Ekushti Bangla Galpo Edited by Arunkumar Mukhopadhyay pdf.
Book – Ekushti Bangla Galpo,
Edited by Arunkumar Mukhopadhyay,
Category – Bengali Story Book,
Book Pages – 309,
Format – PDF,
PDF Size – 8 MB,
Author Arun Kumar Mukherjee has edited the famous book Twenty-One Bengali Stories.
This collection of Bengali short stories is part of the Indian National Library Exchange Plan for the Indian readership, a collection of short stories written in Indian languages approved by the Constitution and its intention to publish translations in various Indian languages.
Poet Rabindranath Tagore, the first successful artist of Bengali short stories, gave life to short stories in his hands. Surprisingly developed. His talents are everywhere in the short story. In love, nature, social problems, philosophy, poetry, romance, history, we see his free movement or free movement. He wrote stories for half a century from 1890 to 1940. Rabindranath’s contemporaries like Trilokyanath Mukherjee, Prabhat Kumar Mukherjee, Sarat Chandra Chattopadhyay and Pramath Chowdhury have enriched the collection of Bengali short stories. In the present collection, stories have been selected from the field of short stories of Chenakal. Rabindranath and Saratchandra are not exactly of our time. Bengali short stories after Rabindra and Saratchandra embody the diverse experience of Bengali mentality of the last 40 years. That is why the stories have been compiled from the diverse collection of stories from the post-autumn Bengali short stories to the recent episodes.
In Bengali literature, the next episode immediately after Rabindranath-Saratchandra is called Kallol-episode. The period of this episode is from 1923 to 1939 AD. The short story writers of the Kallol-Kali-Kalam group were able to write stories in relative peace and tranquility despite the global economic downturn and the anti-British movement in India. Prominent writers like Tarashankar Bandyopadhyay, Achintyakumar Sengupta, Premendra Mitra, Buddhadev Bose, Manish Ghatak, Prabodh Kumar Sanyal, Bhabani Mukherjee etc. appeared in this episode. Bibhutibhushan Bandyopadhyay, Manik Bandyopadhyay, Annadashankar Roy, Banaful, Bibhutibhushan Mukherjee, Sharadindu Bandyopadhyay, Parimal Goswami, Sajanikanta Das, Premankur Kumar, Sarojnorji , Ashapurna Devi, Manoj Basu, Bimal Mitra. In this episode, Rajshekhar Bose (Parashuram) has appeared with a story of excellent satire and humor.
The period we understand to be the post-Kallol episode is the beginning of the Second World War, the beginning of the independence and the partition of the country (1939 to 1947). These ten short years are a period of change in Bengali society and state. Manbantra, air raids, control and rationing, military supply and black market, degradation of social life, economic catastrophe, destruction of moral values, riots, independence, partition of the country and refugee currents.
In this episode, those who have started writing stories, with the rise of literary consciousness, have come to know about this tumultuous era. The social atmosphere of this episode is turbulent, disturbed. This atmosphere has made their vision a bit distracting, sharp and dull. The romance of the Kallol-episode, the bohemian-minded anchored love affair is missing in the story of this episode. The changes in our society at this stage are rapid and innumerable. How many breakdowns, how many problems, how many extraordinary exceptions in the society and personal life, all these strong flow of change has sharpened the curiosity and understanding of the storyteller. The prevailing rules have been relaxed, how many epicenters and abnormalities have appeared, how many people are suffering from dry dissatisfaction, how many new tastes are expected, how many new vows and new forms of life struggle in promise – it was unthinkable in pre-war era. War is a terrible earthquake. As a result, the cover of decency, the shield of policy, family values, affection, loyalty, religious reform have all been destroyed in this earthquake. It is heard in the middle of it, the dream of building a new society and the utterance of oaths.
Subodh Ghosh, Satinath Bhaduri, Santosh Kumar Ghosh, Narayan Gangopadhyay, Narendranath Mitra, Nabendu Ghosh, Nani Bhowmik, Sushil Jana, Jyotirindra Nandi are the ones who have noticed these changes in their short stories.
The names of the previous storytellers that need to be mentioned are Jagadish Gupta, Manik Bandyopadhyay, Achintya Kumar Sengupta, Prabodh Kumar Sanyal and other writers belonging to Kallol group and Bibhutibhushan Bandyopadhyay, Tarashankar Bandyopadhyay, Manoj Basu, Saroj Kumar , Banful, Bani Roy, Sushil Ghosh, Charuchandra Chakraborty and other writers belonging to Bichitra-Saturday letter group.
After this period came the bloody fragmented independence. L Refugee currents, L wider social imbalances. The words of hope and joy uttered at the gates of freedom were overwhelmed by the cries of the refugees and the deprived. In this turbulent bloody homeland another group of new story writers appeared – Samresh Basu, Rampad Chowdhury, Syed Mustafa Ali, Harinarayan Chattopadhyay, Prabhat Dev Sarkar, Shanti Ranjan Bandyopadhyay, Swaraj Bandyopadhyay, Pranatosh Ghatak, Sudhir Ranjan Mukherjee, Sushil Roy, Ranjan Sanyal, Gaurkishore Ghosh, Ashutosh Mukherjee, Satyapriya Ghosh, Ashish Barman, Amiya Bhushan Majumder, Kamalkumar Majumder, Gaurishankar Bhattacharya, Deepak Chowdhury, Mahasweta Devi and many more.
The story writers in this episode are the immediate companions of the storytellers of the previous episode. In fact, the authors of these two episodes are not seen separately. For example, Narendranath Mitra, Narayan Gangopadhyay, Santosh Kumar Ghosh, Samaresh Basu, Ramapada Chowdhury, Rabindra Ghosh, Nani Bhowmik, Sushil Jana, Shanti Ranjan Bandyopadhyay, Swaraj Bandopadhyay, Pranatosh Ghatak and Ashutosh Mukherjee – all of them were born between 1916 and 1922 AD. At the dawn of the Second World War, they entered their youth at the earliest moment of the total turnaround in Calcutta and Bengal. From that day till tomorrow they have written with power. The short stories written by them between 1940s and 1970s bear witness to the diverse changes in society and individual life.
Another episode of Bengali short story has shrunk in the second half of this century. The young storytellers included in this episode were born between 1930 and 1940. In fact, they are the new generation of writers. Syed Mustafa Siraj, Moti Nandi, Sunil Gangopadhyay, Shyamal Gangopadhyay, Baren Gangopadhyay, Shirshendu Mukhopadhyay, Prafulla Roy, Atin Bandyopadhyay, Divyendu Palit, Dipendranath Bandyopadhyay, Debesh Roy, Sandipan Chattopadhyay, Kavita Singh, Loknath.
There is no resemblance between this new generation of storytellers and the storytellers of the immediate past. They are a new group. They have seen nothing before, without any gratitude or memory of inheritance, they have been born or raised in blackouts, famines, riots, immediately after bloody independence, not outside the refugee colonies. From the point of view of the writers belonging to the former group, these are the new blood-groups. This is how young story writers are viewed by previous generation writers. It seems that writers of two generations are isolated islands. The mental gap between World War II contemporary writers and the writers of the Kallol episode is much greater than the gap between young writers and World War II contemporary writers. The romance of the Kallol episode was not in the next episode. But there was joy and respect for values in life, which today’s young writers do not have. In this case the gap is wide, in some cases insurmountable.
The gap is not only in mentality, but also in language and form. Not only in the vision of life, but also in the fancy use of various materials of life. This proves that Rabindranath is not the ultimate achievement of Bengali short story. Bengali short stories have progressed again and again, the hour of my return has been tied again and again, the experiment has never waned, the urge to look at life in a new way has never run out. This compilation is written in order to select a certain number of short stories within a certain number of pages at certain times. Hope everybody on this site also had a great day! But from this short collection of stories, two stories of two populars of modern Bengali literature, such as Bibhutibhushan Bandyopadhyay’s Ahaan and Manik Bandyopadhyay’s ‘Namuna’ have been left out at the last minute, because after years of trying, no copyright problem has been solved. But the short stories of other writers are beautifully presented in this collection.
This book will be considered as a unique book by the readers. So the PDF file of the book has been made available to everyone on this webpage. Readers can easily collect the PDF file of the book from that page and read it online.