Tuesday, February 27, 2018
Saturday, September 6, 2008
Malay Roy Choudhury, My Dad-----Anushree Prashant
It is almost as if I can see him growing up. Feel his desperation and his need for independence. His solitary soul forcing him to try to break away, repeatedly, unsuccessfully from all the ties that bound him. The responsibility and the love for his family, and his writing, like stretched elastic, playing a tug-o-war amongst themselves.
My grandfather was no mean storyteller, but the most enjoyment I got was from hearing about Bapi’s escapades. Thakuma, my grandmother, felt, understood and forgave his spirit, loved him and was always afraid for him. I could always sense it in her voice. And at the same time, I believe, she felt an inordinate amount of pride at his repeated jaunts; when she would be scared to death fearing the worst, and also, hoping that this time round his desire for freedom would have been satiated.
I remember the quiet pride in my grandfather’s voice, as he would reminisce about Bapi, on the quiet evenings and weekends when he would teach me the rudiments of photography in the darkroom, after school hours, interspersed with terse directions. And then in the bright light outside, he would talk angrily about how Bapi gave Thakuma a scare when he was seventeen. He had hitched a ride atop a truck to
I can see Bapi, ten year old, with his pockets full of pebbles and dead decaying frogs, rats and chicks, he might have collected for the pleasure of doing so, and then as soon forgot about them. I can still see the amusement in Thakuma’s eyes, as she recalled to me, about the discovery of the decaying remains. I never saw the disgust that might have been more natural on her part when she had to wash the smell out from those clothes.
Dadu, my grandfather, was proud that his younger son had the intellect to choose Rural Development and Agricultural Banking as his career, and had not joined him in the family business. I wonder if he ever felt the lack of not having either of his two sons join. But he never showed it. Seen through the hazy pupils of my grandparent’s eyes, Bapi assumed almost mammoth proportions. And he became the idol. I wished to emulate.
My story-time was in the afternoons after lunch or at night, when I would sit patiently for Dadu or Thakuma to slowly talk their eternal ‘paan’ (betel leaf). The stories were many and varied, from the ‘Panchatantra’ to the ‘Mahabharata’, from Sukumar Ray’s nonsense verse to those they created themselves as the story progressed. But my most favourite ones were about the antics and escapades of my father.
About the time, when as a small child Bapi had been befriended by a Muslim bangle maker, and would get home coloured bangle pieces of glass in his pockets for a week till he had hurt himself enough while unloading them on my unsuspecting Thakuma, or probably because he had tired of the pastime. Or about the time when, he was sent out to buy a bottle of mustard oil, he found the chore suddenly becoming fun, as the shop keeper fished out a dead rat from the can of oil before filling his bottle. He recounted it with such glee, I wonder the feelings that this news might have evoked in my grandparents at the time, whether they had already consumed the oil or it was awaiting consumption. Knowing Bapi, I am sure he would have told, after they had consumed it, just to see whether one felt any after-effects of consuming poisoned oil.
Bapi recalled the poverty of his childhood days with a fair amount of nostalgia, always with a far away look in his eyes, which never showed any sorrow, but instead a lot of joy at the incidents he remembered of those times and which he took a delight in sharing with us. He always recounted the ones when he had either evoked laughter or even when he had been able to enjoy himself, never the ones that might let us have a taste of the grim realities of those times. In his way, he could rouse within us a feeling of delight, as yet unsurpassed by any storyteller I have met since then.
I was very young, when once he said, in answer to a comment made by a relative, with complete disinterest, that no one has a right to claim as inheritance, that one has not worked hard and sweated for. Looking back, it seems to me that I grew up that day, in that single moment and learnt to hold my head that much higher. Today when I recollect those words, I do so with the knowledge and the pride that he sincerely followed what he preached even unconsciously.
But he nevertheless was hurt, when he learnt that our near-relative, took away everything. He never felt bad about the loss of the monetary value of the property. But that, even his inheritance of memories within those walls were broken down to accommodate the dowry from newest addition to the family. And he and his beloved parents, like just so much dust, were swept away and washed out even from the minds of the nephews and niece who he had cherished and loved as his own kin. I would like to claim that he recovered from this utter disillusionment, but in truth that would be a falsity.
As far back as I can, I remember the far away look in his eyes, when he would be lost to everything around him; when people around him assumed the form of furniture, when their conversation was like the transistor radio, blasting away ephemeral and vacuous messages; when he would look through the person opposite him with his unseeing eyes, all the while concentrating on capturing that elusive thought whirling around in his mind like a transitory snowflake.
I also remember the time when he would come to pick me up from school, standing in the shade of an accommodating tree, be completely lost in his own world. He would come to with a jerk, when I tugged at his shirt, and would sheepishly ask me how long I had been standing there. My brother and I always recollect those moments with great happiness, as I could chat with my friends for that extra bit of time, and my brother could play the fool to his heart’s content, and Bapi would not come to know, till we reminded him of our existence.
But our mother must have found this trait particularly wearying and hard to comprehend. Sometimes she would get irritated, and then my brother and I would gang up against her and have a lot of fun pulling her leg. And sometimes she would feel sad and lonely; at those times we would try to cheer her up and amuse her, and try to take her mind away from the thoughts within.
Our mother always came across as ambitious, never for herself, but for her husband and children. She could never understand the moods and vagaries, eccentricities and idiosyncrasies of Bapi, and always had to explain them to herself, giving improbable and plausible reasons for his maverick behavior. Mummy has taken a long time to understand Bapi, almost her entire married life. That too she only did so through trying to understand me. I am quite like Bapi.
He let me run free, as he himself wanted to be, away from all tries and trammels of civilization but never could be. I read his poems when still in the process of learning my Bengali alphabet. I formed words and images slowly in my mind, and read his much acclaimed poems of Medhar Batanukul Ghungoor, and felt the thrill of immediately being transported to higher echelons, among the clouds. I learnt all about visual and sound poetry from reading Bapi’s works. His metaphors and picturesque imagery still enthralls me. He could bring to life the most common phenomena, with so much zest. Each word pieced together with utmost care, placed carefully on the tracery of his work; almost like pointillism. And they would turn out to be unique masterpieces.
I grew up under his shade, but never under his shadow, as , with apt timely criticism he would immediately drive me to better my work, be it in academics or otherwise. One harsh word and I would try to supersede my own goals and surpass his expectations of me. I always looked at myself through Bapi’s eyes, trying as hard as I could to win his approval and be a person of merit. Always racing to run ahead of his ambitions for me, striving, but never quite succeeding. But it has made me stronger, built in me a spine of stainless steel, able to bear sorrows, and joy with equanimity.
I am thankful to him for being the way he always has been, and hope he continues to inspire me and be there always, for me.
(Reprinted from Malay Roychoudhury Compendium (2001) edited by Murshid A.M. and Arabinda Pradhan. Anushree Prashant lives in
Wednesday, June 18, 2008
Malay RoyChoudhury's Ancestory:
Malay Roychoudhury (1939), and his elder brother Samir (1933), of the Hungry Generation (Hungryalism) literature Movement (1961-1965) fame, belong to the Uttarpara (District Hooghly, West Bengal, India) clan of the Sabarna Choudhuries. Having been born in to this clan has given them a sense of being rooted to the pre-colonial history of West Bengal, as well as an organic geographical sense of belonging to the soil, which most of the contemporary Bengali writers are deprived of. It was natural that these two brothers alongwith Shakti Chattopadhyay, resident of Joynagar-Majilpur, formed the core of the Movement.
The Sabarna Choudhury clan of Uttarpara, like the clans at Halishahar, Birati and Kheput, is a branch of the Behala-Barisha (Kolkata) Sabarna Choudhuries. However, the clan did not suddenly emanate at Behala-Barisha. Like all rarhishreni Brahmins, this family also traces its origin in pre-Islamic
Atul Krishna Ray in his book ‘Lakshmikanta: A Chapter in the Social History of Bengal’ (1928) has mapped the course of the descendants of one of such 10th Century Brahmins in this order: Vedagarbha (980AD), Shobhana, Shauri, Pitambara, Damodara, Kulapati (1182), Shishoo, Gadadhara, Halayudha (1282), Ayurama, Binayak, Jiyo, Paramshwar and Panchanan.
The historical mist gets clearer from the time of a person in flesh and blood at Amati
The wealth he had amassed as a commandant allowed him to shift his base to a place which later came to be known as Halishahar. He had built a haveli or a palace, and the town was called Haveli-Shahar at that time. He invited vaidyas of Bikrampur, kayasthas of Konnogar, yajurvedi Brahmins from Orissa and Tamilnadu for settling at Havelishahar. Since vocations were caste-based at that time, he had arranged for the settlement of artisans, craftsmen and traders from various areas. Panchu Shakti Khan’s son Shambhupati (1500) reverted to Gangopadhyay title, and engaged himself in developing the area as a business centre; the centre was connected by river route with Bhushana (now in
Shambhupati’s son Jia (1535-1620) broke the newly-built family tradition and reverted to religious inclinations. He moved from one temple to another with his wife Padmavati, probably because she was unable to bear a child. The couple visited the then Kalikshetra Kalipeeth, now known as Kalighat, the abode of goddess Kali. The legend, narrated in Kalikshetra Deepika by Suryakumar Chattopadhyay and Kalighat Itibritta by Upendranath Mukhopadhyay is that Padmavati in her trance saw a halo of light descend on the adjacent pond; she wanted to take a dip in that halo of light, which she did, and became pregnant. Hence the custom of childless couples taking a bath in the adjacent water-body. Presently it is waiting to be cleaned of filth. Next day Padmavati saw a hand right in the middle of the pond, signaling her to find out what is concealed at the bottom. On excavation, a piece of goddess Sati’s feet was discovered, reported to be locked in the temple-chest forever.
Padmavati gave birth to a son, and as the story goes, died after three days. Jia renounced samsara, and became an ascetic and moved to
Jia’s son was reared, educated and trained by Atmaram Brahmachari and his assistant Ananda Giri. The boy was named Lakshmikanta (1570-1649). The Sabarna Choudhury clan starts from him. Lakshmikanta was trained in the traits of Panchu Shakti Khan; the boy was a mathematical wonder. His mathematical prowess, command over several languages and wrestling skills drew the attention of feudal lord Srihari Guha of Gaud, who was a minister at Afgan Sultan Daud Khan’s court. Lakshmikanta got a job at Saptagram revenue department, and rose to become an advisor to Srihari Guha’s son Pratapaditya.
In Bangadhip Parajay written by Pratapchandra Ghosh, and Jashohar Khulnar Itihas written by Satishchandra Mitra, when Daud Khan was defeated by the Moguls in 1576, Srihari Guha divided his fiefdom, gave 70% to Pratapaditya and 30% to his brother Basanta Ray. Pratapaditya started encroaching upon the fiefdoms of other feudal lords and increased his domain spreading over
The title of Maharaja changed Pratapaditya to a different man. He broke the conditions of the pact, and along with eleven other feudal lords, refused to pay requisite quantam of silver to the coffers of the Emperor. He also conspired to kill his uncle Basanta Ray and his son. Lakshmikanta refused to be a part of the conspiracy, and fled to Halishahar. Akbar had sent a couple of military expeditions to defeat Pratapaditya but did not succeed; later, Emperor Jahangir sent a huge army contingent under Man Singh. On his way to Bengal, Man Singh had sought the blessings of Mahatma Kamdev Brahmachari at
Roy Lakshmikanta Majmuadar Choudhury, the name did not go well with the brahmin caste to which he belonged. Since Gangopadhyay brahmins are sabarna gotra, his priests and the advisors decided to call the family Sabarna Choudhury. His kingfdom being spread over Behala to Dakshineshwar, Pargana Magura, Khaspur, Kolkata, Poikan, Anwarpur, Amirabad, Havelishahar, Hatigarh and a large area of Sundarbans, Laksmikanta established revenue collection centres at various places, important ones being Behala and Dihi Kolkata. The East India Company arrived and these two centres became quite busy. Malay and Samir have the organizational skills of Lakshmikanta, otherwise Hungryalist Movement would not have been possible.
According to Atul Krishna Ray, Lakshmikanta had seven sons: Ram (1590-1650), Gauri (1600-69), Gopal, Bireswar,
Vidyadhar established himself at Behala-Barisha, and the Sabarna Choudhuries of this area are his decendants. It was Ramchand (1658-1732), son of Vidyadhar, who with his cousins, Manohar (1730), Pran (1653-1700) and Rambhadra (1700), signed the deed of transfer of rent collection of three villages i.e. Dihi Kolkatah, Sutanuti and Govindapur to East India Company. These three villages came to be known as
The story of the Uttarpara clan of Sabarna Choudhuries starts from Ratneshwar. Mahatma Kamdev Brahmachari had advised the family to spread out west of Ganges (Hoogly river in West Bengal),
In his book Atul Krishna Ray has dealt with the genealogy of Behala-Barisha and Halishahar clans. For Uttarpara clan the book by Amarnath Bandyopadhyay is authentic, as it enlists all the families of Uttarpara in 1911. Malay Roychoudhury himself though did not get a copy of this book when he wrote Chhotoloker Chhotobela (2004) and Autobiography in Volume 14 & 215 of Contemporary Authors Autobiography Series. We may chart out the genealogy in this manner as given by Bandyopadhyay:
Ratneshwar->Ramjivan->Madhusudan->Gangaram->Ram Narayan. Ram Narayan had four sons: Chandicharan, Bhavanishankar, Bharatcharan and Gourmohan. Since we are interested in Malay and Samir’s ancestors, we proceed from Chandicharan (1691), whose son Jay Gopal (1718) had four sons: Jadunath, Trailokyanath, Kalachand and Kedarnath. Jadunath had three sons: Baikunthanath, Harinarayan and Lakshminarayan (1799).
Lakshminarayan’s sons are: Pramod, Sushil, Ranjit, Anil, Sunil and Bishwanath. Malay and Samir are Ranjit’s sons. Lakshminarayan left Uttarpara and reached
Ranjit was married to Amita (Bandyopadhyay) of Panihati, a vaishnava centre across the river. Amita’s ancestry is traceable from Durgadas Bandyopadhyay, who was incarcerated by the British in 1857 for inciting soldiers in the guise of religious preaching. His son Nanilal was a part of the 19th Century renaissance, and got his three sons Lalmohan, Haridas and Kishorimohan educated in science, law and English language. Amita is Kishorimohan’s daughter.
Kishorimohan wrote articles in English and Bengali, and subscribed to various radical magazines of his time. He was made a member of the Royal Malaria Commission
(1899) and assisted Ronald Ross as a field investigator. Ronald Ross was awarded the Nobel Prize in 1902 for discovering the reasons and cure for Malaria. The responsibility of anti-Malaria campaigns rested on Kishorimohan. He traveled most of the affected areas in
Neither Malay nor Samir reside in any of their clan sites. They live in Kolkata and try to keep in touch with the Sabarna network, which by now has 20000 members spread all over the world. Malay’s son Jitendra (1975) and daughter Anushree (1969) also do not reside in any of the clan sites. Malay’s uncle Sunil’s children and grandchildren, however, live in the housing colony built on the land where once Ratneshwar’s palace stood in architectural glory.
Friday, June 13, 2008
A Bibliography of his Works
Compilation facilitated by by Prabir Chakrabarty & Ratan Biswas
[Malay Roychoudhury writes in Bangla---one of the most important native languages of
Malay was born on 29 October, 1939 in
Prabir Chakrabarty had compiled the under-noted bibliography for the book ‘Malay’ edited by Murshid A.M., published from Avishkar Prakashani, Bansdroni, Kolkata 700 070, India, and Ratan Biswas had prepared list of writings not included in any book for the commemorative issue of AHABKAL magazine.
1. Marxbader Uttaradhikar(nonfiction), Shakti Publications (
2. Shoytaner Mukh (collected poems), Krittibas Prakashani (
3. Amimangshita (book-length poem), Zebra Publications (
4. Stark Electric Jesus (book-length poem), Tribal Press (
5. Jakham (book-length poem), Zebra Publications (
6 Hungry Andoloner Kavyadarshan (manifesto), Debi Roy (
7. Hungryalist Manifestoes/Ishtahar Sankalan (collection of manifestoes), Dedicated to Malabika Das. Cover designed by Charu Khan. Mahadiganta
( Padmapukur Mor, Baruipur, 700144,WB.,
8. Kobita Sankalan (collected poems), Dedicated to mother Amita Roychoudhury. Cover designed by Charu Khan. Mahadiganta, ( Padmapukur Mor, Baruipur, 700144, WB.,
9. Medhar Batanukul Ghungur (collected poems), Dedicated to wife Salila Roychoudhury. Cover designed by Jogen Choudhury. Illustrations by Prakash Karmakar. Mahadiganta, ( Padmapukur Mor, Baruipur, 700144, WB.India),1986
10. Hattali (book-length poem), Mahadiganta, ( Padmapukur Mor, Baruipur, 700144, WB,
11. Selected Poems, Writers’ Workshop, (
12. Dubjaley Jetuku Prashwas (novel), Dedicated to father Ranjit Roychoudhury. Cover designed by Sanchari Lahiri. Howa49 Publishers ( B24 Northern Park,
13. Hungry Kimvadanti (memoir), Illustrations and cover designed by Subimal Basak. Dey Books (
14. Chitkar Samagra (collected poems), Dedicated to Al Mahmud, Shankha Ghosh and Sunil Gangopadhyay, the last remnants of modernism. Kabita Pakshik (36D,
15. Chhatrakhan (collected poems), Dedicated to Mala Ray & Debi Ray and Sunita Ghosh & Saileshwar Ghosh. Kabitirtha (50/3 Kabitirtha Sarani, Kolkata 23, India.  033 2401 0954),1995.
16. Postmodernism (nonfiction), Howa49 Publishers (B24 Northern Park, Bansdroni, Kolkata 70,
17. Allen Ginsberg’s Kaddish (translation), Kabitirtha (50/3 Kabitirtha Sarani, Kolkata, 700023, India.  033-2401 0954),1995.
18. Bhenno Galpo (short story collection), Dedicated to elder brother Samir Roychoudhury. Cover designed by Raju Debnath. Dibaratrir Kavya (
19. Jalanjali (novel), Dedicated to Tarun Sur, Subarna Upadhyay and Barindranath Gupta. Cover designed by Prakash Karmakar. Raktakarabi (
20. Tristan Tzara’s Poems (translation), Kalimati (
21. Allen Ginsberg’s Howl & Other Poems (translation), Kabita Pakshik ( 36D Harish Chatterjee Street,Kolkata 26, India), 1996.
22. Ja Lagbey Bolben (poems), Dedicated to Shakti, Shila & Minakshi. Cover designed by Kamal Chakraborty. Kaurab Prakashani (
23. Jean Cocteau’s Crucifixion (translation), Dedicated to Falguni Ray. Kabita Pakshik (
24. Blaise Cendrar’s Trans Siberian Express (translation), Dedicated to Uttam and Malabika. Amritalok Prakashani ( Mitra Compound,
25. William Blake’s Marriage of Heaven and Hell (translation), Dedicated to Jahar Sen Majumdar. Grafitti (2A
26. Natoksamagra (collection of Illot, Hibakusha and Napungpung drama), Kabitirtha (50/3 Kabitirtha Sarani, Kolkata 23, India.  033 2401 0954), 1998.
27. Awe (deconstruction of 23 poems), Dedicated to Debiprasad Bandopadhyay. Cover designed by Anil Karanjai. Kabita Pakshik(
28. Naamgandho (novel), Sahana (Dhaka, Bangladesh), Dedicated to Murshid A.M. and Kalim Khan.1999 second edition published by Avishkar (Bansdroni, Kolkata 70, India.  033-2410 5132), 2002.
29. Autobiography of Paul Gaugin (translation), Grafitti (2A
30. Jean Arthur Rimbaud (biographical-criticism), Cover designed by Prabir Sen. Kabitirtha (50/3 Kabitirtha Sarani, Kolkata 700023, India.Tel.  033-2401 0954), 1999.
31. Allen Ginsberg (biographical-criticism, includes correspondence), Prabir Sen. Kabitirtha ( 50/3 Kabitirtha Sarani,
32. Atmadhangser Sahasrabda (collection of poems edited by Rabindra Guha), Dedicated to Sukumar Choudhuri and Rabindra Guha. Cover designed by Shormi Pandey. Grafitti (2A,
33. Surealism/Paravastavbad (nonfiction), Dedicated to Susweta Chakraborty and Kamal Chakraborty. Illustrations by Subimal Basak. Ebong Prakashani (
34. Hungryalist Interviews, edited by Ajit Ray (collection of Malay’s interviews taken by Adrish Biswas, Sayed Samidul Alam, Shankar Sarkar, Bibekananda Chattopadhyay, Dipen Ray, Arunesh Ghosh, Kunal Mandal, Mandira Pal, Gopinath Karmakar, Abhash Mitra, Partho Mukhopadhyay, and Farzana Warsi), Dedicated to Shormi Pandey and Shubhankar Das. Mahadiganta ( Padmapukur Mor, Baruipur, 700144, WB.
35. Matantar (nonfiction), Ataeb Prakashani ( Nimta, Kolkata 700049,
36. Postmodern Kalkhando O Bangalir Patan (nonfiction), Dedicated to Rabindra Guha. Cover designed by Sukumar Choudhuri. Khanan (215 Vasant Vihar,
37. Uttor-Ouponobeshik Postmodernism (nonfiction), Dedicated to Shankar Sarkar. Bakprotima . (Mahishadal,
39. Ei Adham Oi Adham (novel), Dedicated to Arabinda Pradhan. Cover designed by Tridib Mitra and Alo Mitra. Photograph on dust-jacket by father Ranjit Roychoudhury. Kabitirtha (50/3, Kabitirtha Sarani, Kolkata 23,
40. Postmodern Bangla Poetry 2001: An Overview (nonfiction), Haowa49 Publishers, (B24 Northern Park, Bansdroni, Kolkata 70,
41. Postmodern Bangla Short Stories: An Overview (nonfiction), Haowa49 Publishers, (B24 Northern Park, Bansdroni, Kolkata 70,
42. Dada Manifestoes Of Tristan Tzara (translation), Cover designed by Shormi Pandey. Grafitti (2A,
43. Nakhadanta (novel), Dedicated to Surojit Sen, Ratan Biswas and Haraprasad Sahu. Cover used from a dictionary page of Gyanendramohan Das. Haowa49 Publishers ( B24 Northern Park, Bansdroni,
44. Kounaper Luchimangsho (collection of poems), Dedicated to Dr. Bhumendra Guha. Cover designed by Sukhendu Pal. Kobita Campus (
45. Postmodern Jibonananda (nonfiction), Dedicated to Ajit Ray, Kajal Sen and Shyamal Sil. Cover designed by Shormi Pandey. Grafitti (2A,
46. Postmodern Bangla Poetry 2003: An Overview (nonfiction), Haowa49 Publishers. (B24 Northern Park, Bansdroni, Kolkata 70,
47. Postmodern Bangla Short Stories 2003: An Overview (nonfiction), Haowa49 Publishers (B24,
48. Adhunantik Bangla Kavita edited by Samir Roychoudhury and Om Nishchal (nonfiction in Hindi), Parmeshwari Prakashan (B-109, Preet Vihar,
49. Pratiswa Parisarer Abinirman (self-interview), Cover designed by Tarun Dey. Dahapatra (Ghatakbagan,Chandan Nagar 712136,
50. Bishoy Postmodernity (collection of post-Hungryalist interviews edited by Aravinda Pradhan. Interviewers are : Sudakshina Chattopadhyay, Debashis Hajra,Anurag Mahato, Mrinalkanti Rakshit, Chitrabhanu Singha, Prabuddha Bhattacharjee, Gargi Ghosh Dastidar, Ajitkumar Bhowmik, Sayantani Pal, Debaprasad Sarkar, Indrani Ghosh, Shatadal Dutta, Shyamal Sil, Bapi Chakraborty, Durbadal Dutta, Tarjani, Dhurjati Chanda, Ratan Biswas, Anadiranjan Biswas, Murshid A.M., Arabinda Pradhan, Kalim Khan, Tapas Mitra and Pranabendu Debnath), Dedicated to Saswata Sikdar and Biswajit Sen. Cover designed by Shormi Pandey. Grafitti (2A,
51. Chhotoloker Chhotobela (childhood memoir), Dedicated to Janab Mijanur Rahaman and Begam Noorjahan Bakshi. Cover designed by Saswata Sikdar. Photograph used on cover was shot by uncle Biswanath Roychoudhury. Quark Publishers (10/9,
52. Kobita 2004-1961 (collection of all poems written between 1961 and 2004), Cover designed by Debabrata Ghosh. Illustrations by Prakash Karmakar. Malay’s photograph by Subimal Basak. Avishkar Prokashani (Bansdroni, Kolkata 70, India. Mobile Telephone No. 09830331092), 2005.
53. Hungry Andoloner Ishtahar ( Hungryalist manifestoes with introduction. Includes copies of covers and old photographs), Dedicated to Dr. Tapodhir Bhattacharya. Abar Eshechhi Phirey Publications (Bhagabangola, Murshidabad 742135,
54. Charles Baudelaire (biographical-criticism), Dedicated to Mandira Pal and Tripti Santra. Cover designed by Utpal Bhattacharjee. Kabitirtha (50/3, Kabitirtha Sarani,Kolkata 23,
55. Aprakashito Chhotogalpo (collection of short stories), Dedicated to Adrish Biswas and Prabir Chakraborty. Cover designed by Saswata Sikdar. Quark Publishers (10/9,
56. Adhunikatar Biruddhey Kathavarta (nonfiction), Dedicated to Utpal Bhattacharjee. Cover designed by Prabhat Choudhuri. Kabita Pakshik (36D,
NOT INCLUDED IN ANY BOOK AS YET
*Han-mukh Sandhan (memoir-based story). Ekaler Raktakarabi magazine. January 2004 issue. Editor Pradip Bhattacharjee.
*Chandrahas (memoir-based story). Ekaler Raktakarabi magazine. September 2005 issue. Editor Pradip Bhattacharjee.
*Owao (short story) Kabitirtha magazine. October 2005 issue. Editor Utpal Bhattacharjee.
*Boikunthalok (political short story). Ekaler Raktakarabi magazine, Novermber-December 2005 issue. Editor Pradip Bhattacharjee.
*Kangshalra Sukhey Achhen (short story). Khanan magazine, May 2006. Editor Sukumar Choudhuri.
*Nei Achhay (cut-up short story). Kabitirtha magazine, September 2006 issue. Editor Utpal Bhattacharjee.
*Sarbatmak (political fairy tale). Padakshep magazine, December 2006 issue. Editor Asim Kumar Basu.
*An O hoi Abar Un O Hoi (political fairy tale). Teer Purni magazine, January 2007 issue. Editor Sudeb Bakshi.
*Prabhanjaner Shuruta (political fairy tale). Notun Shatak magazine, January 2007 issue. Editor Shirshendu Datta.
*Shurpanakha, Heritage (political fairy tale). Kobita Campus magazine, January-August 2007 issue. Editors Aloke Biswas and Pranab Pal.
*Gawhartirther Kushilab (political fairy tale). Horinahorinir magazine, April 2007 issue. Editor Saswata Sikdar.
*Jinnatulbilader Rupkatha (political fairy tale). Kabitirtha magazine, May 2007 issue. Editor Utpal Bhattacharjee.
*Pakasthali (short story). Kalimati magazine, April-June 2007 issue. Editor Kajal Sen.
*Kuharbhumey Nishidishi (political fairy tale). Amritalok magazine, September 2007 issue. Editor Samiran Majumdar.
*Kukshimbhari (political fairy tale). Aikya Patrika magazine, September 2007 issue. Editor Gaurishankar Sarkar.
*Bhedgranthir Rupkatha ( political fairy tale). Kabitirtha magazine, October 2007 issue. Editor Utpal Bhattacharjee.
*Arup Tomar Entokanta (novel bases on Hungryalist days). Bishoymukh magazine. July-December 2007 issue. Editors Debashis Biswas and Bikash Gana Choudhury.
*Abhimukher Upajibya(first instalment). Bishoymukh magazine. January-June 2004 issue. Editors Debashis Biswas and Bikash Gana Choudhury.
*Abhimukher Upajibya(second instalment). Bishoymukh magazine. January-June 2005.
Editors Debashis Biswas and Bikash Gana Choudhury.
*Abhimukher Upajibya ( Last instalment). Bishoymukh magazine. 2006 issue. Editors Debashis Biswas and Bikash Gana Choudhury.
*FIR. Zebra magazine. 1966. Editor Malay Roychoudhury
*Bangla Gadyer Simabaddhata. Godhulimone magazine. March 1982. Editor Ashok Chattopadhyay.
*Shibnarayan Rayer Sangey Kichhukshan. Mahadiganta magazine. 1986. Editor Uttam Das.
*Srijansheel Atmahatyar Nayika Sylvia Plath. Amritalok magazine. September 1987. Editor Samiran Majumdar.
*Bangali Jubak Jubatir Naach. Ebang magazine. October 1987. Editor Dhurjati Chanda.
*Samaskritir Sankat: Sarvabharatiya Bangali Criminaler Abhab. Ebang magazine. December 1987. Editor Dhurjati Chanda.
*Sati Teer: Red Indian Lekhaker Best Seller. Phooo magazine. 1992-93. Editor Pradip Choudhuri.
*Meyemanusher Biruddhe. Haowa49 magazine August 1997. Editor Samir Roychoudhury.
*Gadyer Prajuktibid Marcel Proust. Furnace magazine. May-June 1988.
*Kobitar kaj:Kajer Kobita. Kabitirtha magazine.1989. Editor Utpal Bhattacharjee.
*Kobitwer Andhakar: Lathkhorer Bidroho. Mahadiganta Magazine. 1990. Editor Uttam Das.
*Aami Kothay? Paa magazine. January-April 1992.
*Dantasfuta Jayadhwani. Megh magazine. 1994. Editor Sanchita Sen.
*Ei Sheeter Tatwa. Kavita magazine. 1995. Editor Supriya Bagchi.
*Pradip Choudhurir Kabita. Haowa49 magazine. January 1995. Editor Samir Roychoudhury.
*Adhahpataner Jathartho. Kabitirtha magazine. October 1996.
*Pathaker Mrityu. Majhi magazine. 1996. Editor Prashanta Ray.
*Bangla Sahitye Hungry Andolon. Commemorative issue of 17th Annual Bengali Conference of North America 1997. Editors Susanta Ray, Debajyoti Das and Jiten Mohanti.
*Jatilata. Haowa49 magazine. May 1998. Editor Samir Roychoudhury.
*Kobitar Janmo. Kabitirtha magazine. September 1998. Editor Utpal Bhattacharjee.
*Shabdartho Jar Muluk Tar. Ekaler Raktakarabi magazine. September 1998. Editor Pradip Bhattacharjee.
*Rearview Aynay Kourab. Kourab magazine. October 1998. Editor Kamal Chakraborty.
*Allen Ginsberger Sakshatkar (translation of Harvey Kubernik). Kavita#53 magazine. 1999. Editor Supriya Bagchi.
*Pragadhunik Danrakobi Adhunik Danrakobi. Mahadiganta magazine. January-March 1999. Editor Uttam Das.
*Premik Baudelaire. Disha Sahitya. October 1999. Editor Anindya Ray..
*Allen Ginsberger Sakshatkar (translation of Gloria Glikston Bram). Sannidhya. October 1999.
*Ki Boi Porbo Keno Porbo. Sahitya Setu magazine. 16 September 1999. Editor Jagabandhu Kundu.
*Colonial Modernity Banam Arabinda Pradhan Ki Ajib Dastan. Anuttar magazine. September 1999
*Kshudha Prem Aguner Senk.(about probasi Bengali). Padakshep magazine. September 1999. Editor Samir Basu.
*Kedar Bhadurir Sakshatkar. Mahadiganta magazine. July-September 1999. Editor Uttam Das.
*Ki Bhabey Bujhben Kobitati Postmodern. Kalimati magazine. October 1999. Editor Kajal Sen.
*Jounata. Shahar magazine. October 1999. Editor Ajit Ray.
*Adhunikata, Uttaradhunikata, Jibanananda. Godhulimone. September-October 1999. Editor Ashok Chattopadhyay.
*Postmodern Kabita Kakey Baley. Ebang Arbachin magazine. October 1999. Editor Koushik Ray.
*Bangalir Prabas. Padakshep magazine. October 1999 issue. Editor Samir Basu.
*Jibanananda Problematique. Lokakriti magazine. November 1999. Editor Haraprasad Sahoo.
*Dipankar Datter Sakshatkar. Arbachin magazine. 2000 issue. Editor Shormi Pandey.
*Allen Ginsberger Sakshatkar (several interviewers). Kobita Ishtahar. January 2000.
*Pratik O Pratikbadi Andolon. Dadhichi magazine. 2000. Editor Dolly Datta.
*Kobitar Rhizomatic Boishishtya. Ekhon Nidagh magazine. April 2000.
*’Amar’ Biswas ki ‘Tomar’ Biswaser Cheye Shreya? Kabita Campus magazine. January-March 2000. Editor Alok Biswas and Pranab Pal.
*Unishatama Ashwarohi. Mizanur Rahamaner Troimasik Patrika. July-September 2000 issue. Editor Mizanur Rahaman.
*Postmodern Little Magazine. Sahitya Setu magazine. March 2001. Editor Jagabandhu Kundu.
*Achabhuyar Bombachak. Kabitirtha magazine. June 2001. Editor Utpal Bhattacharjee.
*Postmodernism O Atharvabed. Kalimati magazine. July 2001. Editor Kajal Sen.
*Pratik O Pratikvadi Andolon. Dadhichi magazine. August 2001 issue. Editor Dolly Datta.
*Postmodern Sampadakiya. Kledaja Kusum magazine. September 2001 issue. Editor Pranab Kumar Chattopadhyay.
*Adolf Hitlerer Sakshatkar (translation). Sahitya Suchipatra. November 1999-April 2000.
*Lakshmikanto: Ekjan Sthanik Akshanvyakti. Kobititha. October 2001. Editor Utpal Bhattacharjee.
*Atlas O periplus. Ekhan Nidagh magazine. Boimela 2001
*Dipak Majumdar: Ani Bani Jani Na. Dahapatra magazine. June-December 2002 issue. Editors Surojit Sen and Kamalkumar Datta.
*Postmodern Brouhaha. Zero Hour. July 2002 issue. Editor Dipankar Datta
*Bhashabadaler Kobita. Kabita Campus magazine.july-December 2002 issue. Editors Alok Biswas and Pranab Pal.
*Aparder Best Seller. Haowa49 magazine.August 2002 issue. Editor Arabinda Pradhan.
*Shankarnath Chakrabartyr Postmodern Pratilekh. Haowa49 magazine. November2002 issue. Editor Samir Roychoudhury.
*Sabuj Mahishasur. Mansai Times magazine. January 2003 issue. Editor Biswadeb Chattopadhyay.
*Apurbamoyeer Micronarrative. Sarvanam magazine. February 2003 issue. Editor Krishna Ghoshal..
*Barin Ghoshaler Panoptocon. Notun Kobita magazine. April-September 2003 issue. Editor Ranjan Moitra.
*Krittibas Thekey Hungry Andolon. Kabitirtha magazine. July 2003 issue. Editor utpal Bhattacharjee.
*Atmaprasanga. Khanan Patrika. October 2003 issue. Editor Sukumar Choudhuri.
*Sabarna Choudhurira Sab Galo Kothyay. Disha Sahitya magazine. Utsab 2003 issue. Editor Anindya Ray.
*Hungry, Angry O Beat Pratisandarbha. Amritalok magazine. November 2003 issue. Editor Samiran Majumdar.
*Diasporic Adhunantikata. Haowa49 magazine. December 2003 issue. Editor Samir Roychoudhury.
*Hungry Andoloner Majagulo. Disha Sahitya. Sharad 2003 issue. Editor Anindya Ray.
*Case History: Ichchakrita Gadya. Madhyabarti magazine. January 2004 issue. Editor Biswarup Dey Sarkar.
*Bishyayan O Pashchim Banglar Samskriti. Padakshep magazine. January 2004 issue. Editor Samir Basu.
*Subimal Basaker Sakshatkar. Anyabhumi magazine. April 2004 issue. Editor Utpal Sarkar.
*Jibanshaili: Ekti Adunantik Abhidha. Dadhichi magazine. April 2004 issue. Editor Dolly Datta.
*Allen Ginsbergkey Amra Kibhabey Probhabito Korechhi.Ekaler Raktakarabi magazine. June 2004 issue. Editor Pradip Bhattachajee.
*Hungry Pratisandarbha. Digangan magazine. Utsab 2004 issue
*Hungry Andoloner Sakshya: Sonar Danter Gathakavya. Ebam magazine. August-October 2004 issue. Editor Dhurjati Chanda..
*Hungry Andolon. Rishra Samachar news-magazine. October 2004 Sharad issue. Editor Dilip Sarkar.
*Rimbaud Rahasya. Kabitirtha magazine. January 2005 issue. Editor Utpal Bhattacharjee.
*Aamar Baba. Sunrito magazine. January 2005 issue. Editor Ahmed Sayem.
*Gyanchoutisha: Ananda O Duhkha. Grafitti magazine. February 2005 issue. Editor Subhankar Das.
*Hungry Andolon. Sharadiya Jugasankha. 2005 issue. Editor Bikash Sarkar.
*Aamar Ma. Kanakodi magazine. January-March 2005 issue. Editor Bishal Bhadra.
*Nikhonj Shashurmashay. Horinahorinir magazine. May 2005 issue. Editor Saswata Sikdar.
*Pratham Adhunika, Rajlakshmi Didikey Chenen? Prabase Nijabhase magazine. January 2008 issue. Editor Mandira Pal.
( For the magazines researchers may visit Little Magazine & Research Centre, 18 M, Tamer Lane, Kolkata 700009.Information relating to availability of books may be ascertained from Avishkar, Bansdroni, Kolkata 700 070, India. Mobile Telephone No: 09830331092. Land line phone No. 91-033-24105132 ).
Saturday, May 3, 2008
I am ready to be mugged O deadly bat come
16 division ravens whirl around my torso for 25 years
My skin is in blazing furore
I do not know what I'll do where I'll go oh I am sick
I'll kick all Arts in the butt and go away Shubha
Shubha let me go and live in your cloaked melon
In the unfastened shadow of dark destroyed saffron curtain
The last anchor is leaving me after I got the other anchors lifted
I can't resist anymore, a million glass panes are breaking in my cortex
I know, Shubha, spread out your matrix, give me peace
Each vein is carrying a stream of tears up to the heart
Brain's contagious flints are decomposing out of eternal sickness
other why didn't you give me birth in the form of a skeleton
I'd have gone two billion light years and kissed God's ass
But nothing pleases me nothing sounds well
I feel nauseated with more than a single kiss
I've forgotten women during copulation and returned to the Muse
In to the sun-coloured bladder
I do not know what these happenings are but they are occurring within me
I'll destroy and shatter everything
draw and elevate Shubha in to my hunger
Shubha will have to be given
Kolkata seems to be a procession of wet and slippery organs today
But i do not know what I'll do now with my own self
My power of recollection is withering away
Let me ascend alone toward death
I haven't had to learn copulation and dying
I haven't had to learn the responsibility of shedding the last drops
Haven't had to learn to go and lie beside Shubha in the darkness
Have not had to learn the usage of French leather
while lying on Nandita's bosom
Though I wanted the healthy spirit of Aleya's
fresh China-rose matrix
Yet I submitted to the refuge of my brain's cataclysm
I am failing to understand why I still want to live
I am thinking of my debauched Sabarna-Choudhury ancestors
I'll have to do something different and new
Let me sleep for the last time on a bed soft as the skin of
I remember now the sharp-edged radiance of the moment I was born
I want to see my own death before passing away
The world had nothing to do with Malay Roychoudhury
Shubha let me sleep for a few moments in your
violent silvery uterus
Give me peace, Shubha, let me have peace
Let my sin-driven skeleton be washed anew in your seasonal bloodstream
Let me create myself in your womb with my own sperm
Would I have been like this if I had different parents?
Was Malay alias me possible from an absolutely different sperm?
Would I have been Malay in the womb of other women of my father?
Would I have made a professional gentleman of me
like my dead brother without Shubha?
Oh, answer, let somebody answer these
Shubha, ah Shubha
Let me see the earth through your cellophane hymen
Come back on the green mattress again
As cathode rays are sucked up with the warmth of a magnet's brilliance
I remember the letter of the final decision of 1956
The surroundings of your clitoris were being embellished
with coon at that time
Fine rib-smashing roots were descending in to your bosom
Stupid relationship inflated in the bypass of senseless neglect
I do not know whether I am going to die
Squandering was roaring within heart's exhaustive impatience
I'll disrupt and destroy
I'll split all in to pieces for the sake of Art
There isn't any other way out for Poetry except suicide
Let me enter in to the immemorial incontinence of your labia majora
In to the absurdity of woeless effort
In the golden chlorophyll of the drunken heart
Why wasn't I lost in my mother's urethra?
Why wasn't I driven away in my father's urine after his self-coition?
Why wasn't I mixed in the ovum -flux or in the phlegm?
With her eyes shut supine beneath me
I felt terribly distressed when I saw comfort seize Shubha
Women could be treacherous even after unfolding a helpless appearance
Today it seems there is nothing so treacherous as Woman & Aet
Now my ferocious heart is running towards an impossible death
Vertigoes of water are coming up to my neck from the pierced earth
I will die
Oh what are these happenings within me
I am failing to fetch out my hand and my palm
From the dried sperms on my trousers spreading wings
300000 children gliding toward the district of Shubha's bosom
Millions of needles are now running from my blood in to Poetry
Now the smuggling of my obstinate legs are trying to plunge
Into the death-killer sex-wig entangled in the hypnotic kingdom of words
Fitting violent mirrors on each wall of the room I am observing
After letting loose a few naked Malay, his unestablished scramblings.
( Translation of Prachanda Baidyutik Chhutar )