Na Sahityer Akhyan: Nimsahityer Galpo Bunan
Abstract:
Protests, movements have changed the rulers, but they have crossed the boundaries of politics and knocked on the door of the cultural world many times and successfully informed their existence and one of its partners has been literature. The movement has expressed its greatness in the liberation of literature of various languages of different countries of the world. Looking at this literary-cultural movement and the political history of the time, it can be seen that the mindset of the newly liberated people of different countries is associated with it. It may be the opposition between the ideology of the political ruler and the independent thought of the people that had sown the seeds of their expression. Bengali language and literature have repeatedly witnessed new traditions overthrowing earlier traditions. The practice of breaking the practice can be seen very clearly in the post-independence period. Originally from the sixties some new literary movements began to take place in Bengali literature, for example the ‘Hungry Generation’ (1962), ‘Shruti’ (1965), ‘Sastra Birodhi’ (1966), ‘Neemsahitya’ (1970), ‘Chakor Sahitya Birodhita’ (1970). After the inception, Bengali literary movements and their related magazines were all Kolkata- centric.
In this paper, I am going to discuss the short stories in the ‘Nimsahitya’ movement, which developed outside the confines of Kolkata, in the newly formed industrial city of Durgapur. Unlike classical traditions this movement did not follow literary rules but challenged them. Traditional literature, the 'market-oriented' literature was rejected by the initiative of 'no literature, bitter literature', called 'Nimsahitya'. The movement took inception, developed and was completed in the pages of the journal 'Nimsahitya'. Sudhanshu Sen, who worked in a factory in Durgapur, Biman Chattopadhyay, Mrinal Banik, Narsingha Ray, Rabindra Guha and Ajay Nandi Majumder were the principal contributors to this retrograde literary genre that began to make its way to 'Nimsahitya'. Here I discuss MrinalBanik’s ‘Manusmorkotocchob’, ‘Bishonno Badur’ and Ajay Nandi Majumdar’s ‘KhunBonamAtmohotya’ and ‘Amanush’. ‘Nimsahitya’ adds a different tone to Bengali short stories.
In this paper, I am going to discuss the short stories in the ‘Nimsahitya’ movement, which developed outside the confines of Kolkata, in the newly formed industrial city of Durgapur. Unlike classical traditions this movement did not follow literary rules but challenged them. Traditional literature, the 'market-oriented' literature was rejected by the initiative of 'no literature, bitter literature', called 'Nimsahitya'. The movement took inception, developed and was completed in the pages of the journal 'Nimsahitya'. Sudhanshu Sen, who worked in a factory in Durgapur, Biman Chattopadhyay, Mrinal Banik, Narsingha Ray, Rabindra Guha and Ajay Nandi Majumder were the principal contributors to this retrograde literary genre that began to make its way to 'Nimsahitya'. Here I discuss MrinalBanik’s ‘Manusmorkotocchob’, ‘Bishonno Badur’ and Ajay Nandi Majumdar’s ‘KhunBonamAtmohotya’ and ‘Amanush’. ‘Nimsahitya’ adds a different tone to Bengali short stories.
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