Chupkatha

A pleasantly refreshing flurry of four performances touched the heart of every viewer at Tapan Theatre on the last day of November, this year. With three mimes (Chup) and a drama (Katha), the passion that was briskly crafted was truly addictive. The contrast was perfect with the mimes speaking through the silent performers and the drama, which was a talkie, resonating the silence of the souls that suffer the most.

Premiering in the City of Joy a day before, the presentation of the Bangalore based Ekalavya Performing Arts was uniquely styled in a superbly orchestrated medley of various facets of society.

The opening depicted the Puppeteer, glibly wielding command on his string of puppets, completely unaware that we are just the toys of destiny, fatefully dancing to the tune that the All Powerful has scripted for us.

This was followed by Web that unveils the darker side of the digital space as the viral addiction to the Internet cripples relations and threatens to destroy societies. The uglier face of this infectious network is revealed as users are entrapped, haplessly similar to the unsuspecting preys in the net that a spider weaves, away in a virtual world, stripped from those who were once so near and ever so dear.

The next was a mime with a difference, a solo performance by Bodhisatta Sarkar as he enacted the essence of Ei Mrityu Upatyaka by Nabarun Bhattacharya. A mime with a recitation in background - unique at least for me! Although I must confess that my experience of watching mimes is limited to a very few, but I cannot remember a drama like this being seen before.

With the mimes completing the phase, began the tale of harmony in a play titled Bhasan that ushered in a promise of life borne out of the tears for those that are untimely lost. Every instance that the evils fight, the motives being masked, on occassions, by religious pretences, the innocents always bear the brunt most severe, as humanity is immersed in the muck of hatred. But these naive and the sane are those that infuse hope, which gives meaning to life and guides to ensure that humanity prevails.

Scripting two of the mimes and the play and directing all four, Bodhisatta Sarkar leads a team of talents with a care to script the coarsest of society with the subtlest of artistic touch, his message being conveyed loud and clear yet keeping the enrire show enthralling and sober.

A great watch for all ages, the group will be eagerly awaited for future shows in the coming years.

The Eken: Benarase Bibheeshika

After Ray penned Joy Baba Felunath and quickly crafted a movie based on the novel, the sacred city of Varanasi turned to a city of mystery for the Bengali readers and the addicts of Bengali films.

So much so that Arindam Sil relocated his adaptation of Bahnni-Patanga to Benaras in Har Har Byomkesh, a marked difference from the original as penned by Saradindu Banyopadhyay. Thus we had both Feluda and Byomkesh solving a case apiece in movies at least here, reaffirming the status of the place as a city where mystery brews.

Following the tradition, Joydip Mukherjee takes Ekenbabu through the city this time to solve mysteries. With a tribute to Ray and his creations and with apparently a subtle Byomkesh touch, the case surrounds a plot that endangers the city.

Based on the story of Sujan Dasgupta and scripted by Padmanava Dasgupta, the thrill starts early with a blast that rings alarm among the police while grips the heart of the audience with suspense. As the blast is traced back to Belal Mallick, the infamous crook, the authorities anticipate further strikes. As his presence is felt in the city, the police and the agents of the Special Task Force start to sieve through each avenue to apprehend Belal, feared for being an explosive expert and famed equally for being a skilled specialist of disguise. 

As the moments gradually turn tense, Ekenbabu and Bapi accompany Pramatha to Benaras on a sudden invitation of Pramatha's friend, Subimal. Subimal eagerly invites the trio to their mansion that he shares with his uncle, Bireshwar but their visit seemed not too cordially accepted by Bireshwar's very young wife, Damini.

A collector of rich antiques, Bireshwar perceives that he is being robbed of his prized possessions and wishes Ekenbabu to look into the matter. But his frequent loss of memory, resulted apparently due to the aggressive treatment of his cancer and a sense of secrecy that he maintains, prevented him to elaborate on his ideas.

Smelling a scent of something fishy and hot on the trail of smuggled artefacts, Ekenbabu curiously gets embroiled in the search for Belal and gets to peek in the case of the bomb blast as well.

The movie blends adventure with mystery and starts at a happy pace but climaxes a bit too abruptly with several ends, let quite loose and very vaguely explained! Joydip Mukherjee directed the movie for the young adult and the age beyond but a little more detailing and critical thinking would be advisable for future projects in the franchise, which will be hopefully continuing! But the best part of the picture is the superbly synchronized acting of the trio Anirban Chakrabarti (Ekenbabu), Suhotro Mukhopadhyay (Bapi) and Somak Ghosh (Pramatha), who keeps the thrill intense while providing ample refreshing snippets with their perfectly tuned timings during comic sequences. Saswata Chatterjee (Belal Mallik) is a surprise disappointment along with Biswanath Basu, both of whom perform well below than what we expect of them! Gaurav Chakraborty (Subimal), with his natural gracefulness, fits in well in a character, which essentially demands just that. However, Sagnik Chatterjee plays another fine support though with a bit sterner look than required, at places, but would like to welcome his appearance that eagerly commits to the character that he portrays. The other person who is equally committed to her role is Ishaa Saha (Damini) with her accent convincing of the lineage meant for her character, a feature that Sagnik slightly lacked and she played a correct support to the suspense that the narrative with so many angles quietly needed.

Thus, in a nutshell, the movie is a pleasant watch for the summer holidays but surely had the potential to perform far better!

War of Lanka

The Vayuputras had agreed that the Prince of the Ikshvaku dynasty be declared as the deemed Vishnu!

The chief of the Malayaputras believed that the warrior Princess of Mithila was better suited for the role instead.

But, curiously enough, all seemed to depend on the enemy of the Aryavarta to establish the belief of the saviour in the minds of the masses that needed to be saved!

The events narrated in the book follows the three preludes that converge to a greater spectacle ahead.

With Sita kidnapped by Raavan and Ram enraged, a fierce battle is imminent. But though we eagerly await the betrayal of Vibhishan, the defiance of Indrajit as he wedges a brave aerial battle and of course, the great duel between Raavan and Ram, yet the ingenious imagination of the author in sketching the sacrifice of Kumbhakarna, the espionage of Naarad and the uniquely united stand of the diversely talented Suryavsnshi siblings against evil are the few among the many that depicts the fateful events of the Ramayana in a modern light with rationally realistic perspective. However, the compactness due of the composition thus created and the touch of subtlety that could have been enjoyable, are affected adversely by too much elaborations in descriptions and philosophies preached that hinders the satisfaction and disappoints the flow at frequent instances!

Chaalchitro: Canvas of Cruels

Based on a police thriller, the movie grippingly starts on a high note but falters as the thrill peaks. Written and directed by Pratim Das Gupta, the story might have been better crafted and less tersely edited (Antara Lahiri), as the pace of the movie is inherently quite fast.

A serial killing spree grips the city when women are found killed and the bodies pinned up in the manner, reminiscent of a series of murders that happened long ago! With the earlier killer already serving his sentence, DCP Kanisha Chatterjee (Tota Roy Chowdhury) and his investigating squad are baffled as the killer strikes again. With the only common factor being that all the victims had broken off their marriages prior to getting killed, the police starts keeping vigil at probable targets. But as collateral wrenches the heart and the body count grows, the police must act fast as the murderer gets desperate!

A narrative like this was meant to top the charts, while picturised, but was marred by sequences that were fast, unnatural and unreal.

However, this movie should be watched at least once for three reasons.

The acting of the supporting actors who just overshadowed the main cast. Anirban Chakrabarti was precise and sober, Ziaul Faruq Apurba dominated with grandeur in his curt presence and Tanika Basu was simply outstanding. No word will suffice to describe what she achieved in a role that I feel, will be most difficult to play at any time by anyone!

The next best thing to be noted was costume design by Sabarni Das. The dresses were plain and simple mostly, and fitting and realistic for the occasions captured.

But the best of everything will be the music by Debojyoti Mishra that soothes the senses and gives the movie a much needed grace in the midst of too much gore.

With content fit only for the matured, the movie will be a mostly enjoyable watch!

Tekka

A kidnapping kaleidoscope with situations escalating to crazier heights, the feature film is sure to entertain with a ride, albeit jerky, of thrill and suspense. I would love to have termed the ride gripping had it not been for the intermittent sequences racing to a peak of tension but followed by a quick release that awkwardly cuts through a rather bland consequence. Whatever may be the nature of the pace though, the thrill is sure to be appreciated.

When Iqlakh, the sacked janitor of a corporate house captures a school girl and holds her hostage at gunpoint right inside the building where he was earlier employed, the matter immediately attracts the attention and concern of the police, the corporate house and the mother of the little girl. While demanding that his job be given back, his demand of the owner being present to confirm his appointment irks the authorities. what complicates matter is the fact that the owner of the firm was a prominent political figure! The negotiating ACP thus faces a frighteningly difficult task of convincing Iqlakh of the situation that develops behind. A media team, accidentally present at the very site, leaks footage of the drama that unfolds inside. As Iqlakh shows no intention to compromise, the adamant owner of the firm, Anubrata Adhikari likewise refuses to dance in the tune of the kidnapper by appearing physically as demanded. The situation worsens as the determined mother takes a drastic step. What happens after this is a breezy ride through a maze of strategies, which needs to be seen to be enjoyed that culminates in a revelation that awes.

With a splendid storyline (Bhaskar Chattopadhyay) having multiple twists, the screenplay (Bhaskar Chattopadhyay), however, will disappoint slightly, thanks to the slurry of slangs that mingles a bit too unnecessarily in the dialogues (Srijit Mukherjee) that again gets carried away, at times, while framing perfectly critical yet irritatingly irrelevant messages. Dev Adhikari, however outshines, as is most often the case, I have noticed, when Srijit Mukherjee directs, with a superb display of emotions that fits accurately with the character that he portrays on screen. Loknath Dey is another actor, who is naturally brilliant, but remains completely under utilized in the imperfectly woven script. But considering these shortcomings too, the movie is a genuine entertainer that will be enjoyed by all if the coarseness at places is ignored in the script and the central theme is assimilated maturely.

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.

What is Mathematics?

Introducing the requirement of mathematical philosophy in every day needs of the physical reality, the book delves into the concepts of the subject in a more logical approach. The chapters might be better appreciated if the initial note of their organization and preliminary requirement are followed as specified. The Chapter I The Natural Numbers deals with the laws of arithmetic and the principle of mathematical induction with quite a few applications, some being left for the reader to solve making the chapters more challenging yet no less gripping. Continuing in its Supplement to Chapter I The Theory of Numbers, the primes are taken up in a more abstract sense and humbling the original chapter both in volume and concept, some unsolved problems are referred as are discussed modulo arithmetic, the concept of congruence, theorem of relative primes as an extension to the theorem of prime by Fermat, the development of Pythagorean triple and the elegance of their primitive forms. Utilisation of Euclidean Algorithm for searching of common factors between integers, the concept was used more than once not only for finding the highest factor that divides set of integers, but also referring to that in detailing Euler function of relative primes and culminating in analysing Diophantine equations with pointers to their solvabilities. The Chapter II Number System of Mathematics dwells in denumerability of numbers, algebra, graphic representation of numbers by analytical geometry, complex plane and transcends to Liouville's theorem. This fascnitating chapter stresses the psychological need of mathematical evolution while acknowledging the hesitant steps that apparently is the barrier of quantifying abstract thinking. It is followed up with Supplement to Chapter II The Algebra of Sets that lays the foundation for set theory, which was touched up on the previous chapter. Mathematical tool for engineers seems to be the best way to describe Chapter III Geometrical Constructions: The Algebra of Number Fields, where the number fields and constructions are introduced to appreciate the fundamentals of geometrical constructions. The problem of Appolonius is stated with its proofs by different perspective, the unsolvability of various Greek problems within their domain of constraints are logically demonstrated, inversion with applications to various problems are elaborated. However, the most interesting part of the chapter seems to be Mascheroni Construction which required me to consult http://mathafou.free.fr/themes_en/compas.html to solve a proposed exercise. The prefaces by the authors with their subsequent revision by Richar Courant and Ian Stewart indicates that some chapters were later appended as logic was refined as it branched. The toughest is Chapter IV Projective Geometry. Axiomatic and Non-Eucildean Geometries that required visits to stackexchange.com, files.eric.ed.gov, nabla.hr, amsi.org.au to understand how to approach certain problems suggested. The chapter will give a brand new insight to geometry itself. The apparently less complicated Chapter V Topology is about a different geometrical aspect that deliberates on Euler characteristics of general surfaces including that with holes as well as special surfaces like Moebius strip with its unique features. Not only does the chapter contains geometrical revelation like that for the Jordan curve but also how the fundamental theorem of algebra has a topological perspective is given as the caveat. Chapter VI Functions and Limits are a revelation on the topics. The topics have been presented with the abstract elegance that several never think of while utilizing the concepts for solving mathematical intricacies. As the name Supplement to Chapter VI More Examples on Limits and Continuity obviously suggests, this helps in elaborating the preceding concepts with several examples and exercises for the readers that reveal their beauty and give them the touch of the classic. The next Chapter VII Maxima and Minima delves into the geometrical treatment of the extremum problems with illustrations of some natural phenomenon that corroborates the models with the physical laws. But its superbly beautiful aspect lies in the investigations of the existence of extremums that are quite sometimes taken for granted, which accurately portrays the Dirichlet conditions with quite a few interesting ideas. Academic twist awaits while going through Chapter VIII The Calculus that begins with integral calculus, generally reserved for the stage, following the understanding of differential calculus in conventional approaches to study this particular branch of mathematical creativity. Utilizing the basic summation method of computing definite integrals, the specific subject is elaborated with several revealing observations and inequalities. Then comes the derivative and how Fermat stimulated its necessity for obtaining extrema of functions. The derivative is formulated, analysed and symbolised. Lucid illustrations and challenges follow to compute derivatives of several algebraic expressions. Then comes the treatment for a few of the trigonometric observations. The requirement of continuity of functions for differentiability is elaborated. Applications start with derivatives applied in deriving acceleration and instantaneous velocity for moving bodies, the geometrical interpretation of 2^nd derivative, evaluation of minima and maxima among others. Then comes the techniques of differentiation and some of their very interesting applications. The notation that was used by Leibniz for differentiation represented a radical mathematical thinking, though the actual notion was only, at best, vaguely understood at the time by the thinkers in the field. With a logical note that justifies why great minds would proverbially arrive at similar results, the fundamental theorem of calculus is evaluated. The mechanical algorithm for the usual process of integration is justified and applications provided. The 1^st being Leibniz' formula for obtaining ℼ/4, followed by logarithm and exponential, with logarithm suprisingly yet logically preceding. The properties of the base of the natural logarithm are detailed and utilized followed by infinite series for logarithm. The concept of differential equations follows with applications in principles of physics, growth, vibrations and compound interest. The Supplement to Chapter VIII starts with basic principles of differentiability, integrals with its varied applications and continues with orders of magnitude, infinite series, the interesting advantage of the complex variable for their applications regarding seemingly unrelated domains, the harmonic series, the zeta function and the sine series by Euler, a beautiful discovery in the subject and the logical yet a bit approximate introduction to the prime number theorem. The prime numbers are the start to Chapter IX Recent Developments, which is a fascinating rambling on the more modern developments in this beautiful subject. Beginning with several elusive problems of prime viz., the Goldbach Conjecture and the Twin Prime Problem, the book stresses the need of novel methods for their decisive directions, which is followed up by the famous Last Theorem of Fermat that started as the unsolved mystery when the book was initially published but was demystified in 1994 and thus was inserted in fresh editions. Then, there is a discussion on Continuum Hypothesis, which may puzzle the intellectual greatly, the fashion of Set-theoretic notations through the ages, the tricky Four Colour Theorem, the proof of which literally challenged mathematical practices. The fractals with the apparently bizarre Hausdorf dimensions follow that will stretch the brain deeper towards abstract realms. The links and knots come next and then comes another abstract analysis of a mistake in a previous chapter, now logically rectified, concerning a tricky problem of mechanics having seriously simpler mathematical consequences. Then the algorithmic efficiency of computation is discussed with reference to the Problem of Steiner to search for the smallest length to bridge a network of points. The related intricacies brewed by Soap Films and Minimal Surfaces are briefed as we reach the concluding Nonstandard Analysis that immensely satisfies the wits of the readers. The book ultimately converges with Apppendix: Supplementary Remarks, Problems, And Exercises, a tutorial of varied problems to entertain and challenge with help from sites like math.stackexchange the wits of the readers ready to tackle problems on the field of arithmetic, topology, calculus, limits, geometry, algebra, functions, analytical techniques that completes this enthralling treatment.

The Eken: Ruddhashwas Rajasthan

Ekenbabu is back in the big screen, and this time in the majestic Rajasthan! Rides on camel, visits to palaces, desert tours are there as are tasting the local cuisines, a necessity, according to Ekenbabu, to have a complete feel of a new place. With Bapibabu and Pramathababu as the usual tour mates, the holiday is all set for a joyride. But alas, where there is a detective, there ought to be at least a crime and the audience will be rejoiced, riding the merry wheel of adventure, wrapped in mystery.

The ever fussy Ekenbabu is no exception and Rajasthan, a hunting ground for Feluda, now seeks the chubby detective to look for stolen artefacts, missing persons and solve murder!

With a pace that will never feel unnatural, the movie is a thrilling ride of suspense and fun. Blending humour in just the right amount, the central theme is very much focussed. A museum curator with a queer interest in replica, an alleged professor of archaeology who drops in uninvited and a chemistry professor with an interest in lost antiques, the list of suspects grows equally diverse. Thus it remains to be seen how Ekenbabu handles the confusion and solves the puzzles and fights against a vicious villain, rumoured to gulp his opponents, without leaving a trace of the body anywhere.

Joydip Mukherjee directs the thriller and trims it perfectly for the old and young to enjoy together. The audience packed halls easily indicate the growing popularity of Ekenbabu, much of whose credit must be given to Anirban Chakrabarti in keeping the character consistently lively. Playing the satellites and supporting the irritatingly clever sleuth, Suhotro Mukhopadhyay as Bapibabu and Somak Ghosh as Pramathababu enhances the chemistry between them and Ekenbabu in styles, which are fascinatingly unique for each yet contrastingly comic, completing the package of smart entertainment. Another notable cast is Sudip Mukherjee as the local police chief and a training mate of Ekenbabu in the start of their career, whose appearance and dialect were so astonishingly perfect throughout that I held him as a Rajasthani actor for the initial few introductory sequences, at least.

Echoing a creepily crooked concept from Elementary, the film is a fantastic entertainer but will fall short of critical applause due to the coarse commercial inserts that felt way out of the context and appeared childishly scripted, given the flurry of tributes reserved for Ray and his subtleties in Sonar Kella, Joy Baba Felunath. Thus, the movie will be appreciated for the uncompromised suspense that it gifts but will be appreciated less for the lack of finesse it serves.

Natya Gaaner Parampara

The Poila Baisakh, this year, couldn't have been better spent than what we enjoyed at Academy during the noon. Ambarish Bhattacharya and Sohini Sengupta presented one of the unique demonstrations of songs on stage titled, Natya Gaaner Parampara, a tribute to the composers and their musical creations for the Bengali theatres over the years. The programme was simply marvellous.

Mesmerising the audience with numbers, primarily designed for various plays, the performance celebrated the musical diversity that enriched the Bengali theatres through the ages. Melody, traditionally played as conventional Rabindrasangeet, was rendered by

Ambarish with his brilliantly supporting musical ensemble in a way, designed reportedly, by the great laureate himself, for drama! Sohini gave her voice to a Swatilekha Sengupta composition, yet to be included in a play and perhaps displayed the latest upto which Bengali music for the stage has evolved. Spanning, literally, over centuries, from the early nineteenth to the twenty-first, the depth of the musical contribution in Bengali theatres seemed never to be better explored! Songs were selected from plays of Shishir Bhaduri, Ajitesh Bandyopadhyay and presented to give us a taste of the yonder years of which we only might have heard! The Marjina Abdullah duet by Bhattacharya and Sengupta

from the play, Alibaba, displayed the perfection of comic timings in harmony. Rarest of the rare numbers, a song with music composed by Bankim Chandra Chattopadhyay belonged to the category of serious lyrics, while a parody composed by Jyotirindranath Tagore reflected the sobriety in satire, the golden art of forgotten old! The children in the audience also had something for them too, as besides the other hilarious pieces, a charmingly addictive cuddly rhythm, from Astronauter Thikana, displaying a novel and diverse manifestation of vocal skill, not only refreshed the younger batch, but this seemingly effortless singing, being far from a childish attempt, promised moments of innocent mirth and smiles on all the faces that listened.

Thus, the programme truly displayed the spectrum of theatrical ballads, composed for all the human sentiments and spanning over more than a century, a tradition of tunes, distinctly Bengali and one, which is evolving continuously in all the varied musical shades.

Harmonising majestically with their instrumental adroitness, Rajeeb Chatterjee on octapad, Dipankar Chattopadhyay on keyboard, Abhijit Basu on tabla and conducted by Subir Sanyal on harmonium, the accompaniment was both superb and absolute. The lighting arrangement by Sadhan Parui and the decor by Ayan Ghosh transformed the stage to the gorgeous gramophone period while the sound arrangement of Santu Das and Soumitra Das (Das & Co) preserved the acoustic elegance with modern appendages. Supervised by Arghya Dey Sarkar, this Nandikar production will remain memorable to music lovers for days to come if not years!

The magnetism of music was apparent in the way the audience synched gradually and actually played the main cast in the culminating Dhana Dhanye Pushpe Bhora when the real artists suggested the leads while the majority of the audience sang the entire song, standing, in a unique display of passion and musical harmony, a gesture so theatrical but so earnest - tradition is indeed so alluring!

Caveat: A soothing gesture of offering ORS to each and every audience in the waiting area of Academy by staffs of Nandikar was not only welcome in the scorching heat but won the heart even before a single note had started quenching the musical thirst.

pictures: Amrita De

Ek Theke Baro

I'd read about Twelve Angry Men, saw the movie, Ek Ruka Hua Faisla, but when I witnessed Ek Theke Baro on stage, based on the same story, the experience was electrifying!

The fate of a young ruffian hangs in the balance as twelve jurors deliberate in a closed room to decide on the accused. What will be the decision - will it be the deathly gallows or freedom?Eleven seems certain about the boy's crime while only one has doubts. And here begins the drama. A single case, a focused plot, a single room with a goal for a single decision. But a dozen persons with a dozen views, a dozen perspectives and a dozen traits that they represent had apparently at least a dozen reasons to differ!

But the court wants a decision unanimous and so starts the deliberation. Locked in a room till the decision is reached, some goes hungry while others go impatient. Reason fights emotion while logic pits against bias. Passion prevails while irritation peaks. The sane fights the obsessed and the serious confronts the casual.

Can the truth be ever unveiled? Will the accused get the deserving judgement? The debate that started with the eleven convinced against the one favouring otherwise, not only unwraps the evidences in new light but also exposes the raw perspectives of the general populace. When prejudice unfurls its irrational fangs and obsession clouds judgement, the logical few will always be tasked with the difficult assignment of spelling out the right decisions against the impatiently arrogant and the impertinently ignorant.

Nandikar presents this tremendously thrilling drama directed by Saptarshi Maulik. The director also acts as one of the juries and is correctly critical in his performance as his character demands. Assisting him in direction is Arghya Dey Sarkar who is deputy to Maulik in direction but on stage, his characterisation as the stubbornly passionate and aggressively obstinate jury will easily keep him way ahead of the others. Barishan Chatterjee will deserve a special applause, representing the sober elderly with faith in the youth, in this Swatilekha Sengupta adaptation of the original. Sourav Dinda portrays the insignificant peon with no or only tiny crumbs of dialogues, who starts the proceedings and closes them as well, signing off with significance infused in the character, representing the contrastingly gentle regular worker with defined duties, a mind not unhinged by the stress of taking decision that matters!

The entire presentation is brilliant and will request the fans of drama to watch this display of passion where thrill will flow, emotions will engulf the audience, senses will writhe with the rage that arises on stage as you will never be certain till the very climax whether sanity will prevail and order restored. A fantastic compact presentation that will keep the audiences on edge throughout and time will fleet past with a pace accelerating yet surprisingly steady.

There is a very interesting caveat. There is a wallpiece on stage that runs on real time. Though the actual time will be different but audience may note the duration of the presentation from the clock, clearly in their view, and will surely appreciate the precision of acting in this dialogue intensive presentation that wraps up in style within the duration, announced at start, reflecting professionalism at its finest.

Aparajito

This can only be summarised as a fascinating joyride through the eyes of the admirer. Yeah, Anik Dutta directs but he does that while admiring Ray and his crafts in the unique style, that deserves special applause. This is a tribute that is truly fitting and trimmed to serve the varied range of audiences of all ages and of all tastes. Anik Dutta presented the biopic of a legend called Satyajit Ray and his arrival in the international arena of film making by his directorial debut with Pather Panchali based on Bibhutibhusan Bandopadhyay’s novel and which established him once and for all as the grandmaster in the world of movies, inspiring a future ensemble of young filmmakers, Martin Scorsese being one among the famed category. But the path to fame had never been simple. Rather, the struggle had always been against the obstacle of established beliefs. Sponsoring a movie that barely satisfied the inclusion of a hero and a heroine and completely excluded commercial songs, a seemingly required necessity for a profitable investment, appeared preposterous to the producers who backed away when approached. Again, utilizing almost no stars and with a lead crew, handpicked yet inexperienced, attracted sarcasm from the industry of conventionals. But there were few who helped and the family who stood by his belief. Such a film, so unconventional, seemed to require funds from sources unusual as well. No stones were kept unturned and the CM was approached, through a mutual acquaintance, who agreed helping them from the funds reserved for road department, thanks to the fact that, the vernacular of the word, ‘road’, was noted in the title. This, and several other humorous instances, sprinkled refreshing moments in the film that spanned a little over two hours, with a pace that was never boring and the sequences, delightfully gripping. Arghya Kamal Mitra edited almost too perfectly, though this is happily the case with him most of the time, giving us scenes that slide away easily with history unfolding without overwhelming the audience.

Recreating memorable moments of the famed scenes of the original movie is another significant appeal, a feat achieved in style and deserving praise. Somenath Bhol’s careful cinematography not only brought back cherished memories of the original but his monochrome picturisation gave required depth to the characters and the necessary touch of nostalgia to the theme. The same nostalgia is supplemented by the magical make-up with hair style designs of Hena Munshi and transformations and prosthetic preparations of Somenath Kundu. The uncanny similarity of Ray is ably maintained in Jeetu Kamal by his make-up, acting and the richly resonating voice of Chandrasish Ray. The critical compositions of Debojyoti Mishra will enchant the listeners with the hint of the old tunes with harmonies that thematically follow what the maestros in Satyajit and Ravi Shankar created.

Alliterations in titles sometimes seem a bit too deliberate as the rhyming in names for the targeted personalities feel a bit too overemphasised at places, handicapping the intellectual enjoyment a bit. This truly sincere tribute might feel a bit less delicate as the script to describe the master of subtlety is cowed with dialogues that makes the presentation a shade too blatantly obvious. Having said that, however, the movie is quite admittedly a required memento to the personality that we revered but was yet to immortalise in the canvas that he so much coveted. Recommended for all across the generations, this movie is a neat contrast to the conventional celebrations for the unconventional artist. A different type of film, conveyed in a manner, different from many, attracting the movie buffs in masses across the city, this is surely a riveting must watch.

While the Light Lasts and Other Stories

It starts with a tale of despair that defines romance in The House of Dreams. Written in her early years, the signature style is so subtle that it might only be realized in hindsight. Surely not the best of her creations, it could really be her path to lesser fame had not a novelist friend came to her aid with encouraging directions. That it was required for the budding author was acknowledged by Christie when she paid her respect to Philpotts while already established in a literary career. It is followed by The Actress, a thrillingly fascinating narrative that is short but crisp. This drama is intensely psychological, revealing the inherent cowardice that is exploited to stage the apparently vicious trap. Thrills continues in The Edge, which befits the title in varied ways as the frustrated dame fights the desperate wife in a battle of nerves with a fatal climax that is deceptively tragic. Each piece has afterword which gives a little bit of perspective to the works. The following features Poirot in the mystery with title Christmas Adventure, which is though a reread, but the title was different while the charm similarly satiating. The Lonely God is romance weaved in mystery that blesses the same with the delightful Heavenly appeal. The twist in the tale was predictable yet satisfactorily welcome as the long lost artist meets the lost love at the feet of the Deity with apparently a dearth of worshipers but still standing supreme with the sacrifices that a God can only offer. Disappointment will be in store while reading Manx Gold but the afterword will be more than a satisfactory justification of its apparent vague treasure chase. Written for attracting tourists for the Isle of Man, the clues are strewn in the text for its readers to detect. Within a Wall is a black romance with a crooked sense of desire. While the silent lover seeks love in helping the needy, the calm companion longs the same in possesiveness. The touch of cunning returns with Poirot in unravelling The Mystery of the Baghdad Chest that contained a murdered body, hidden apparently in a room full of guests and their attendees. Being the original to 'The Mystery of the Spanish Chest', perspective played the vital pivot to identify the criminal while evidences supported the hypothesis. Guilt and comfort play a black tale in While the Light Lasts, where the apparent relief to the anxious heart paints a tragedy that lies hidden from the coarser eyes. It seemed to reflect a certain status conscious author giving vent to her ambitious nature camouflaged in a manner, which is both convenient and elegant.

Fermat's Last Theorem

Simon Singh's account of how the last theorem of Fermat was solved is truly a mathematical adventure. Starting with the famous yet often unspoken Pythagoras' proof, traversing the intricacies of Diophantine riddles and the Game Theory, the rigorousness of the dot conjecture, not to mention that of some apparently milder axioms, the cunningly composed paradoxes utilizing purest form of logic, the rationality of the irrationals, the powerful primes with their mysterious intervals, the variety of amazing abstractions that decorates the subject were  introduced suitably as the theorem was discussed whose apparent simple statement kept the mathematical community scratching for the proof for centuries. Complementing the beauty of mathematics, was the saga of the giants in the field, most prominent being the tragic genius Evariste Galois whose short life and notes documented during his even shorter mathematical career that lasted till the night before his death was one of the valuable threads for the proof. Then was the cornerstone conjecture of the mathematical pair of Taniyama and Shimura whose proof held the key for proving the elusive theorem, as stated by mathematician, Gerhard Frey, corroborated by Ken Ribet with a hint from Barry Mazur. The techniques pioneered by Kolyvagin, Flach, Iwasawa were utilized as Andrew Wiles improvised on the techniques to present the elegant proof for the most sought after theorem that baffled generations of mathematicians. The role of his former supervisor, John Coates, who introduced elliptical curves to him, that of Nick Katz, the only other mathematician who was taken into confidence by Wiles as he edged towards the proof during the secretive years and who actually failed to catch a gap in the logic during the time only to indicate the same, albeit with a bit of embarrassment, while refereeing the historic paper leading to yet another article by Wiles with his former student, Richard Taylor, another referee to the original and then a collaborator to its historic supplementary paper, the supporting ensemble to this classic drama also finds their deserving credits. Mention is made of the eccentric Paul Friedrich Wolfskehl and his chance encounter with the Fermat puzzle that not only averted his suicide but captivated him to such an extent as to announce a lumpsum reward for the person to solve it thus adding a material appeal with a solid timeline to the prestige that beckoned the chasers.

The book is draped with episodes of mathematical events but the underlying mathematical principles behind them are elaborated for the layman to admire the elegance of the various abstract forms. A theorem that sometimes threatened to be a wild goose chase, had to wait for centuries for a definitive proof. A 358 long years of perseverance by the mathematical community was prized with a voluminous proof that not only clarified the theorem but offered the probing of logical genes that constitute the subject. Andrew Wiles created history while solving the taunting theorem of Fermat but the chapters that he transcribed had described mathematics for its further refinement as can be assimilated by the limit of intelligence. The passionate dream of a child saw its culmination in the Annals of Mathematics as the masters of logic witnessed the composition of the master theorist. Simon Singh has beautifully pieced together the significant events in mathematical evolution, presenting it to the layman with a fervour which is both infectious and compelling.

Atomic Energy in Cosmic and Human Life Fifty Years of Radioactivity

Starting from the very basic, following the humour laced prefaces, this seemingly complicated subject that comprises science along with associated engineering, could never have been better elaborated for the layman but for this volume. Explaining the nature of the interaction of the nucleons based on the model of which he himself was the proponent, the revelation of the inner working of the atomic particles seemed no less wondrous than the style in which it was narrated. It will seem so simple as the apparently unfathomable mystery of the particles, unseen to the naked eyes of ordinary humans, is detailed, in principle, with analogies of physics that they would understand. The hidden energy inside the nucleus is compared with that liberated during chemical conversions. This highlights the significant difference in the order of energy conversion per unit mass that can be utilized in the betterment of mankind. Subtly touching on the destructive uses of atomic energy with numerical figures to horrify correctly, the scientific conjecture of building power sources and space vehicles will be appealing more to researchers yearning for development for a harmless future.

Euclid's Window

Starting from Euclid and going strong with Witten, mathematics and especially geometry had undergone a dimensional upgrade as crafted by the masters in each mathematical age. This is what Leonard Mlodinow has presented in this wittily wonderful biography of geometry. Infact, originating from the Pythogorean time, mathematics had evolved and so did abstraction that needed to be aligned for their coincident maturity. But, sometimes, it seemed the evolution was faster and the civilisation and requirement seemed a bit lacking in the course. Thus, the geometry required by Einstein for his revolutionary general and special theories of relativity, was already developed years back. This wonder of abstract conceptions with implications that could only be conceived in future seems to be the frustrating beauty of the subject which some may feel and care less for anything else but others in the pursuit in their fields may be held in despair. Thus, the wild geometry of strings, while being tamed by the ring masters in the arena is still being held in contempt by quite a few but apparently relent as the natural laws of basic physics seem to unravel in multidimensional world. The book is a refreshing find which will undoubtedly satisfy the mathematical spirit. Humour abound, the intellectual revelations could never be better documented. The only flaw seemed a lack of illustrations in this abstract base of knowledge. For this,  however, the margins provided by the publisher seemed enough to jot down miniatures of my understandings which might be referred to at their own risks.

Uncle Fred: An Omnibus

Uncle Fred, spreading sweetness and light, had been one of P.G. Wodehouse's endearing creations whose exploits will leave the readers rocking in laughter through each and every chapter. Called upon to solve the most intricate of problems, be it counselling the eccentric Earl of Emsworth on the safety of his beloved sow, the Empress of Blandings, from the impending clutches of the ill-tempered Duke of Dunstable Alaric or helping his nephew Pongo evading burly creditors or making the wedding bells ring for four pairs of hearts by a series of perilously precarious twists, through his genius of playing confidence trick. Infact sometimes he takes upon himself to become the match maker, and a breaker all at the same time based on what his futuristic vision predicts. The omnibus edition contains the novels

• Uncle Fred in the Springtime
• Uncle Dynamite
• Cocktail Time

A most refreshing volume, Uncle Fred remains an outstanding creation of Wodehouse whose tricks, though leaves the victims in a baffled state of mind, but the absence of malice makes him nothing less than lovable and I sincerely long for an uncle of this class.

The Great Physicists from Galileo to Einstein

Truly a biography of physics is this book, with the signature style of humble humour that characterizes Gamow in all his greatness. Starting from the birth of science in the ages before Galileo, he sketches the evolution past Einstein and thus maintains a balance in justifying the name of the book which focuses mainly on physics and the way it was shaped by the masters through the ages with a hint to what the future might hold on the science. With accompanying anecdotes to the serious science, the tough theories could never seem more fun to understand. Definitely, it will not be a layman's book if the term is defined strictly but if we remember the basics of the secondary level, the book will not just be adorable but enticing to take up physics to solve the fascinating mysteries that surrounds it in its various dimensions. With illustrations as delightful as the text itself, the book will remain a classic in the genre of popular physics along with biography category though the term is more reserved for the living world. But, after going through the essays, physics will surely be felt as throbbing and as lively as life itself. In this book, the teacher in Gamow has excelled while the storyteller in him has marvelled to give the readers a literary treasure blended with science. Gamow never got a Nobel in physics, but after going through several of his literary works, my only question to the nominators, had he ever been considered for the Prize in literature?

The War of the Worlds

Starting with a History of William Collins and the Life & Times of the author, comes one of the greatest classics of all times penned by one of the greatest science fiction writers of all times, H G Wells who had been the person behind coining two unique terms that we have taken for granted. Yes, the time travel and time machine may be a household name for every science addicts, but the terms were introduced by the author who also fictionalised the Mars invasions for the very 1st time. The anecdote, narrated from the perspective of the unnamed protagonist, vividly describes a Martian invasion that, with its awe and tragedy, will terrify you by its chilling feel of realistic ambience. Though, the introductions have spoiler but still the fright remains. Published in 1898, decades before lasers were conceptualized, the author designs the advanced Martian invaders to use something similar as their primary weaponry. Describing the accidental but unaccounted sighting of the launch of the fleet carrying the aliens, the author goes on to detail the discovery of the meteoric touchdown of the same and the massacre that follows. Despair engulfs the civilisation as cities are invaded and routed with humans taken as prisoners to be consumed. So when, it seems all is lost, the miraculous twist of fate will be welcome to all but the invaders. Though written as a fiction, but it warns the civilisation of the doom that awaits the selfish when the unforeseen dwarfs of the present flaunts their might as they turn giants of the future☆

Complete with a lexicon of the Victorian grammar, the novel is a classic for all ages.

Parker Pyne Investigates

If you are not happy, then Parker Pyne awaits you to take your case and make you hearty. With a fee payable in advance, you can let the love detective take care of your case just like Mrs Packington in The Case of the Middle-Ages Housewife. If adventure is your choice, you will be matched with romance with a touch of mystery as was The Case of the Disconcerted Soldier scripted by his acquaintance, Mrs Ariadne Oliver, the novelist who will see to the thrills of it. Fees varies for each case, but that is justified as each case is specially crafted to suit the clients' requirements. But there is an inherent investigator in Pyne who makes his presence felt time and again, starting from The Case of the Distressed Lady where curiously, though happiness to the client is robbed off but the same in the reader will be guaranteed. But sometimes it becomes a bit more than tricky where happiness looms round the corner but the client takes a sudden turn as in The Case of the Discontented Husband, taking the agency of happiness by surprise. However, the honest proprietor is never deterred by these outcomes and will even lose money if the cause is so deserving like in The Case of the City Clerk, where, unbeknownst to the client, he embarks upon an adventure with political consequences and international importance, yet cleverly embroidered by the seller of happiness that satisfies all interested parties. But never have been the satisfaction more heartfelt than in The Case of The Rich Woman, where unhappiness due to excessive wealth is solved with a plan so elaborate that it will defy imagination yet will be rendered classic by the humble ambience. But the real mischievous prank is in Have You Got Everything You Want? where the adoration for the newly married hubby is smirked by a sudden discovery that puts doubt in the mind of the wife, but for a chance meeting with the agent of happiness, each matter is solved in a series of humorous twists. As opposed to slight mischief, the next involves a murder near The Gate of Baghdad, where the killer and the killed are in the same troupe as is the sleuth. Following at its heel is a curious death that happened long ago in The House at Shiraz that would have remained buried in the darkest past if not the merchant of cheerfulness would turn sleuthing for the sake of happiness. His investigative streak continues in The Pearl of Price in deducing the whereabouts of a seemingly expensive pearl but the interesting point is the portraiture of the sleuth. The author has developed the character in such a way that he sometimes seem to resemble Poirot but then she adds that additional detail which makes Parker unique with his very own way of looking into perspectives and justifies the requirement of different characters to solve different sets of crisis. The short and crisp Death on the Nile is a murder mystery on a boat where the small pool of suspect seems to help the retired civil servant in the Department of Records to narrow it down on the perpetrator with the real evidence that lay aside the pile of false. Sequel to it, with a subtle clue lying hidden in some remarks, is the mystery of The Oracle at Delphi, where kidnapping and ransom constitutes the primary plot but the more interesting plot lies hidden till the climactic phase. Though a premonition remains irrationally unexplained, but the classic style bears the incomparable Christie signature written all over it.

Dawood's Mentor

Complimenting the unputdownable, Dongri to Dubai, the book sketches the life of the don who introduced white collar smuggling for the 1st time and brought character and a sense of value in a field where betrayal and treachery were the order of the day. The wrestler by his upbringing, a warrior at his heart, a brain graduated in economics, Khalid Khan aka Khalid Pehelwan had been the most dependable ally of Kaskar brothers in their most formative days. Upsetting a stalwart wrestler at a challenge, the young Khalid Khan was picked up by Bashu Dada as his closest bodyguard turned partner in the silver smuggling business that the later quickly turned to gold literally. But maybe fate had stored a different future for this duo. So, the humbler Khalid, was soon deserted by his mentor but was quickly to be united to his protege, Dawood, forging a long lasting friendship that saw a new era of underworld activity.

The book really is complimentary to the rise of the Mumbai mafia as narrated by the author in his other books and sketches a more detailed narrative of Sabir-Dawood-Khalid coalition that is interspersed with tragedy and thrilling sequences. Writing in his characteristic gripping style with a touch of subtle humour that blends well amid some tensed settings, the acknowledgment could be no less better than the way Husaain Zaidi expresses his gratitude to his mentors and mentee in his journey of investigative journalism.