Samagra Kishore-Sahitya Vol. II

Ø  Galpo

·        Bhajahari Film Corporation

·        Chaamchike aar Tickei Checker

·        Harpoon

·        Ghora-torar Byapar

·        Nababee Amaler Galpo

·        Brahmabikasher Dantabikash

·        Genghis aar Hamliner Ba(n)shiwala

·        Gh(n)uteparar shei Match

·        Tiktikir Lyaaj

·        Bearing Ch(n)at

·        Bhajaraamer Pratisodh

·        Dada howar Daam

·        K(n)akrabiche

·        Kaak-Kahinee

·        Tin Minuter Galpo

·        Honolulur Makuda

·        Tatwabodhan mane-Jeebe Prem

·        Dashaanancharit

·        Harishpurer Rashikata

·        Ekti Janala Khulte

·        Bird of Paradise

·        Pharsee Galper ek Tukro

·        Halkhatar Khawa-Dawa

·        Torch

·        Ostader Maar

·        Chatra-Charitamrita

·        Jhow-Rahasya

·        Panchananer Haati

·        Tenida aar Yeti

·        Camouflage

Ø  Koutuk-Natika

·        Tenida aar Sindhughotak

·        Bharate Chai

·        Baaro Bhute

·        Viswakarmar Ghuri

The second volume is another classic collection of unadulterated humour in its cleanest form. Comprising of several of Tenida and company’s hilarious exploits combined with mischief abound this volume has a surprise of three short dramas tuned to comedy and more. Repeating one short story from the earlier volume, the apologies of Asha Devi and Arijit Gangopadhyay in the introduction seemed redundant as a Narayan Gangopadhyay fan would never regret any fun revisited.

Wrijuda Samagra I

From the arid deserts of Africa in Gugunogumbarer Deshe to the enigmatic Albino or the vengeance in Ruaha during Africa revisited to the legendary Ninikumareer Bagh the adventure everywhere is tinged with thrill. Mystery and adventure combine as Wrijuda, Rudra with Titir, Bhatkai set on unfolding nature's various secrets. Whether it is the trail of man-eaters or combating syndicate of poachers, Wrijuda and his followers always stand tall. Added to the thrill of the adventures, nature has been redecorated by the picteresque narrative of Buddhadev Guha. Inspired by Jim Corbett's exploites and aided by his own experience of hunting, Guha has penned some classic narratives in the volume especially the final anecdote of a fascinating tracking of a man-eater rumoured to be blessed by the Holy Spirits that draws inspiration probably from The Temple Tiger. But whatever be its source, the appeal of the concept of a Bengali hunter-cum-adventurer has made this volume as unique as it can be. Written from the point of view of Rudra the stories are blended with a contrasting yet healthy humour that makes portions of it more realistic and enjoyable.

Mishor Rahasya

From the day I heard that Srijit is going to make a movie based on this novel, I was determined to read it before watching the movie. So as I read it the most part of my imagination was filled with Prasenjit as Kakababu but it was difficult to think Aryan as Sontu. Well that partof Aryan as Sontu can be enjoyed in the movie itself but Prosenjit as depicted in the publicity stills in various magazines seem to fit quite aptly wiht the plot. Animation of it had already been made and now it remains to be seen how the movie fares.

Kakababu, in this adventure to Egypt, sets off on a curious trail of heiroglyphics jotted down in a trance by an illiterate yet powerful revolutionery turned mystic. Kakababu seem to understand the symbols but is reluctant to divulge the secret due to his principles. Danger lurks in every corner as a race begins between mercenaries with Sontu and his uncle facing the wrath of it. In the desert of Egypt, surrounded by the legendary tombs, the climax inside the pyramid and the final twist makes this one of the most exciting stories of the Kakababu series. Other characters like Narendra Verma, Siddhartha, Rini, Bimanda had been introduced but remains quite obscured due to the prominence of the key figures.

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.

The Oath of the Vayuputras

If The Immortals of Meluha had been the introduction then The Secret of the Nagas was a revelation but The Oath of the Vayuputras is nothing short of an intense game of chess with attacks and counterattacks of the masters of strategies. As Shiva tries to oust Evil from the soils of India helps come from unexpected quarters. While the call of duty makes enemies out of friends staunch support comes from distant quarters. Tragedies result as selfish souls betrays to the principles of humanity but Shiva ensures that truth triumphs above all. Traps are set, wars are fought, warriors and heroes are born but peace seems more and more distant as what seemed good shows its evil face, while the apparently evil selves show their heroic hearts. Blending myths with convincing rationale the epic is a glorious tribute to the Indian heritage. Barring some literary confusions while using expressions that may be more subtly handled the literature is unputdownable.

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.