Introduction:
East is endless
The canvas trembles in radiance
Wrapping advances and would advance more playing banjo alongside
East does not end
Many a man traverses in this dialectic trip
Is the canvas trembling in reality?
The numeric emotion undulates in and within the rounded relativity of speed
Boat and mandolin exist in my dreams
Many a boat and ship sails
Travel is designed thru trivial commerce
The beauty of Bengal eats up the bounty of Bengal today
Thereafter, an auction takes place in an ammunition factory
The paintings of an ice less world
Boat and mandolin carries all to the east
East does not limit
As it trembles with aspirations[1]
This is Barin Ghosal where East never ends. This is Barin Ghosal, who dreams of a boat to
sail for his neverending journey. This is Barin Ghosal, who dreams of a mandolin to play for discovering an evernew tune. This is Barin Ghosal, losing himself to find his true self:
I’m here, not here, I— not me— one who doesn’t enjoy the living in the moment of this vacillation doesn’t know the meaning of life.[2]
Let me tell you a childhood story about his ‘losing himself’, as he writes in his autobiography. He was then four years old, went to his aunt’s house at Sitarampur. One day he followed his maternal uncle, going to his official duty. But the little boy failed to follow him and saw himself reaching to a railway station. He was amazed by the railway’s platforms, passengers, and the moving shops, which was hanging on the chest of the shopkeepers. But above all, running train became the most interesting subject to him— trains’ arrival in the station, boarding of the passengers into the trains, and then the departure of trains from the station with the passengers—everything became the objects of wonder for the kid. It was a beckoning of the world out there for his mind and the result was ⸺ he got on the next train and sat coolly on a window-seat.
You may recall the little boy Apu, who is running through the field to see the running train on its track, the striking moment on screen by the debut film director Satyajit Ray. Yes, you are right, I’m talking about the protagonist character of the timeless classic novel Pather Panchali (The story of the road), written by Bibhutibhushan Bandyopadhyay. I would say Barin was the Apu in the world of our Bengali literature who could hear, even in his childhood, the beckoning of the world beyond the known.
There were many passengers in the train and a few of them of his age. However, Barin’s eyes glued to the outside of the window. He was amazed to see how fields, streams, trees, people, houses, everything was passing by. What a fun! He couldn’t take his eyes off the outside world. Coal dust from the exhaust of the steam engine was troubling his eyes. When he turned his face from the window to rub his eyes, a stranger called him by his nick name⸺ hey Swapan! Where are you going? With whom are you going?…etcetera, etcetera. (Swapan was the nickname of Barin) Being irritated with the questionnaire, he looked out of the window. Nevertheless, the stranger didn’t leave him alone, rather forcefully took him to get down in the next station and took him back to his aunt’s house. Barin felt the man as his enemy.
This is Barin Ghosal, considers anyone as his enemy who interferes with his freedom of life, because he always dreams to attain an escape velocity to go beyond the boundaries. Whether it is of life or literature, he tries to break the barrier that limits him, and sails his boat and mandolin towards East that ‘does not limit, as it trembles with aspirations’.
Escape velocity in Physics is the minimum speed required for an object to escape from the gravitational influence of a massive body. Now connect the massive body with the conventional literature, sanctioned by establishments, by literary tradition, by socially accepted standards, by commercial commands that fuel the establishments. Now, I think, you can imagine the huge gravitational influences of these conventions. Will you try to escape this trap? What you need is the escape velocity to overcome the gravitational pull of the hall of fame of the lucrative establishments.
It was a cold winter, 4th December 1944. The place was Agartala, the capital of Tripura, a state in North-East India. Barin didn’t want to leave the warmth of his mother’s womb. This is his very first resistance that he has applied to enter this world and continued to apply throughout his life to tingle with jingle of resistance for jumping anywhere, out of the world.
In his very childhood, with his parents he has arrived and was brought up in Jamshedpur, the steel city of Jharkhand, Eastern India. P-14/3, Telco Colony, Barin’s house, was a warm lovable address for all poets and writers who were in quest for new, and they named it as Gallery-14. The steel city, I think, fomented the properties of steel, like hardness, toughness, corrosion resistance, ductility, and conductivity, into Barin. Don’t you agree? Then, let me familiarize you with each of these properties with an example from his life.
Hardness of steel is the cornerstone of wear resistance, the very nature of Barin, to withstand any types of friction he had with his contemporaries for his aesthetic or ideological conflict. Because he believes that new poetry or poetics or any literary invention emerges out of a conflict with a given state of affairs.
Toughness of steel refers to its ability to absorb energy without a fracture or rupture. Barin’s mental fortitude enables him to encounter any emotional or ideological rupture when stressed or challenged. Otherwise, how could he bear the pain and grief of losing his wife at a very young age, and how could he continue to be alone for the rest of his life? For the question⸺ how could you accept your wife’s death?⸺ his simple reply⸺ when my wife passed away, I was literally sitting by touching her. It is not an acceptance but a renouncement— as the way I renounce my poetry.
Renunciation in Buddhism or sannyāsa in Hinduism is a spiritual term, but I would like to take out here only spirit from spiritual. Because, being in India, the prevailing state of Hinduism, Barin used to reject any connection of his poetics or life with the spiritual/religious meanings. So, here spirit is to mean Barin’s mental strength of going forward. It is not a desire to quit the world, but a desire for freedom to take a leap beyond known, leaving behind the emotional rupture. His toughness, the ability to absorb energy from the existing one, is so much that he could go forth for a new, leaving the things that he has previously enjoyed and endorsed. That is the way of his going forward for every new phase of his poetic journey throughout life.
Corrosion resistance of steel measures the material’s ability to withstand damage caused by external factors. Though Barin’s inventions towards New Poetry, a new genre of Bengali poetry, has created a whole new generation of poets, he received many corrosive cruelties from the world of Bengali literary critics, even from his colleagues from Kaurab. But his corrosion resistive power never allowed any oxidation of his mental materials, rather his unselfish generosity remains the same for those who misinterpreted him.
Ductility of steel is the capacity of its material to be stretched or deformed without breaking. The high ductility of Barin enables him to utter his poetic mantra of change, the essence of life, by stretching or deforming the existing one. His literary journey is not to denounce the conventions but to renounce it for reconvening with a change— a change in the point of view to explore its new dimensions. As a result, we have received each poetry book from Barin Ghosal with a renewing resonance, which call upon the birds of possibilities. In addition, his ductility is so high that he could change himself from a novelist to a poet. Yes, that is a big story, I’ll tell you later.
The last but not the least is conductivity, the property that made steel as a good conductor of heat and electricity. If Barin was not conductive, not allowing his warmth of love to flow towards the younger generation, the new poetry of the present generation wouldn’t have emerged. If he did not electrify us, how could I come forward to write this piece?
Who is Barin Ghosal?
I know, the very first question haunting you is that⸺ who is Barin Ghosal? ⸺ whether he is an inventor or theorist, whether he is a poet or novelist, whether he is a critic or editor. Yes, I can understand your vacillating mind, but I would say that Barin is all of them, but they are not one. It’s not a fascinating riddle but a factual truth. Barin is different in each of these genres. When Barin is an inventor, he freely expresses his imaginative ideas without fear of judgment and moves to fill the generation gap in Bengali poetic society with his creative thoughts and possibilities. When Barin is a theorist, he is a scientist with reason and logic, a measured scientific man. When Barin is a poet, he breaks the prison of logics of language to create the sensations of word; and to look for new realities he steps into the intuitive science, carried out by his expansive consciousness, with a magical touch of his imagination. When Barin is a novelist, he enters into the zone of magic-realism, and from his own experiences, he replaces any preconceived perceptions of realities and prescribed forms of the subject matter by fantasy; and he embarks on a new horizon beyond the boundaries of the institutional myths. When Barin is a critic, he doesn’t judge whether the work is good or bad, rather he tries to find out the signs and signals of a new adventurist in the work of the author. When Barin is an editor, he doesn’t look for the authors with big names and reputations, rather he tries to find a journey lover, an adventurist in the playroom of poetry, who is not afraid to defy conventions and takes risks for his experiments.
I’m in a dilemma⸺ how to tell you about all these different Barin because it demands different chapters for different Barin. So, in this limited space I would like to give you only the key points about Barin Ghosal.
Otichetona (Expansive Consciousness)
Barin Ghosal has invented otichetona (Expansive Consciousness), a new literary theory, which sets the stage for a new genre of Bengali poetry, which he named as Natun Kabita (New Poetry). The Kaurab’s poetry camps have sown the seed of Expansive Consciousness, as he has mentioned in an essay:
I got the idea of ‘otichetona’ in one of the Kaurab’s poetry camps when Kamal Chakraborty used the term ‘chetankalpa’ (conscious imagination) and explained it. Expansive Consciousness is the reverse concept and practice of subconsciousness in the world of surrealism. From the thirties of the last century onwards, Jibananada Das and Sudhindranath Dutta successfully implanted the European basis of subconsciousness or surrealism in Bengali poetry. Since then, many Bengali poets became surrealist and forms the present tradition. But since the sixties, Bengali mainstream poetry fails to free itself from imitating, mirroring or repeating Jibanananda Das[3] and continues the production of replica, which is Xerox of the Xerox only.[4]
Expansive Consciousness is the non-ordinary states of consciousness, awaiting expansion to acknowledge the source of knowledge, to enter into the shadow of mind, the imaginary world beyond computational world. The process negates the known to open up a new trail in an unknown terrain. It’s a centrifugal journey aversive to centripetal surrealism, similar to cubism, but not to stop at the surface level but to expand beyond the dark outer space of matter towards infinity. It’s an enlightened journey for out-stepping into unknown darkness, terra incognita of Zen Buddhism—the mysterious dark energy of mind that echoes Kena Upanishad—It’s different from what is known, and it is beyond what is unknown—to make the process of poetry to move towards infinite possibilities.
Imagination is the key to this expansive consciousness, as Barin Ghosal explains: The continuous flow of photons sets the rhythm of our life to trifle with the boundaries of our eyes. A poet challenges the finite vision in the quest of freedom with his journey through infinite possibilities. The vision of the eyes becomes an abstract thought by filtering through the poet’s imaginations, dreams, and perspective values of life, which depends on one’s own spectacle. To express this thought, the poet creates the sensations of words. When we explore the consciousness through these sensations, a series of chronological pictures strikes our mind like the logics of music and play the melody of a poem. The mental picture becomes a musical rhythm with the touch of the magical power of the poet’s consciousness. The readers begin their active adventure to tune in to this rhythm, where the vision of eyes and the listening of ears interchange their spaces.[5]
SPARK to Make the Quark of Poetry
What is Spark? Dictionary says, a spark is a small flash of light, produced by a sudden disruptive electrical discharge through the air. But Barin used the concept of the flash of light or spark to make the quark of poetry. It’s the SPARK (Spontaneous Power Activated Resonance Kinetics—his own acronym) generated in the special excited state in the neural network of our brain, which he explains as,
We are floating in a quantum field, where all interactions involve continuous creation and destruction of particles with which we, the material world, are made of. Only six percent reflection of its vibration could be seen through our eyes. Poems are signals creating from the vibrational modes of this field, stretched over space-time, and constantly evolving and dissolving in our brain. A sensitive poet needs to perceive these signals. The active part of his consciousness, which may be called his “free will” or mind, is constantly creating imaginary experiences through abstract matching with his earthly/phenomenal experiences through the external world, and electrical/chemical pulses move through the neural network of his brain continuously. Through a constant replacement process and from continuous refraction/reflection of images, sounds, and sensations, suddenly a flash of light or spark is generated in a special excited state. This happens in a magical moment when his mental capacitance is just conducive enough to receive the spark.[6]
Escape Velocity & Going Beyond
What is escape velocity? Physics says, it is the minimum speed required for an object to escape from the gravitational influence of a massive body. What is its connection with poetry? When a poet becomes alert enough of his own existence in a known and given surrounding, and allows his consciousness to expand, he could see infinite possibilities beyond the boundary of the known. Then he starts to negate the existing one and try to escape from the gravitational influence of the conventional thoughts. The other side of the boundary is still unknown, the dark. That’s the fact of the universe on which we dwell; that’s the experience we gather through our interaction with ever changing world. Ninety six percent of the matter in the whole universe is unknown dark matter and dark energy, and we are always surrounded by the dark, the unknown. We need not be worried of the unknown because we don’t know what the unknown is. And if we don’t know then there is nothing to be frightened of. When a poet tries to probe inner self from outside of himself, he could see how the actual world revolves. His expansive consciousness puts him from certainty to uncertainty, from comfort to discomfort, from sanity to insanity and attain the escape velocity to take a leap into unknown, the dark, a type of suicide, to make a new self to enlighten the dark with his expansive consciousness.
New Poetry: An open-ended game
Natun Kobita (New Poetry) is not the poem written recently but a poem without the attributes of old poetry. In other words, New Poetry is the other poetry— other approach, other expression, other value, through continuous conflicts and struggles against the prescribed norm and standardization of language. New Poetry is not the result, but the impact; not the product, but the process; not a finished art object, rather remains always unfinished. It is poetics, originated from the dynamic interplay between the faculty of intuitive mind and the faculty of intellect. It is to move not towards most perfect but more perfect, a dynamic process, a performance, a happening, to disagree with preconceived beginning, middle and end. It is to play an open-ended game in a multidimensional space with the inner force of language in multivectorial sense.
Sahityo-Japon (living with literature)
I think, there is one of the most important identities of Barin Ghosal from which all different forms of Barin have been emerged⸺ it’s KAURAB.
What is Kaurab? Kaurab is a little magazine, not a magazine but a literary movement, not a movement, but a Bengali literary group, not a group, but a philosophy of life, not a philosophy, but Sahityo-Japon (living with literature), a leftist way of living, to wrench freedom from the literary authority.
Kaurab (Sanskrit: Kaurava) is the family name Kaurava[7] in Mahabharata, one of the oldest Indian epics, where Kaurava fought for their throne of kingdom against Pandava, their cousin family, who were dedicated to preserve and uphold dharma. The very word preservation, the common characteristics of any literary institutions, has led the literary Kaurab group to fight against the mainstream literature of their time, to fight against the predefined set of principles and morality laid down by the authority.
In 1968, being bored with the surreal voice of the mainstream Bengali poetry Barin Ghosal has felt the need of an alternative literature and set about forming a literary group of poets with Kamal Chakrabarty at Jamshedpur, the steel city of Jharkhand, Eastern India, which they named as Kaurab group. Though Kaurab group started with the core members Kamal Chakraborty, Barin Ghosal, Subhas Bhattacharya, Shankar Chakraborty, Debojyoti Dutta, but slowly many poets join in the group like Swadesh Sen, Shankar Lahiri, Arun Aein, Shaktipado Halder, Arindam Gupta, Abhi Sengupta, Ashok Chattopadhyay etc. Their aim was to emphasize the innovative, alternative poetic practice of, and critical thinking on, Bengali literature, and to develop a non-mainstream and experimental genre. This leads to start the Kaurab literary movement with their little magazine Kaurab Patrika. In 1998, Aryanil Mukhapadhyay, one of the Kaurab members, has started Kaurab webzine with other members like Sudeshna Majumder, Sabyasachi Sanyal, Shubhro Bandyopadhyay etcetera. Beside all of them I must mention the name of another Kaurab member, Pranab Kumar Dey, not a poet but an adventurist, not only Himalayan adventure but also literary adventure, who is always in the first place to read and comment on a new book, published by these poets.
Kaurab Poetry Camp
Kaurab group used to arrange the poetry camps in the middle of nature, away from the city, sometimes it is Himalayan Village, riverside or seashore, or in the middle of a jungle. What is a poetry camp? Camp is the temporary accommodation, typically used by soldiers. Is a Kaurab poet a soldier? Yes, you are right. They want to strike the mainstream poetry by their arm of literary inventions, not to harm physically but psychologically.
With three days of ration and alcohol, they used to reach to the camp site to remain away from the public. They used to spend the full day with long discussions, reading, debate, quarrelling, drinking, and writing, all centered on poetry. They used to discuss on various national and international poetics, their success and failure, impact, and excellence, and the spark generated due to turning of Bengali poetics in the recent past. They have marked the attributes of the old poetry to discard the old school of allegory, symbol, rhyme, eloquence, emotion, metaphor, description, history, story, drama, news, comment, speech, exaggeration and recitability. The aim was to sharpen their linguistic knife to slash the old in the quest for a new one.
No doubt, they were bold to hold their diamond cut knife, how brilliant it may be, but the shadow of the old poems was too dense to cut through. Then, to overcome the influence of old poetry, all of them together took a path of an experimental thinking to write Proti-Kobita (anti-poetry) — the anti-poetry that deals with poems, not eternal but temporal, not of permanence but of movement, not artisan but art, as the Chilean Spanish poet Nicanor Parra said in his famous book Poems and Antipoems.
Kaurab poets used to play different types of games in their poetry camps for the construction of their new poetry. For one of such games, as Barin described, they have decided not to use any finite verb in poetry. Due to inadequacy of verbs in Bengali language, the flavor of poetry vanishes by the repetition of the same verb in every line of the poetry. Verbification is a common process in English language but not in Bengali. The process of verbification in Bengali language has started by Pronob Paul, one of the poets of Kobita Campus group, during his innovative process of language alteration. But that has happened at a later stage. Kaurab group decided to perform their experiment on poetry without verb. Another game was their experiment with the use of ‘analogy’ in a poem. Poet Jibanananda Das used the word ‘like’ in his poetry around 2000 times, as mentioned by Barin. My dear reader, have you counted this any time? Not me too!! But Barin is made of different materials. His high ductility, like steel, enables him to tune with Wallace Stevens’ Supreme Fiction[8] that provides the antidotal note ‘It Must Change’. Therefore, to bring a change in the old poetics Barin announced in the poetry camp—let us not use the word ‘like’ in any poem, let us perform our experiment to free the poetics from its imprisonment of analogy. With such types of games, Kaurab poets have learned to use the active word for the verb-less poetry and to write without analogy. Kaurab poets have felt the need of creating new language not because of their intellectuality, but from their inner necessity.
However, nothing happens overnight. They could arrange only three or four poetry camps per year due to lack of funding. So, apart from poetry camps, Kaurab group used to organize a reading-session in their own homes, club, etcetera on every Sunday, where everyone used to read their poems one by one and other used to criticize those, according to their knowledge of that time. The outcome of around three hundred such sessions with both praise and criticism on their poems was great. They started to publish their poetry books under the banner of the Kaurab Experimental Literature⸺ Swadesh Sen’s[9] Rakha Hoyechhe Komlalebu (The Orange is Placed) in 1982, Kamal Chakraborty’s[10] Mithye Kathaa (False Statement) in 1982 and Barin Ghosal’s Maayaabee Simoom (Enigmatic Simoom) in 1985 from the Kaurab publication.
The Experimental Literature of the Kaurab group created a loud turbulence in the poetic world of Bengal. The reports of Kaurab’s poetry camp moved the Bengali literary society. The mass media started to copy it but failed miserably.
Why mass media failed? They failed because there was no Barin Ghosal, as conductive as steel, whose power of love can flow to bind a group of people together for reaching a goal without any authoritative knot of binding. No matter who he is, no matter how nameless, fameless he is, Barin’s hand will reach his shoulder if he finds a signature of new poetry. Definitely, Barin will knock on his door to say, I have come to see you… how are you… how are your friends… how sunny your writing table is?[11] Please allow me to tell you one of my personal experiences. It was 2015, the year of my phase of writer’s block. My beloved Barinada has stood by me and said— nothing happens if you can’t write now. Keep on reading. Allow the mind to accept. You will be definitely ready someday to burst out.
Mass media failed because there was no Barin Ghosal, as hard as steel, to withstand the friction with fellow poets with a strong mindful belief that conflict is the aesthetic quiver in the quest for the diversities. Not only the presence of Barin Ghosal in the Kaurab group, but also Kaurab spirit matters, which is the counter-spirit of the Kaurab poets to counter against the imprisonment of poetic consciousness by the conventional poetic society. They used to listen carefully to the theories, proposed by Barin Ghosal, to explore alternative forms of aesthetic positions inside the dominated and dominating environment of the poetic culture of their time.
Kaurab’s poetry camps have been successfully continued for seven years from 1981 to 1987. Though the poetry camp has been stopped, it kept its everlasting signature on Kaurab poets, who learned patience, tolerance, friendship, positive thinking, the link between poetics and its application, imitation vs inspiration, influence vs radicality, the importance of discussions.
Barin Ghosal is like a novel, full of wonder in every chapter. Definitely, I would like to turn those pages some other times and let me stop here with a glimpse into his literary works.
Barin Ghosal’s Oeuvre
Poetics:
- Otichetonar Kotha (On Expansive Consciousness), Kaurab Publication, Jamshedpur
- Guineapig, ekti tathyachitra (Guineapig: A Documentary Film, Kaurab,1995)
- Kobitar Bhobisyat (Future of Poetry, Kabita Campus, Kolkata, 2003)
- Kobitar Uttaradhikar O Khnoj (Inheritance of Poetry and Quest, Srot Pub, Dhaka, Bangladesh, 2016)
- Kobitar Adhikar (Right of Poetry, Natun Kabita, 2009)
Poetry:
- Sukher kalakram o Sommujwal Dukkha (Chronology of Joy and Bright Sorrow, Kaurab, 1973)
- Maayaabee Simoom (Enigmatic Simoom, Kaurab, 1985)
- Satkar (Cremation, Kaurab, Jamshedpur, 1989);
- Hashish Taranee (Hashish Boat, Kaurab, 1992),
- Mukhasta Daalim (Verbalized Dalim, Kaurab, 2000)
- Lu (Simoom, Kaurab, 2002)
- Alkhallar Jeb (Pocket of gaberdine, Natun Kabita, 2008)
- Kobita Chalisha (Hymns of Poetry, Kaurab, Jamshedpur, 2009),
- E Lulu (Hey Lulu, Kaurab, 2006)
- Borkhaland Theke (From BorkhaLand, Natun Kobita, 2011)
- Mousenama (Chronical of Mouse, Kaurab, 2014)
- Pub Ar Furoy Na (Never Ending East, Kaurab, 2015)
- Pronoydhonir Software (Software of Love-Sound, Ekhon Bangla Kobitar Kagoj, 2016)
Novel:
- MaTaam (Tiltmeter, Kaurab, 1989)
- Ek Bharatio Sheeth (An Indian Winter, Kaurab, 1994)
- Udom Danga (Naked Land, Kaurab, 1996)
Short Story:
- Zindabad Khalko (Long Live Khalko, Kaurab, 2003)
- Byaktigata Godyo (Personal Essay, Bhasha Binyas, 2004)
Reviews:
- Amar Somoyer Kobita-1(Poetry of my generation), Vol-1, Kaurab, 1996.
- Amar Somoyer Kobita-2(Poetry of my generation), Vol-2, Natun Kabita, 2016.
Autobiography:
- Harate Harate Eka (All Alone Being Losing Myself), Ashtrey, 2016.
Edited Collection:
- Bhurjapatre Lekha (Collections of Work of Shounak Gupta), Kaurab, 2007.
- Khalasitola (Memories of Khalasitola in Bengal), Kaurab, 2011.
- Hardcore Kaurab 1 & 2 (Collections of Kaurab Vol-1&2), Kaurab, 2000, 2013
Translation:
- Rangbhumi (Hindi Novel Rangbhumi by Munshi Premchand), National Trust of India, 2007.
- Gandagram (Hindi Novel Adha Gaon by Rahi Masoom Raja), National Trust of India.
[1] “East”- poem by Barin Ghosal, Unparalleled : A Collection of Poems by Barin Ghosal and Kamal Chakraborty, ed. Dhurjati Prasad Chattopadhyay.
[2] Harate Harate Eka (Becoming Alone by Losing Himself), An autobiography by Barin Ghosal, Ashtray Prakashani, 2016, p-7. Translated from Bengali by me.
[3] Jibanananda Das – https://en.wikipedia.org/wiki/Jibanananda_Das
[4] Essay “The Recent Movement of Bengali Poetry and New Poetry”, collected in the book Kobitar Uttaradhikar O Khnoj (Inheritance and search of Poetry) published by Srot Publication, India, 2017, p-59, quotation is translated from Bengali by me.
[5] Otichetonar Kotha (Bengali: ‘On Expansive Consciousness’) by Barin Ghosal, Kaurab Publication, Jamshedpur, 1996.
[6]Ref-5, quotation is translated from Bengali by me.
[7]Kaurava is a name, used the descendants of Kuru, king of Hastinapura. In the old Indian epic Mahabharata, Kaurava, the sons of Dhritarashtra, and Pandava, the sons of Pandu, were cousins, and they fought a fierce battle in the Kurukshetra war for the throne of Hastinapura.
[8] Long poem: “Notes toward a Supreme Fiction” by Wallace Stevens, 1942. “It Must Change”─ One of the three parts of the poem. https://genius.com/Wallace-stevens-notes-toward-a-supreme-fiction-annotated
[9] Swadesh sen – https://learningandcreativity.com/freedom-swadesh-sen/
[10] Kamal Chakraborti – Bengali Poet and writer, one of the founder and editor of Kaurab magazine
[11] Prose collection Eksho Surje (In the 100th Sun) by Swapan Ray, Notun Kobita Publication, 2009.
[1] “East”- poem by Barin Ghosal, Unparalleled : A Collection of Poems by Barin Ghosal and Kamal Chakraborty, ed. Dhurjati Prasad Chattopadhyay. [1] Harate Harate Eka (Becoming Alone by Losing Himself), An autobiography by Barin Ghosal, Ashtray Prakashani, 2016, p-7. Translated from Bengali by me. [1] Jibanananda Das – https://en.wikipedia.org/wiki/Jibanananda_Das [1] Essay “The Recent Movement of Bengali Poetry and New Poetry”, collected in the book Kobitar Uttaradhikar O Khnoj (Inheritance and search of Poetry) published by Srot Publication, India, 2017, p-59, quotation is translated from Bengali by me.
[1] Otichetonar Kotha (Bengali: ‘On Expansive Consciousness’) by Barin Ghosal, Kaurab Publication, Jamshedpur, 1996.
[1]Ref-5, quotation is translated from Bengali by me. [1]Kaurava is a name, used the descendants of Kuru, king of Hastinapura. In the old Indian epic Mahabharata, Kaurava, the sons of Dhritarashtra, and Pandava, the sons of Pandu, were cousins, and they fought a fierce battle in the Kurukshetra war for the throne of Hastinapura. [1] Long poem: “Notes toward a Supreme Fiction” by Wallace Stevens, 1942. “It Must Change”─ One of the three parts of the poem. https://genius.com/Wallace-stevens-notes-toward-a-supreme-fiction-annotated [1] Swadesh sen – https://learningandcreativity.com/freedom-swadesh-sen/ [1] Kamal Chakraborti – Bengali Poet and writer, one of the founder and editor of Kaurab magazine [1] Prose collection Eksho Surje (In the 100th Sun) by Swapan Ray, Notun Kobita Publication, 2009.