Misir Ali Omnibus I

After you have selected a book based on its focus on mystery as well as psychology, it will stimulate the senses in a different way when the supernaturals emerge prime. Devi starts with a newly-wed wife displaying behaviour that seems clairvoyance to the husband who seeks help from Misir Ali, among others. But quickly the theme diverges when the family of the landlord gets involved in a problem which curiously mingles with that of the couple. The suspense gathers momentum as the climax is reached but the rationale of the rescue of the innocent remains mysterious even to the sleuth. But the doubts are cleared in Nishithini, the story that follows though it might not be satisfying to those whose mind is not so open to take in ideas that are based on simple belief. Further challenges for the reader await in Nishaad, where evidences of parallel worlds make Ali as baffled as the traveller between them. The narrative establishes another dimension as well to the life of Misir. Nilu, the student turned collateral victim of an earlier story turned admirer of Ali, takes it upon herself to try convincing Misir of their destined relationship. Their marriage is consummated in Anyabhuvan, but not before leading the seeker of the paranormal to a quest that leaves him with more puzzles than those he apparently solves. The story starts with the perspective of Misir Ali but culminates from a different angle which makes it a bit lengthy with the twist diluted even while a horrific future is forecast. The narrative actually concludes with a hint of a follow up which might be necessary if the chronology is to be maintained. On a different note, the following story, Brihannala, is unlike its predecessors and is a definite mystery, which, the ingenuity of the author camouflages for quite sometime. Here, the author is the protagonist, who meets Ali as the latter come seeking for him for a curious case and gets to understand him as their association progresses. Irritated, initially and trying to avoid the sleuth, the author finally gets convinced of the selfless intentions of the truth seeker and accompanies him to unravel a deep lying mystery that reveals a horrifying tragedy. The following is a collection of three bizarre stories, Bhoy, Jin Kafil and Sangeeni, which belong definitely to the mystery genre but for the last where the revelation remains satisfyingly unsatisfying. In these, the author is also a character in some cases. The following in line is another attraction due to a couple of reasons. When the underlying tension is over, a curious twist awaits the readers which keeps us guessing about whether the danger was the effect or sensing danger is the cause to stimulate the psychological effect that is central to its theme and justifies naming it Bipad, which translates to danger. Its other feature is its shows the rationale by which the sleuth solves for the truth which makes him indeed an expert in dealing with abnormal behaviour in the otherwise normal world. The next story, Anish, finds a 51 year old Misir Ali fighting an ailing liver but is eager to help the distressed. His sincerity drives him to guide a tormented mother find peace as her diary reveals her apparent hallucination of hearing the apparent dead. The next title is on the conservative side as it says Misir Alir Amimangshito Rahasya which translates to unsolved mystery of the truth seeker but in essence, there are double mysteries, one of which is apparently solved, convincing the reader albeit the evidence is only implied while the other is only conjectured without a shred of evidence to corroborate the assumptions. Interestingly, this feeling stimulated by incompleteness is the signature beauty of the pieces where Humayun Ahmed excels in keeping the magical reality alive. Added to this is the Bangladeshi setting that keeps the nationality original. The smell of the common people with the characteristic depth of the brilliant mind is etched in the central character which makes these remarkable in the intellectual domain as well. But the underlying theme of each story is tragedy, where events that are unexplained, seems to lead people to some unhappy future.

Bhut Samagra

Spanning over the varied human emotions from intense tragedies to suspenseful narratives the one element that is common to all in this collection is the spirits. Actually reference to spirit is deliberate as spirituality and not raw horror is the core of the book. Sometimes it becomes autobiographical as the author dwells on the untimely death of his Mother in a haunted residence and how he witnessed his revered Chotodadu (Grandfather) alleviating misfortunes of the needy with rituals that defies logic for the layman and makes the events no less than miracles. Also various events in the lives of Ramakrishna Sarada and their greatest disciple Swamiji have been depicted that borders presence of some forces that is subtle yet true. With a suitable note as introduction the content of this volume includes
• Raat barota
• Haat na daal
• Bhut adbhut
• Nishir daak
• Bhuter khela
• Morgan saheber bagan
• Sei raat
• Gaganer maach
• Bhutera bhuteder kichu korte pare na
• S(n)iri
• Kach
• Sei adbhut manushti
• Bhut samparke duchar katha
• Brahmadaityake ekghanta gaan shunie thakurda bari firlen
• Teel matite pora matroi jwale uthlo
• Maa bole daklen, gaganvedi chitkar
• Chotodadu cancer rogta nijer shorire tule niechilen
• Ekti chobi, ekti chobi. Khaskhas shabdo
• S(n)aibaba aloukik Shorire Gopinath kabirajke Kaashite dekhe gelen
• Hatath dekhi chaire Gaurida, tarpori nei, tablee sudhu swet sankha
• ‘Eki tumi ekhane!’ Prashner uttar ajo khuje beracchi
• Aenae dekhte gie dekhi jantranaklishta bridhhar mukh
• Siddha Tantriker shesh Puja Chinnamasta, Amabasyae rakto die Maaer Pujo korbo
• Amar kono naam nei. Ami Maaer Santan, bolei adrishya holen
• Ekta jhoro hawa boe gelo, gaacher daal bhangatr shabdo holo
• Bina meghe bajrapaat
• Kichu loukik kichu aloukik
• Charte deshlai kathi
• Gobheer raate
• Bhuter bor saja
• Ashade nnoe
Witty remarks refreshes the stories at places that balances the philosophical bend of quite a few anecdotes.

The Great Tales of Sir Arthur Conan Doyle

The versatility of Sir Arthur Conan Doyle can be felt in the pages of this book that comprises stories penned  by the creator of Holmes and Challenger some of which equals if not surpasses his more popular titles. Categorised  as the following the stories are a treasure trove of adventure, fun, terror, history and much more:

• Tales of the Ring
1. The Croxley Master
2. The Lord of Falconbridge
3. The Fall of Lord Barrymore
4. The Crime of the Brigadier
5. The King of the Foxes
6. The Bully of Brocas Court

• Tales of Pirates

7. Captain Sharkey: How the Governor of Saint Kitt's came Home
8. The Dealings of Captain Sharkey with Stephen Craddock
9. The Blighting of Sharkey
10. How Copley Banks slew Captain Sharkey
11. The “Slapping Sal”
12. A Pirate of the land (One Crowded Hour)

• Tales of Blue Water

13. The Striped Chest
14. The Captain of the “Polestar”
15. The Fiend of the Cooperage
16. Jelland’s Voyage
17. J. Habakuk Jephson’s Statement

• Tales of Terror

18. Horror of the Heights
19. The Leather Funnel
20. The New Catacomb
21. The Case of lady Shannox
22. The Terror of Blue John Gap
23. The Brazilian Cat

• Tales of Twilight and the Unseen

24. The Brown Hand
25. The usher of Lea House School
26. B.24
27. The Great Keinplatz Experiment
28. A literary Mosaic
29. Playing with Fire
30. The Ring of Thoth
31. The Los Amigos Fiasco
32. How It Happened
33. Lon No. 249
34. “De Profundis”
35. The Lift

• Tales of Long Ago

36. The Last of the Legions
37. The Last Galley
38. Through the Veils
39. The coming of the Huns
40. The Contest
41. The First Cargo
42. An Iconoclast
43. Giant Maximin
44. The Red Star
45. The Silver Mirror
46. The Home-Coming
47. A Point of Contact

The author's fascination for the pugilists and their game and his inclination towards the paranormals are expressed in the volumes in some of the most fantastic stories of the genre that sometimes mixes both with an unique blend. But this does not prevent him to tell science fictions with the similar classic touch. Again, devoid of paranormals, some of the tales of terror are so chilling that it will match a horror story based on the supernaturals. But his mastery seemed at its supreme with the anecdotes of historical fictions that depicts the cruel yet brave world of a time long ago when the earth was defined by the adventures of her heroins and heroes. The cruelty of Captain Sharkey and his downfall (a bit confusing as two different stories hints at two different ways) is depicted in the stories of the seas and other stories also fills in with adventures of sailors each stranger than the other. Humour also finds place in some of the most fun filled misadventures that makes them more refreshing.

Hemendrakumar Roy Rachanabali Vol-XXVIII

With a collection of short adaptations for the young, non-fictions, humourous accounts, eerie tales and detective short stories, the main attractions are the article and historical anecdote sections. Mining from old ‘Mouchak’ volumes, several collaborators have put forward their sincere efforts in the making of this compilation who are acknowledged by Gita Dutta, the editor at the very beginning. Most of the articles contains references to the original publications of the pieces. The collection is categorized as

·        Galpo

§  Ati-Chalaker Kahini

§  Rip Van Winkle

§  Chobir Guptadhan

§  A(n)dhar Raater Atihi

§  Batabi Lebur Kirti

§  Jujur Bhoe

§  Parvat-Dahan

§  Surya Devatar Purohit

§  Bagher Chokh

§  Buno Galpo

§  Jayatu Jayanta

§  Bahadurer NIrbasan

§  The Outcasts of Poker-Flat

§  Kistimat

§  Dulur Bulu

§  Raktapanja

§  Kaler Kabale

§  Agantuk

§  Romanchika

§  Bajle B(n)ashi Kache Ashi

§  Bank Dakati

§  Agantuk

§  Jagrata Hritpinda

§  Jesa Deoge Tesa Paoge

§  Chelebelar Ekdin

·        Prabandha

§  Amar ‘Mouchak’

§  Natun Banglar Natun Kobi

§  Jagannathdever Guptakatha

§  Hollywoode Takar Pahar

§  Kalo Ghushir Bahaduri

·        Aitihasik Upakhyan

§  Rakta Patharer S(n)ataru

§  Mriganayan Mahishmardini

Another very interesting aspect that can be seen is that Hemendra had narrated tragedies in such a way that children can accept it without compromising on the seriousness of the events. He conveys his intense abhorrence to historical wrongs but these seem incomplete as basically being anecdotes for the young readers, the author has kept the references at a bare minimum.

Bhuteder Niie Goppo

Sieving thru the bookself searching for something different, suddenly this one caught the eyes. Standing in a forgotten corner was my childhood's happy companion whose contents run as

• Raat Jakhan Barota

• Kustir Pyanch

• Nishi Kabrej
• Kogramer Madhupandit
• Dui Paloan
• Purano Jinish
• Nayanchand
Though these are for the children, yet they brought a sense of nostalgia and fun devoid of malice. Chiefly belonging to the ghost genre but some are exceptions that are no less entertaining. This, for a change, brought some fond moments back once more.

Sadhu Kalach(n)ad Samagra

 Some innocent mischiefs, a little bit of good fortune and a huge lot of imagination - this seems to be the apt description of the adventures of Sadhu Kalach(n)ad. With a slightly long prelude Sadhu Kalach(n)ad Katha by Kinnar Ray, the volume contains pages of fun, entertainment and humour without a trace of malice. With his acute common sense, an honest heart and an eye for opportunity, this precursor of Tenida and with slightly behavioural resemblance to Pagla Dashu, Kalach(n)ad is yet another classic addition to the hall of fame of Bengali literature. I distinctly remember reading one of his exploits at a very young age, that was contained in a collection of several short stories including Satyajit Ray's Khagam but after that this character had disappeared into the oblivion. infact i did not remember the story also very well but when I chanced across the title in the booklist at the Book Fair, I did not loose an instant but to get hold of it after a bit of searching among the stock. This wonderful collection contains

• Sadhu Kalach(n)ad
• Sadhu Kalach(n)ader Palakeertan
• Sadhu Kalach(n)ader Natun Kaaj
• Sadhu Kalach(n)ader Future
• Sadhu Kalach(n)ader Falao Karbar
• Sadhu Kalach(n)ader Medineepuran
• Jungle Liner Nanasahe
• Cashier Kalach(n)ad
• Tutor Kalach(n)ad
• Spy Guy
• Babar Badshar Ghash
• Mahakasher Dhulo

The uniqueness of Kalach(n)ad is that he mixes himself in not only his village episodes that contains his encouter with the supernaturals, but his exploits also spans over the country and serves in the wars. Though the stories are chronologically arranged, but each story contains a summary of the previous episodes which though seems a bit monotonous as each chapter proceeds but is apt if the reader tries to enjoy the stories at random without feeling out of context. This charming compilation is sure to etch pleasant memories in the minds of its readers.

Jabar Baro

This particular collection of Ray's dozen stories seems a bit disappointing as though it contains one of the most varied collections ranging from some of his short stories, punched with some of Tarineekhuro's narratives, culminating in the traditional style with a Feluda story and also containing, for the first time, a play and a couple of vernacular translations of Ray's english stories, but it lacks the regular Ray charm. Though Tarineekhuro returns in style with Mahim Sanyaler Ghatana, Ganatkat Tarineekhuro and Galpabolie Tarineekhuro, the twists progressing more unpredictably and enjoyably more than before but curiously Sakuntalar Kantahar lacks the characteristic Feluda wit and the Ray humour. The translations, courtesy Sreemati Bijaya Ray, titled Puraskar and Barnandha, matching in their theme and another very interesting aspect that the characters are nameless, but they are contrastingly enjoyable and gloomy respectively. Haaui is a refreshing play and as far as I can place it, this is an adaptation of one of the author's own short stories. Shilpi and Pratikriti are again thematically similar but while the first has a delightful twist the later is abrupt and disappointing. Abhiram begins with a promise of suspense augmented by its illustrations but the climax is almost totally predictable. But the best of the collection is Mrigankababur Ghatana which borders sci-fi and will be remembered by the readers for its classic blend of psychology, suspense and the signature twist which again reminds us of the master story teller. Brajaburo reflects another socio-psychological aspect which is enjoyable as a story and reveals the stark truth of loneliness.

So though it is a collector's item for completing the Ray works but some of the narratives are far from the average as far as the author is concerned. So readers may shop for it but might as well keep their expectations a few octaves low. The illustrations are though not all by the author but the others has done justice to the stories. These are at par will the original style of the author.

Ascharya Pradeep

Aladin's magic lamp turns up in the heart of Calcutta - the owner in this case being Anilda (note the anagram of Aladin), the so familiar Bengali office goer barely supporting his family of three and sometimes trying to live off the income of his wife. A regular buyer of lottery ticket, never in his dreams had he hoped for fortunes that is promised by the genie. So in his enthusiasm when he gets all that the genie suggests he is yet to learn a hard truth that leaves him the same miserable fellow as he was before the lamp came to his life. Though the finale is a bit predictable with the style followed in works of master story tellers like O. Henry, Satyajit Ray, Roald Dahl, but Anik Dutta once more pulls of a fine adult comedy based on Shirshendu's short story, whose best part is the crisp script. The style being repeatitive of what had been followed in Bhooter Bhabisyat, the charm is monotonous but no less appealing. But the major problem in this Arghya Kamal Dey edited elegant presentation may be categorized in two parts. One being the last song in the movie which have been apt if sung in background and not in Saswata's lips. The second is the use of too many side plots that have been given prominence, notably the auction house sequence and the Haridas Pal sequence, which being the finest comic episodes too, but remains so detached from the main storyline that it seemed forced only. As to the acting Saswata is just magnificent closely followed by Srilekha and Rajatava. The sets are well designed with an eye to detail and Anik Dutta's acknowledgemen to the great Ray is also spelled out again. But use of some common jokes and 'do you know it' could have been done away with for a crisper narrative.

A Face in the Dark and other Hauntings

This is not 007 of whom I've not read but watched only on movies, but my first flavour of Ruskin Bond is pleasanter than I thought. As revealed in the Introduction a non-believer of ghosts did not stop Bond to write some fascinating stories of the other world. The stories all can't be termed as truly of the hauntings but unexplained phenomenon predominates in almost all the stories.A fascinating blends humour and horror te book is a treasure for fans of English short stories. You read about ghosts but never get terrorized and infact begin to love some of them. Though macabre finales will haunt you but the effect of fear will wear out quickly. Filled with characters from Indian surroundings, the stories also portray some legendary fictitious and real persons too. Black humour is also not left out that seems so required for its completeness. Gory events are elegantly portrayed and the smell of rustic ambience can be felt in almost every anecdote. Infact the spirits are not all human and have twists that are more unexpected than the characters. Thus the Indian ghosts again remain paramount in

• A Face in the Dark
• The Monkeys
• The Haunted Bicycle
• The Vision
• Whistling in the Dark
• Reunion at the Regal
• Wilson's Bridge
• Topaz
• The Black Cat
• Whispering in the Dark
• The Wind on Haunted Hill
• The Ghost in the Garden
• On Fairy Hill
• Will Ashley Return?
• The Prize
• Eyes of the Cat
  
• Susanna's even Husbands
• The Trouble with Jinns
• The Haunted Bungalow
• Ganpat's Story
• Listen to the Wind
• Ghosts of the Savoy
• The Man who was Kipling
• The Daffodil Case
• Picnic at Fox-Burn
• Something in the Water
• The Family Ghost
• Night of the Millennium

Gogol Omnibus

The content of this young adventure series contains

• I(n)durer Khutkhut
• Ratnarahasya o Gogol
• Gogoler Keramoti
• Chora Hatee Shikaree
• Mahishmardinee Uddhar
• Gogoler Rayraja Uddhar
  
  
• Jonaki Bhuter Baari
• Buno Hateer Bandhutta
• Sonalee Paarer Rahasya
• Garadheen Janalae Rakshyash
• Adrishya Manusher Hatchani
• Ayena Nie Khelte Khelte
• Kairong Mathe Gogoler Kanda
• Durger Garkhayer Durghatana
• Paschimer Balcony Theke
• Telephone Aari Patar Bipod
• Gogol Kothae?
• Harano Buddhagupti

The adventure stories revolve around he overly inquisitive boy Gogol and the way he unravels bafling mysteries. But most of the stories excepting some of the later ones, are less about detection than adventure and one of them is only a ghost story. As truly described in the Nitai Basu's introduction Gogol actually stumbles across clues and always manages to find a comfortable nook in times of danger. Though he possesses acute sense of observation and is skilled in intelligent deduction but his maturity as compared to his age remains unconvincing in the stories. Also the settings sometimes seem to be favourable for Gogol in identifying criminals as does his knack of comng across odd events. The length of the stories are in many cases are unreasonably large and the main plot evolves after a boring introduction comprising of the lion's share of the entire narrative. So in my opinion the book is enjoyable if it is read from the last story towards the introduction as this will keep up the enthusiasm.

Ba! 12

Have you ever wondered how to tackle an hour long monotonous bus journey during a rainy season? If you have, then take hold of a Ray book and all the boredom in the world would vanish. Infact be it a boring time or a soothing holiday afternoon a Ray in hand is always a treasure to cherish. It freshens the mood while stirring the intellect.

Published posthumously the collection contains some of the memorable classics penned by Ray including a Feluda thriller but remians unique in the sense that this is the only collection of dozen stories that contain Tarineekhuro’s adventures and that too four brand new ones.

• Natun Bandhu
• Shishu Sahityik
• Nitaibabur Mainah
• Rantur Dadu
• Dui Bandhu
• Akshaybabur Shiksha
• Prasanna Sir
• Juti
• Maharaja Tarineekhuro
• Tarineekhuro o Oindrojalik
• Norris Saheber Bunglow
• Dr. Munsheer Diary

Though some of the stories contain plots akin to his earlier works still they are enjoyable just for sheer creativity. A few printing mistake and a slight but obvious error, which in all my previous readings remained undetected, seemed to be the only disappointments in store. The added appeal is Ray’s sketches and the Ray Jr’s cover design. Gifted by my father within months of its publication this easily finds its place among one of my all time favourites.

Parashuraam Granthabalee Vol I

·        Introduction by Shree Pramathanatha Bishi

·        Gaddalika

o   Shree Shree Siddheswari Limited

o   Chikitsa-Sankat

o   Mahavidya

o   Lambakarna

o   Vushandeer Maathe

·        Galpakalpa

o   Gamanush Jatir Katha

o   Atalbabur Antim Chinta

o   Rajbhog

o   Parash Pathar

o   Raamrajya

o   Shona Katha

o   Tin Bidhata

o   BheemGeeta

o   Siddhinaather Pralap

o   Chiranjeeb

·        Dhusturi Maya Ityadi Galpo

o   Dhusturi Maya (Dui Buror Roopkatha)

o   Ramdhaner Bairagya

o   Bharater Jhumjhumi

o   Rebateer Patilabh

o   Lakhsmir Bahan

o   Akrursangbad

o   Badan Choudhuryr Shokshabha

o   Jadu Daktarer Patient

o   Ratantikumar

o   Agastyadwar

o   Sastheer Kripa

o   Gandhamadan-Baithak

·        JamaiSasthee

·        Laghuguru

o   Naamtatya

o   Daktari o Kobiraji

o   Bhadra Jeebika

o   Ros o Roochi

o   Apabijnyan

o   Ghaneekrita Taila

o   Bhasha o Sanket

o   Sadhu o Chalit Bhasha

o   Bangla Paribhasha

o   Sahityabichar

o   Khreesteea Adarsha

o   Bhashar Bishuddhi

o   Timi

o   Prarthana

o   Sanketmoy Sahitya

o   Bangla Banan

o   Bangla Chander Shrenee

o   Rabeendra Paribesh

·        Kobita

o   Jamaibabu o Bouma

The first volume was presented to me at a very young age and I’d bought the other two in course of time mostly to complete the collection. So when I now reread it I pleasantly realized that a mind so young as I had was quite inadequate in enjoying works of one of Bengal’s greatest satirist and researcher of Bengali society. On one hand Rajsekhar Basu, introduced by Shree Pramathanath Bishi, had etched out the Bengali society that with its best and worse can only be loved for the unique yet fascinating character. On the other hand fictions of the likes of Dhusturi Maya etc. not only were ahead of its generation but can be considered as pioneering works extending the limit of imagination. The sketches of Jatindrakumar Sen increase the appeal by a greater extent. So it was upsetting enough when it is realized that the story JamaiSasthee, promising yet another humorous journey, could not be completed in the author’s lifetime. But this is compensated to some extent by the comical anecdote in rhymes of the son-in-law and his wife. But the best part of the book seems to be the essays that may be categorized as belles-lettres in which Basu had mixed his characteristic humour in researching the Bengali social-economic life.