan telecasted one of the two films (I forgot exactly which one it was though if my memory serves me right it was the former). So till date I am not very certain whether it was the brilliant story telling or the superb directing that made me an instant fan of Ray at such a young age. In fact Feluda, Soumitra and Satyajit all seemed to me the same person at that time. Well that was the start and from that day I had become a devoted collector of Ray’s literary creations.
So it was with a nostalgic feeling that I took up ‘Ek Dajon Goppo’ again from my shelf and started once again savouring the works of the short story genius. This collection of twelve contains the famous science fiction, ‘Bankubabur Bondhu’ which seemed to pave the way for Spielberg’s creation of ‘E.T.’. The collection also includes the 1^st of Feluda stories in ‘Feludar Goendagiri’ where the sleuth is seen to handle his 1^st case set in the backdrop of Darjeeling. The volume also features another Feluda story, ‘Kailas Chowduryr Pathar’ but from the storyline it can be ascertained that this case was written at a much later date (as there is the mention of ‘Badshahi Angti’ here). One of the important points to note in these two stories is that the genius of Ray in producing a sharp twist to the events that singles out Ray stories from the others (that can only be compared to the style of O. Henry) greatly shadows the brilliance of Feluda that is felt in other novels of the private investigator.
The other nine stories include supernatural episodes, humourous stories and some classic ones. In all of them the outstanding knack of storytelling have given the collection a new dimension. In many cases, the main characters in the fictions are picked from the common Bengali crowd, which not only gives a realistic touch but also conveys the skill of the author in creating extraordinary drama with an ordinary caste. It leads you to believe that talent doesn’t require a support crew but it blossoms in its own way in the works.
Ray always had an eye for detailing which is apparent is his stories too. In places where it requires explanation, it has been offered in a very simple, easy-to-understand way such that the stories never turn boring while the detailing remains uncompromised. But here, one point need to be mentioned where it surprised me how the author, with a keen eye to minute events, confused in the social relation of Feluda and Topse (Feluda’s only satellite till Jatayu shared the field). In the 1^st of the two Feluda stories, ‘Feludar Goendagiri’, they are introduced as cousins in the mothers’ side while in the other they seems to be cousins in the fathers’ side. Barring this one, the whole collection is unique in its own way.