3 Review(s)

Who said that Samaresh Bose is the prince of Bengali literature. Inquisitors may consider this comment an exaggeration. But can it be denied, he was a great genius like Banaspati in literature! He rose from humble beginnings to the pinnacle of fame and establishment with a fighting spirit to turn adversity into favour. Just as his literature took various turns in subject-variety like a flowing river, so his life progressed in such diversities, spreading the colors of living. He had no strong morals or ideals about life. He was completely independent in his way of life and way of living. As life and literature became one, there was no loophole in the creation of Samaresh. He himself wrote in one place: 'Whatever the responsibility of literature is, it is close to life. For the fact that life is greater than literature, the writer does not need to practice deeply, it is always very alive. Men and women of flesh and blood, who are connected to the soil in every sense, are the ones who come under the pull of his literature. He did not exclude anyone, did not return. He believed in physical relationship to find the bottom of people. As a result, he is likely to be misunderstood at any moment. Samaresh believed that to catch life as a snake, one must not only be a life artist, but also a life hunter. Sameresh was like that. Life artist, life hunter Samaresh's literary life started from the 'Soil of Nayanpur'. Although his first published novel is 'Uttaranga'. This fourth volume contains five novels written in the fourth phase of his creative life from 1966 to 1972: 'Jagaddal', 'Tinbhuvaner Pare', 'Prajapati', 'Patak' and 'Swikarokti'. And an equal number of story books: 'Banlata', 'Manush', 'Chetnar Dhanke', 'Torn Tamsuk' and 'Darshita'. In these collected works, one can see a strange and controversial identity of Samaresh's never-ending quest for a fuller view of his individuality. Professor Saroj Bandyopadhyay has elaborated his identity in an impeccable analysis in the introduction to this volume.