Fakrul Alam is a Bangladeshi academic, writer, and translator.
Melville's critics, inevitably, panned him for what he had characterised self-deprecatingly and in his frustration as his fictional "botches," although his works were rarely that.
Rabindranath Tagore’s Gora, written between 1907 and 1909, reveals the ways in which Tagore addresses the all-important issues of his time—national identity formation, the coming together of people over time, and obstacles or barriers put in the way of the progress of a nation. The novel captures Tagore’s fascination with envisioning a future based on human amity or moitri, one where the powerless and the dispossessed transcend the barriers of division and distrust.
How can you talk about peace without taking into account war? Both are subjects not only of Tolstoy’s great novel but also of the two founding epic poems of Greek as well as Indian literature.
By 1954 Jibanananda Das, after years of neglect, was beginning to gain increasing attention as a poet all over Bengal—East or West—and had a steady teaching job after a long, long time. Indeed, in 1953 he had been awarded the Rabindra-Smriti Puroshkar for his book of verse, Banalata Sen. In May, 1954 his Jibanananda Dasher Shreshto Kobita came out from a reasonably good publishing house, collecting his best poems.
A series of poems also reflect his ecological sensitivity to the machine in the garden and snakes and hyenas imperiling forests and rivers and Dhaka—the city he has lived in for most of his life.
The dust jacket cover of Amartya Sen’s absorbing and remarkable memoir shows him as a young boy, with his sister and a cousin at home, looking out at the world. An apt cover image of a fittingly titled book about someone who would be always taking in the world as he went all over
“The truth is—here is a new country, new people and new modes of behaviour. It appears that there is newness in the air, everywhere” (New China, 143)
The book reveals how in mid-19th century colonial East Bengal jute first emerged “as a global commodity”
Melville's critics, inevitably, panned him for what he had characterised self-deprecatingly and in his frustration as his fictional "botches," although his works were rarely that.
Rabindranath Tagore’s Gora, written between 1907 and 1909, reveals the ways in which Tagore addresses the all-important issues of his time—national identity formation, the coming together of people over time, and obstacles or barriers put in the way of the progress of a nation. The novel captures Tagore’s fascination with envisioning a future based on human amity or moitri, one where the powerless and the dispossessed transcend the barriers of division and distrust.
How can you talk about peace without taking into account war? Both are subjects not only of Tolstoy’s great novel but also of the two founding epic poems of Greek as well as Indian literature.
By 1954 Jibanananda Das, after years of neglect, was beginning to gain increasing attention as a poet all over Bengal—East or West—and had a steady teaching job after a long, long time. Indeed, in 1953 he had been awarded the Rabindra-Smriti Puroshkar for his book of verse, Banalata Sen. In May, 1954 his Jibanananda Dasher Shreshto Kobita came out from a reasonably good publishing house, collecting his best poems.
A series of poems also reflect his ecological sensitivity to the machine in the garden and snakes and hyenas imperiling forests and rivers and Dhaka—the city he has lived in for most of his life.
The dust jacket cover of Amartya Sen’s absorbing and remarkable memoir shows him as a young boy, with his sister and a cousin at home, looking out at the world. An apt cover image of a fittingly titled book about someone who would be always taking in the world as he went all over
“The truth is—here is a new country, new people and new modes of behaviour. It appears that there is newness in the air, everywhere” (New China, 143)
The book reveals how in mid-19th century colonial East Bengal jute first emerged “as a global commodity”
Bangabandhu Sheikh Mujibur Rahman was rooted in the land and loved Bangladesh’s natural features. He wanted them to be as they were—green, open spaces full of water bodies and flora and fauna.
If I get to live forever— then forever, I’ll be all alone— If I return to the paths of the world, I’ll see green grass Sprouting—will see yellow grass scattering— the sky Whitening in the morning—like a tattered munia bird, Breast blood-stained in the evening—again and again I’ll see stars And view a strange woman untying braided hair and leaving Alas, her face devoid of traces of the setting sun’s soft glow