Darogar Daptar

With a necessary introduction by Arun Mukhopadhyay, the book is apparently the 1^st documented volume of true whodunits blended with fictions.

It starts with the bizarre crime of dead or missing persons returning to the bereaved only to leave them stranded with their belongings looted. This baffling mystery of Jamalaye Ferta Manush was maybe the beginning of investigations documented by Raibahadur Priyonath Mukhopadhyay who was employed in police service. This is followed by a brutal murder mystery where the sheer doggedness of the investigator solves the Advhut Hatya. Then comes the contrastingly comic episode of Chorer Gari Chora where a thief and impersonator is caught with the loot in a chance meeting. Then comes the chase for catching the crooks responsible for both manufacturing and circulating fake coins in Kritrim-Mudra, where once again the severe perseverance of the investigator will be perceived as his months of stalking the offender is rewarded though the ingenuity of the master villain in evading the police multiple times will awe the readers as it did the narrator who only got to know the methods from his catch after putting him behind the bars. Then comes the romantic yet chilling mystery in Kulsam where a murder is solved while another is prevented by the detective with help from a medical practitioner. The readers will be baffled not by the mystery itself of the Asmanee Laash (Bhayankar Lomharshankar Khuner Ghatana!!) than the way it was finally uncovered by another apparently unrelated crime with the intuition of the investigator playing a critical part. The title of Chorer Upar!! (Ekti Adbhut Anusandhan Kahini!) might act as a spoiler but the lengthy prelude is the main deterrent to the central thrill and costs not only the suspense but will be a source of disappointment when it will be revealed that a suspect was still on the loose at the closing of the cases. The following is a remarkable yet brutal anecdote, Sathe Sathe (Kutil Kaushaler Churanta Drishtanta), where it is illustrated to what the desperate can stoop to when frauds fight each other. It also has material for a thriller on screen as well but the same could not be appropriately said for the writing due to its more formal style of compilation that is critical on details but not completely on the suspense. False witnesses, paid informers, bribes find way in the plot. But coincidence makes the credibility rather poor in a particular moment. The following is, however, intellectually satisfying case with a twist starting from its title of Maar Dhan Churi (Dhanee-Putrer Premer Ddae!), which happily misdirects the reader till the evidences are collected and the real culprit is coaxed to the trap with patience that seems a little too much for his ready wit. Hatyarahasya (Khunike Gum Karibar Chesta) is a murder mystery where police is tipped off with the location of  the body, who the murderer is and where the stolen goods might be. But the tips themselves seemed a bit too fishy as evidence seemed lacking. This persuaded the investigator in a mixed goose chase that culminated in a serious confession from the greedy who yielded while being interrogated. Katamunda (Bewaris Maaler Anusandhan!) is, however, about a heinous crime that left a body in a box to be accidentally revealed to the police that sets the investigators searching for clues that seem quite a bit less forthcoming as the case advances. Besides the ingenuity of the sleuth, there are a couple of interesting observations in this narrative – the custom of the particular period and the utter lack of appropriate emotions in this particular literary piece that makes it both horrifying yet boring. The next is a straight case where the criminal Bamun Thakur (Bidyar Abhabe Abidyar Prabhab), is already identified but remained missing and the sleuth, just promoted to the rank of detectives, is given the duty to confirm the apprehension with evidence which he did satisfactorily in a pretty straightforward manhunt. In the process, several of the past crimes of the thief is revealed which establishes his reason of choosing the life of crime. The E Ki! Khun!! (Chirabiddha Streer Sahit Dhrita Swameer Ascharya Rahasya) is truly a classic where the trivial of clues led to the truth in a journey of perseverance. Albeit tragic, but the mystery is indeed peculiar where the accused is ready to plead guilty but the police is not satisfied with the evidence. Another hurdle makes the job even more tricky, the accused will plead guilty but is adamant in revealing a single personal detail. A fast paced narrative, a serious printing error albeit not the only one and an interesting section of the IPC code, all these will keep Bisham Samasya (Hrita Sarbaswya Baranganar Mritadeher Adbhut Rahasya!) a class apart in the intellectually stimulating perspective of a curious death and a theft. Perseverance continues but the tone becomes quite rustic in Balihari Buddhi! (Kono Guptahatyar Gurha Rahasya o Chorer Streer Adbhut Pratyutpannamatitwya) which is a tragic murder made more heartfelt by the insensitiveness of the narrative. In contrast, Abeer-Jaan (Kaminir Kutilchakra Bhed) is a thrilling case with surprise twist to the motive of a police complaint but for a bit too much rigmarole, the narrative loses its grip at quite a few places. However, suspense runs supreme till the very last chapters in the murder investigation of a headless corpse in Girijasundari (Rajdhanir Rajbartme Ramanee-Hatya), which though, has tremendous twists, but the serious printing mistakes, lack of emotions in places and extreme detailing which becomes irritatingly nonessential does injustice to its central theme. A fiction that follows it, is on the other hand, more focused on the plot and makes a kind of trilogy in the sense that Pramada (Kulabadhu Byabhichari Ghotae Promad!), like its couple of predecessors is also centred on a woman as the central character. Filled with drama and tension, the crime is gruesomely unique but the excessive use of expletives when the accused is a woman makes it realistic according to its age though bad in its taste. Breathing a relief to the serious crimes, comes the confessions of a fraudster in the field of literatures which will amuse and amaze the readers in the art of multiple scams mastered at that distant past which served as the basis of at least one reform, one screenplay, if not further frauds that played on human psychology as reported in Ba: Granthakar! (Arthat Pustak-Pranetar Adbhut Juachurir Rahasya!). The next title, Jemon Temni! (Arthat, Chatur Palita Putrer Bidya Prakash!!), playing a stark spoiler within the braces, is about a clever theft, which might have been unsolved, if not a chance coincidence that directed towards the partners in crime which saw the landlady with her practically adapted son lying unconscious with the valuable gone from the residence. The author assisted his one time supervisor in solving a crime that was actually a duel between  a shrewd attempt to mislead towards false suspects and the equally ingenious investigating skill of interrogating team. But false clues seemingly play the greatest havoc till then in Niruddesh Bhai (Arthat Uttaradhikari Putrer Bishoy Praptir Ascharya Rahasya?), where a murder charge threatens the accused while a curious turn of events prolong the case. But the sufferer seemed to be punished for his social ill deeds after everything. The title of Arthai Anartha (Arthat Arthalove Biswastya Bandhur Sarbanash!) will act as spoiler while solving the crime. In contrast, in Chatur Chor (Arthat Prachur Paharar Bhitoreo Churi Karar Rahasya!), which is a revelation of what paper trails could achieve, be it during the past or today, the title is but partially justified. The next, Ingrej Dakat (Healy o Warner Namak Duijan Dasyur Adbhut Brityanta!) depicts the chase for a pair of escaped fugituves. Described in detail in two parts the introductory chapter I describes the goons and their crimes while chapter II describes their capture by the valiants. The next Dak Chor (Post - Aafiser dakpatra o money-orderadir haran Rahasya!) narrates a gritty manhunt for a lost peon filled with surprising turns of events and chilling twist. A different type of storyline will be there in S(n)idel Chor (Ekti Prasiddha Musalman Chorer Jiban Kahini), which is actually a biographical version of a thief and tells about his dangerous heists. A chilling murder mystery awaits in Mundachuri (Arthat Ekti Mastakheen Manushyer Ascharya Rahasya!) that revolves around a headless corpse and reveals a surprise tale. What follows is another interesting investigation in E Aabar Ki! (Arthat Atmyahatya na Khun?) that tries to ascertain the cause of a death - admittedly a classic case study but for the fact of being biased in stigmatising female, as was the custom of the time, continues to undermine the essence of the literature. Captain Moti (Arthat Note Jaalkareer Adbhut Rahasya) is a straightforward case of trapping the kingpin of a counterfeit note production group, as obvious from the spoiler of a title, but the interesting part is the elaborate plan in tricking the cunning mind that regulated the criminal network, resulting in a carefully organized arrest that left the suspect bewildered while the authorities heaving a sigh of relief. The next is the curiously violent case where with only mutilated parts of body being discovered, the case would have ever prolonged if not for a coincidence of another crime that provided the much needed clue the was crucial in revealing the grotesque truth behind Stree Ki Purush? (Arthat Stree o Purush Chinhabishishta Laasher Tukrar Bhayanak Ascharya Rahasya!). Then comes the saga of misfortune that led to the condemnation of the accused in Ghatana-Chakra (Arthat Dwipantareeta Koedeer Adbhut Atmyatyag Kahinee). A vicious plot of kidnapping, murder, inheritance unfolds in Balak Churi (Balak Churir o Bhayankar Hatyakander Atadbhut Rahasya!), which takes the readers through a trail of sinister twists. A compilation of slightly different type of instances constitutes the humour laced Chorer Buddhi (Arthat Charitraheener Tikhnabuddhir Drishtanta Rahasya!), where the intelligence of several shrewd criminals are appreciated whose acts led to apparently trivial to serious consequences. The Neele Koela (Arthat Juachorer Adbhut Sahas) recapitulates how the Indian employee in the British police force unravels a carefully laid plan in duping the authorities in a trade that claimed the lives and tormented the souls of a great many of the Indian farming family. Then comes a curiously unnerving crime, related to a case of properties in Pitri-Shraddha ("Kaar Shraddha Ke Ba Kore, Khola Kete Bamon More!"), which will raise a chill up the spines at the sheer audacity of the criminals. It is followed by a very interesting case that leads E Ki Pitri-Hatya? (Arthat Pitri-Hatyaparadhe Abhijukta Putrer Adbhut Rahasya) to a very unprecedented completion. The Bekub Bajnyanik (Arthat Baijnyaniker Chokshute Ajnyaloker Dhuliniksheper Adbhut Rahasya!) starts although with retelling of a crime in a surprisingly light note but the revelation impresses the severity that baffled the forensics of the particular regime. The following highlights the shrewdness of the ordinary police that corrupts a serious case in Police-Buddhi (Arthat Samanya Police Karmacharir Buddhibale Session Jojer Rae Paribartaner Ascharya Rahasya!) while indicating yet acknowledging the audacious foresight of the wickedly clever! Tragedy unfolds in Chakrabhed (Arthat Kutil Chakreediger Mantrabhede Asamartha Hoileo Ghatanachakre Samasta Prakasher Rahasya!) with the good being misled in a wild goose chase by the cruel! The next is again a two-part chase that tries to catch the murderer of Pathe Khoon! (Arthat Rajbartme Gareer Bhitor Hatya o Tathatyakaree Dhrita Karibar Adbhut Koushal!], where the victim was killed but the murderer escaped, unnoticed, from a moving vehicle! The introductory chapter I is all about police procedural while the climactic chapter II begins with a courtroom summary that turns the conviction but completes the case with a surprise twist to serve as the necessary eye-opener that ensures justice, albeit indirectly! A refreshing set of lesser crimes awaits as we sift through Juachurii (Arthat Juachordiger Atyascharya Avedya Katipae Karya-Koushal!), revealing the funny tricks of several treacherous fraudsters! Humour continues in Paloani Churi (Athaba Jemon Chor, Temni Police!], which nareates a theft in its comical shades. But tragedy returns in Hindu Ramanee (Arthat Aamader Pratyakshibhuta Ekti Sateer Ascharya Swameebhakti!), which narrates a murder mystery with a very unpredictable twist. Tragedy continues, but in a chilling form in Raile Jom (Arthat Railway Yatrir Mahadurghatanar Ek Lomharshhankar Drishhtanta!) that unravels with patience the mystery surrounding a murder, left inconclusive for months at a stretch. However, the regular monotone of chararacteristic descriptive style of narrative is happily broken by using more than a handful of dialogues instead of elaborate details. The following entry puts to record the trail to apprehend Dakat Sardar (Arthat Prasiddha Dasyu Dalapati Krishna Chandra Choudhuryr Bibhatsa Kahinee), one of the infamous dacoits of yesteryear, imprisoned but released after his term completed. Investigating on being informed of crimes with identical signatures of the earlier escapades, the chase reveals yet another trait of the sleuth, that of his remarkable ability to accurately disguise himself as required for trapping his target. The following reveals the critically observant detective, who solves a case of theft in Ki Bhayanak! (Arthat S(n)id-Churi Mokaddamar Anusandhane Adbhut Bhayabaha Rahasya Prakash) by casing the crime scene flawlessly. Case of thefts becomes increasingly curious while investigating Chor Choughurite [Arthat Bhadra (!) Chorer Sahoske Balihari!), whose peculiarity lies not only on the modus operandi of the crime but also on the identity of the perpetrator. The volume tersely completes with Kripaner Danda (Arthat Arther Nimitta Kripaner Je Kirup Parinam Hote Pare Tahar Adbhut Drishtanta!), which is essentially a case of murder that centres a hidden chest of treasure, where the labours of the sleuths might feel to be not very conscientiously rewarded.

Albeit a bit lengthy in some with unnecessary detailing at places, the use of formal lamguage throughout may add to the deterrence in rapid reading, but the narratives are reminiscent of the old days where caste prevailed supreme as obvious from the insignificant notes penned by the author that bears significance in the modern days. Added to it, is the naive pride of personal charisma, giving undue stress on trivial matters that, at times, feels more than redundant. The judgemental attitude towards women in general is characteristic of the age which makes the sentiments sometimes arrogantly cheap and masculine. However, contrast to this personal pride, the chapters with biographical anecdotes of certain haplessly disgraced relieves the monotone of the case files with a different kind of simpler perspective. But the best part is the documentation of some original crimes that may serve as a handbook of sorts to those interested.

Mr Tompkins in Wonderland

This is the 1st in the series centering Mr Tompkins, who takes peek into the world of science, during his off hours of serving as a bank clerk.
His understanding of science sometimes leads to dreams that takes him to lands where the scientific constants are trimmed so that he could realize what happens in the microscopic world of which he could only grossly comprehend at most. But this only helps the reader, who are also benefitted to understand the complicated yet unavoidable philosophy that led to the birth of relativity, replacing the classical notions of space and time and quantum mechanics, replacing the classical notions of certainty in measurement. Consisting of a series of dreams and lectures, the marvels of physics could never be better revealed. Readers with basic understanding of physics will undoubtedly find a great appeal to the intricacies of nature which is explained in easy terms laced with humour that overcomes the difficulty of understanding and inspires confidence to study the subject in detail.

George's Secret Key To The Universe

One of the fascinating science based fictions I have ever read since the Tompkins series. Basically a book for astronomy enthusiasts, it can motivate the ordinary to get a taste of the basics.
An intergalactic adventure awaits George, whose scientific ambitions had been always snubbed down by his environment conscious parents. It was about to change when his pig breaks boundaries to poke into the next door neighbours. The mysteries of the universe awaits to be unfolded soon as did the mystery of their neighbours and their computer. As George stumbles on the marvels of the universe by the chance meeting, the crooked forces are also in the move, thwarting the aims of the noble minds while trying to use science for petty advantages.
Written lucidly by the brilliant Stephen Hawking and his scientist daughter Lucy Hawking with the charming illustrations of Garry Parsons, this book, once recommended by my father, had satisfied both his son and his grandson with its facts of science presented in the package of fiction with the touch of suspense to appeal the readers of varied ages.

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.

Goenda Indranath Rudra Samagra Vol I

Mystery and suspense are the essence of the stories but often the fast pace mars the evolution of the mystery. Consisting of the following exploits of Indranath Rudra, penned mostly by Mriganka and some from a 3^rd person perspective, plots are sometimes dull, sometimes fantastic but with speedy happenings all through.
In Bhanumatir Khel, the sleuth investigates a double murder in a theatre with a jumble weave of characters but the solution seems a jigsaw puzzle fitted in the right way. The credits go to the author for the elegant solution of a clever riddle. In Afim O Indranath Rudra, a smuggling racket operates in the Rajasthan deserts. There is an attempted murder that leaves the sleuth apparently traumatized. The police friend from Calcutta, Jayanta is called. But as the racket is busted by the sleuth in disguise, it seems a bit unrealistic as it seems a superhuman effort on the part of him. But the superhuman status to the sleuth is actually acknowledged in the introduction by the author. The next, Bha Rahasya is basically a riddle to open a treasure trove that when solved will justify the name of the story which seems a printing mistake otherwise. The preamble is drama in itself which borders an unrealistic romance, which is characteristic of the author as some of the other stories depict in this, that continues in the main story as well. The story starts with two prime characters appearing at the same place at the same time which was actually necessary but this puzzling coincidence is never explained. The sleuth also seems a bit too smart. The next is Aamar Moner Moreechika, which is written in the 1st person in the form of communiqué to his friend where the sleuth himself poses a fundamental query. A taxi driver is killed. The clues reveal an elopement but the climax horrifies the conscience of the detective as the truth is unshakeable yet tragic to someone near. Prabanchak Samrat is Indranath’s written letter to an editor where he acknowledges his failure to catch the king of deceivers. The letter essentially narrates one of the latest tales of the deceiver juicing out wealth from the rich in a way that is precarious yet clever. The anecdote of failure continues in Sonar Aata where the search for treasure turns tragic with a murder. So Indranath failed in his primary objective of protecting the client. Two suspects are apprehended where both seems to have equal chance to be the killer. As the mystery is solved but this poetry in motion is too abrupt to be a good one. The title¸ Rudrachakra, itself could have been pointer to the plot which I realized only near the final chapters. It is actually a series of traps set to catch a criminal who is identified quite early. Though it plays with the psychology of the villain but its apparent apathy towards the victim of the hateful crime lowers its civilized quality. Indranath solves a death in Achalgarh Rahasya that hints his similarity with Ghanada to certain extent as the charges are cleared against the accused. The Chh(n)uchor Golae Chandrahar has a Ghanada Swapankumar combo effect where animal skin smugglers are busted with a surprise entry of Geondani Narayani, a vigilante, that lowers the appeal only. The mystery is further diluted by the excessive use of ornamental language in Chemical Detective, which could otherwise be categorized as marvellous. A chemical factory explodes leaving behind a severely mutilated body charred beyond recognition where police smells murder but the trace of the victim could only be found by the sleuth. Beema Rahasya, as the name indicates, is a mystery related to an apparent insurance fraud which Indranath investigates as part of his job for the agency. It is a nice mystery albeit the undue stress on descriptions of emotions strips out the real charm. Another nice mystery is weaved in Photo O Indranath Rudra, which is predictable yet enjoyable. Here, the sleuth exhibits a deep knowhow on the existing national conspiracies. A hateful crime is committed in Pagal Khuni but more stress on description rather than analytics with confiding clues only with the truth seeker makes it tiresome. The thrilling crime is made tasteless by poor choice of perspective. A girl with four wooers suddenly finds one killed and another arrested for the murder in Sonar Kharam. But is he the real killer? The sleuth finds a deep rooted motive lying dormant for years. But this pacy mystery is a bit fast that makes investigation crudely prime without caring for sentiments to be developed for the unfortunate. Sieving thru the complicated autobiography in Stabsha Attahasi, a mystery is to be solved that had aged quite a bit. These become less of a mystery while more of a romantic adventure that hurries downstream. With the use of hypnotism in D(n)aat Thakte, a bit of psychology, the criminal is finally pinned with the use of odontological evidence. Here, the criminal is threatened to agree to terms dictated upon that is justified wonderfully and proves to be the best part here. The 3^rd person perspective in Heerak Bandareer Heerer Kalam starts with the request to rescue some thirteen diamond studded pens that is stolen. Quickly a murder follows. Clue to catch murderer is vague but there is a hint to where stolen items can be placed. The only thing worth mentioning in Kodakar Case is that ghost and mystery go hand in hand. An interesting method of saving a friend while pinning criminals is narrated in Rupor Rekabi. A riddle with a wrong clue is given in Adrish Bardhaner Galpo Nie Goenda Dh(n)adha Gh(n)etu Pujote Dhol Shanai|| Indranath Rudra||. Unfortunately, detection has taken a backseat in Sundaree Tumi Suktara where fiction runs in the extreme. The less said the better. Complicated way to justify the murderer to be human by analyzing a series of eerie happenings in Pretinee Kanyar Kahinee seems a bit too much. A stoneman case is revisited as the sleuth tries to catch Raater Atanka where the author explains in his own style with a disclaimer that is witty yet wise.

Kiriti Omnibus Vol I

The readers will find the detective, mysteries, adventures, strategies everything but what makes them apart from others is the superhuman ability of the sleuth and the mysterious ways that clues are obtained which actually steals away the delicacy of true mystery tales. The volume introduces the arch enemy Kalobhramar in Kiritir Abirbhab but the major problem is sometimes intuition seems to play a major role than actual intelligence. Also the characters are far too romantic and seems only too ideal to be true. But this was not the case in Chokri and Bouranir Beel where the pace is very sluggish at the beginning but they converge at enjoyably fast pace in the later part with thrilling consequences. The short stories Rahasyabhedi and Harer Paasha are also quite nice but several queries remain unanswered though the mystery unravels in each case and villains unmasked.

Scion of Ikshvaku

Scion of Ikshvaku is different from the Shiva trilogy in several respects. At least to me, whereas the Shiva trilogy had been a new revelation, a completely novel interpretation of mythological characters, but maybe the fact that the epic Ramayana is so much familiar that the surprise is suppressed but the interpretation becomes supreme. But there is one similarity rather a repetition of the central theme. Here too a much deeper plot involves two wise sages who orients the events in the way they want. There is conflict between the two whose origin keeps the suspense heightened.

As Ayodhya is opressed by the trade rules imposed by the demon king Ravaan, people look for a saviour. Ram himself also looks to vanquish the Lankan king. As he gets an opportunity to do only that, it must be the daivi astras that he should use. The law maker in Ram thus uses the weapon for protecting the innocents but forces the punishment of being banned from the Sapt Sindhu for fourteen years as per the Vayuputra's laws.
The Malayaputras follow him in their search for the Vishnu but they too seem divided in their ways. It seems that the Vayuputras have also interest in Ram and they send troupes to his side.
Ram and Sita hold their dream of carving an ideal way of life for the Sapt Sindhu.  But as they prepare themselves for the great battle there comes a cruel blow as they are faced with Ravaan's interference.
The text is superb but for the conversations that doesn't do justice to the serious research carried out by the author. But having said that it must also be acknowledged that the concept is fantastic as always. The rationale behind the epics have been so clearly explained, though it sometimes seem too simple, that it becomes a valued read. The composition is compact yet complete that makes the episodes gripping. The evenly paced book is thus an apt prelude to the series.

Goenda Gargi Samagra (1)

As far as my understanding goes from the short introduction at the back cover of the book it tries to draw parallel with the likes of Byomkesh and Feluda and apparently infers that the sleuth in Gargi had attracted the inquisitive attention of the Bengali readers.

True, it surely attracts attention, but not for its appeal as a mystery story but for the lack of it. I've read Gargi for the young readers and had been inspired by it to buy this one. But it had been a serious mistake. The three stories, viz. Irshar Sabuj Chokh, Bohe Bish Batash and Holud Khamer Rahasya may be ranked as good in the reverse order. This ranking may summarise why the stories could not be as gripping. The concluding one of the volume is the shortest and just by virtue of its length, the gripping tension will keep the readers focussed on the plot. The other two have used a host of characters and several interlacing themes but the way these are introduced just make the story lengthy and takes out any juice in the mystery. The pace have always been fast, infact too fast for the suspense to gather the right momentum and thus the climax is always so unrealistic, borrowing the good old Feluda theme of a meeting will all the characters but without the life in it. Each story had the content of a suspense drama and the characters so similar to those of a Sankar novel but again what is missing, is the reality!

Often the author has mentioned the sharp intellect of Gargi, her acute sense of observations, her skill in identifying the rationale, her ingenuity in analysis but this could have been more subtly highlighted rather mentioned. Emotions run high at certain parts but these dry up the next instant. Criminals are unmasked but only limited words are used to describe their reactions. The spouse of a  murdered victim gets married within a short while. The MD of a busy company finds time to do sleuthing equally efficiently as the business. Add to this is the unique spellings that the print use. With an overabundance of illicit relationships, the stories seem to repeat motives over and over again. Thus each story could have been made more compact without elaborations in parts.

My recommendation is read at its own risk!

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.

The Immortals of Meluha

Can be considered as an alternative mythology, the novel tries to define the mythological and divine characters in the light of logic and philosophy with slight defects being in choice of curses like ‘Goddammit’ etc. and adjectives like ‘electrifying’ and the likes which is not proper when the backdrop is a civilization, maybe the most ancient in Indian history. Referring to dates in BC and using the names like India (?) seems also poor choice in the novel.

But besides these I will say that Indian readers will find an appealing anecdote of the philosophy of evil and the good in the beginner of the Shiva trilogy. On the verge when evil seems to engulf the souls of the tribes a saviour is hoped to rise to deliver the people to the righteous path. As the Suryavanshis try to protect their river Saraswati from being encroached by Chandravanshis, it seems all depends on Shiva, leader of the Guna tribe, hailing from the northern mountains of Tibet. The Nagas too seems to be involved in the plot. The deformed but skilled warriors in the Nagas are more worrisome due to their shadowy tactics. But curiously the apparently cursed Vikarmas of Meluha proves to be another strong force for whom Shiva restore reverence and from these people he curbs out a robust force for the Suryavanshis on their battle against their enemies. But tragedy strikes more than once as the secret of the Nagas are never revealed. A raging war cannot be prevented but the aftermath does not seem what It was hoped to be. The author has excelled not only in the description of the battles or the elaboration of the perspectives of the Good and Evil, but in explaining the Indus Valley civilization whose architectural rationale seemed only to be contained in books of history and archaeology so far. The narrative ends with the Pandits of the Vasudeva tribe whispering wisdom to Shiva and telling him of Lord Rudra, the first Mahadev while evil lurks just a short distance ahead thus continuing with the excitement till the next part.

The All Bengali Crime Detectives

The author Suparna Chatterjee, in her first endeavour in writing mystery story, has excelled herself in the sense that she has brought more than mere mystery in the novel. Heightening the charm of Calcuttans, the novel is equally a story of the people of the city as it is of crime and detection. Akhil Banerjee, a Calcutta High Court retired judge of late, finds himself entangled in a puzzling mystery of a stolen gem that was reportedly stolen under his very nose. He forms a secret club comprising of himself and three other senior citizens - the adventurous at heart, delightedly forgetful yet responsible Bibhuti Bose, the avid smoker and a good friend Chandan Mukherjee, a veteran geologist and a serious teacher Debdas Guha Ray - all determined to solve the crime that undermined their prestige. As the plot evolves, so evolves the personal lives of these four in front of the reader and it is in this stage that you will fall in love with all the characters of the story.

Realistic to the very end, the story never tries anything heroic, yet the heroism in the simple actions makes the story one of the collector's edition. Chatterjee has published the book two years back and I for one want more from her pen. The ABCD or Akhil, Bibhuti, Chandan, Debdas of the All Bengali Crime Detectives not only brings back cherished memories of the intellectual detective stories, devoid of unnecessary heroics but is also a pleasant yet clear reminder of Feluda, Topshe and Jatayu. I can also draw a parallel with Alexander McCall Smith, the way he described Botswana, in the same way Chatterjee has described, no not the city, but the citizens of the mystery capital of India. As she thoroughly completes the mystery clearing all the elements of suspicion from the reader's mind, she keeps the immediate future of several characters untold. I think this is another point where she has proved modern enough. The central plot is complete but the incompleteness of the rest nowhere keeps the story open ended but provides food for thought that makes it both enjoyable and realistic.

Nante Fante Collection I

Picked spontaneously from a bookfair, as I went through the pages, several nostalgic memories seemed to overwhelm me. Not only was Nante-Fante my first official storybook which I read but the pack of boarding school members including the wicked Keltu and the fearsome Superintendent had been my best of friends for a very long time. As I grew old, the comics gave way to more serious materials but the innocent frolicks penned by Narayan Debnath still lingered in the heart. So though these comic strips disappeared beneath the piles of papers addressed to the wastepaper bin their memories was etched deep down in me. This I felt, when I suddenly came across the collection consisting of chapters 1-3 in the bookfair and without thinking more, bought the 1st volume then and there. The naivity of the characters that came alive in the sketches of Shri Debnath still refreshed the minds and some of them produced peals of laughter even now.  Enjoying Nante-Fante playing tricks on Keltuda and, sometimes, even on themselves while trying to help the needy, I seemed to realize or better to say, prove for myself that age can never be a bar while enjoying humour devoid of malice.

Samagra Kishore-Sahitya Vol. I

The content runs as

• Aamar Katha
• Stories

• Matsya-Puran
• Atha Nimantran Bhojan
• Dadheechi, Poka o Viswakarma
• Sabhapati
• Khattanga o Pallanna
• Bhuture
• Camouflage
• Policer Karbari Alaada
• Dhaus
• Romanchakar Banduk
• Kuttimamar Dantya-Kahini
• Thale Rahasya
• Daitya-Sangeet
• Sanghatik
• Peshawar ki Aameer
• Bhaloe-Bhaloe
• Banbhojoner Bepar
• Py(n)acha o Pa(n)chugopal
• Parer Upakar Korio Na
• Sei Boiti
• Charanamrita
• Ekti Football Match
• Duranta Nouka-Bhraman
• Durdharsha Motor-Cycle
• Kuttimamar Haater Kaaj
• Upanyas
• Andhakarer Agantuk
• Charmurti
• Charmurtir Abhijaan
• Kabita, Chora o Prabandha

"Di-La-Grandi Mefistofilis", on hearing this, a vast majortiy of Bengali readers will at once respond with the apt cry of "Yaak Yaak!" Yes I'm talking about Charmurti: the adorable quad comprising of Habul, Kyabla, Pyala the narrator and last but certainly not the least Tenida. The volume contains hilarious episodes centering them and several other characters that have come alive by the able penmanship of Narayan Gangopadhyay.The volume starts with the author narrating about his entry into the Bengali literary world - of his childhood passion for writing stories - of his enthusiastic fan who prompted him into writing novels based on the fantastic and romantic imaginations of the youth - all woven so beatifully that the reader will immediately be captivated by the enchanting storytelling of Shri Gangopadhyay.The comic sequences, the enjoyable embarrassments, the memorable misunderstandings and above all the fantastic adventures all combined will produce peals and peals of laughter from the readers. Nostalgic events, some serious articles and a thrilling novel comprises a part of the book but above all comedy prevails in its most extravagant way without a trace of malice that had made it a classic of all times. The hilarious adventures had at once made it a favourite and a cherished collection from my early childhood and even now when I go through, it ups the mood immensely. Spontaneous comedy of this sort had been so long absent from Bengali literature that its charm has been ever increasing and I always recommend this to any person who loves to smile. I'm certain this will make them laugh and those who loves to laugh let them find the true stimulant. The only parallel being Jerome K. Jerome and P.G. Wodehouse, the author, in my opinion will always remain a king of comedy stories. Even the little verses that has ornamented the book hints at the comic genius in the author.

Mama Samagra

This is another of my favourite collections that I bought only recently though most of the stories had been read by me at a very early age that again belonged to those that gave me the flavor of humour in literature for the first time. Mama Samagra, a collector’s edition elaborating the happenings in the bustling mamabari of the narrator with a whimsical doctor as Baromama, an equally eccentric Chotomama who is also a professor and the only sensible person in Mashima responsible for applying the reins to this crazy pack. Added to these are the scores of pets including dogs, cats, birds and cows and a whole lot of characters that either reside there or appears in a story out of nowhere. Baromama’s fantastic visions with underlying noble thoughts form the theme of most of the stories which ultimately opens the door to chaos and mess. Almost always ridiculed by his own doings, the ever optimistic Baromama carries on his endeavours unabated and in this he gets the support of the narrator much to the dismay of Chotomama and Mashima. Chotomama, almost everytime, forms the chief opposition to Baromama’s concepts and with his own fantastic logics defies his brother’s whims. But ultimately it is Mashima who puts the brakes to her elders and maintains discipline in the most rational way.

All said and done it must be mentioned that all the chief characters in the narratives are loving and inspires optimism in this increasingly cynical world and breaths freshness with each story. The collection contains

·         Morning Walk

·         Guptadhaner Sandhane

·         Bardar Beral

·         Ekada Ek Bagher Golae

·         T(n)etul Gaache Doctor

·         Nijer Dhak Nije Petale

·         Baromamar Mosha Mara

·         Baromamar D(n)aat

·         Utpater Dhan Chitpate

·         Avatar

·         Abishkar

·         Ghush

·         Baromamar Menagerie

·         Baromamar Cycle

·         Baromamar Beral Dhora

·         Mejoke Baror Juto Daan

·         Langarkhana

·         Gorur Result

·         Baromamar Bike

·         Physiotherapy

·         Bama Khepar Chela

·         Gomukhyu Goru

·         Saape aar Neule

·         Mahaprasthan

·         Bipashae Dui Mama

·         Rupor Maach

·         Baromamar Saap-Ludo

·         Sonar Palak

Though categorized as comedy but the stories markedly differ both in structure and presentation from Saape aar Neule where the themes turn from comedy to philosophy though it is never monotonous and always lively. Going through the pieces, I could not but guess that Sanjib Chattopadhyay’s recent bend to The Divine may have begun from the same time that he penned stories starting from Saape and Neule.

As to the structure of the presentation, a complaint is due to Pushpa publication that the pagination from Saape and Neule are a bit erroneous. But barring this the copy remains a cherishable collector’s item with a complimentary art support by Anup Roy, Debashish Deb, Sankar Basak and Pranab Hazra. It could have been made more orderly if the chronological order of the events had been followed as sometimes it becomes very much obvious that a story actually must appear late in the series while some may have come first. Also the author often changes the name of the narrator which doesn't look good once the characters are considered part of a continuous series.