<i>Kali O Kolom Chaitra 1415</i> - March 2009
Contrary to what is bandied about by editors of literary magazines and journals, sometimes Lady Luck does smile on them. Sometimes an issue comes out where intelligence, readability and balance are present in equal, harmonious measure. One such issue is the present volume of Kali O Kolom, where my, or any other critic's for that matter, job has been simplified, to merely commending it to to regular and potential readers. If there is any criticism to be made of the issue it is that there are some articles which perhaps could have benefited from greater length, by being given sufficient space to properly explore their intended themes. One such piece is the beginning article by Swapan Majumdar on Rabindranath, where he argues that we Bengalis should go beyond the clichéd ideas that have developed around 'Gurudev' (the title itself an imprisonment of sorts!), and that by indulging and propagating such conventions we lose sight of the true greatness of the man and artist. It is a theme that could have profited from more explication. There is also a fine piece, and a deserving one, on Hasan Hafizur Rahman's poetic technique by Rahman Habib, and a rather difficult, though rewarding, contribution on the role of sound in poetry by Sarkar Abdul Mannan. Among the short stories an outstanding one is Nirjhorer Chand-Surjo by Balram Basak, and Harak, Raan'k Edaypay by Majul Hasan, with the latter's effort being a luminous experiment with language. In this connection again, one must mention that it would be good if Kali O Kolom provided bios of its contributors, since one then could satisfy one's curiosity about the identity of writers such as Majul Hasan. Kalyan Majumdar's story Shikor'er Khojay demonstrates his fluent handling of dialogue - often a failing with writers, where even otherwise accomplished writers display a tin ear for spoken registers and diction. In this regard Selina Hossain too is a writer who also has a finely-tuned ear for dialogue, for the registers and rhythms of rural Bengal, especially fishermen. Gulam Murshid has written, with his usual impeccable scholarship, on Rabindrakumar Dasgupta in the context of the Bengali Renaissance. Coincidentally enough, he reappears again, in a different guise, in a lovely piece by Dipa Bandhapadhayay on letters written by Shyamol Gangapadhayay, and which also evokes, tangentially but movingly, the hardships encountered by Bengali refugees to Calcutta during 1971. How we have forgotten those days of despair and struggle! An in-memorium on Naresh Guha, who died on 4 January, 2009, gives a rounded picture of the multi-faceted poet, critic (he wrote a memorable essay on Nature in Jibanananda Das's poems), translator and teacher. Among the first-rate art show reviews that are now a hallmark of Kali O Kolom, the one by Moumita Basak titled, aptly, 'Shetubondhu, on the 'Kolkata-Dhaka' art show at Kolkata's Birla Hall, where works by artists from both cities were displayed side by side, is informative and heart-warming. No doubt the coming to power of a more 'Bangali', secular party to power in Bangladesh is helping to re-build stronger 'shetus' between the two Bengals. Reproductions of Rafiqunnabi's woodcut 'Shongram' and Qayyum Chowdhury's Maach O Pakhir Nodi Paar Howa are superb, illustrative of the native genius at work in our art world. The recently concluded Chobi Mela has been competently documented by Zahid Mustafa. Special mention must be made of Mainul Sultan's piece on Chiang Dao, with the writer consistently taking travel writing in Bengali to newer heights, plus a little gem of a poem, 'Ausposhtota' by the delightful Asad Chowdhury. There are also good book reviews of Shahid Quaderi's new volume of poetry 'Amar Chumbon Gulo Pouchay Dao, Simon Zakaria's Prachin Bangla'r Buddha Natok and Bangladesh'er Lokenatok Bisoy aar Angik Boichitra, and Mahmudul Haque's Patalpuri (re-issued by Sahitya Prakashoni, Dhaka). As for inside artwork perhaps Ranjit Das Gupta's marvelously fluid illustrations could be utilized more. The cover art in acrylic is by Mansurul Karim, who teaches at in the Fine Arts department at Chittagong University, and whose series of paintings in the 1990s titled 'Maath'er Golpo' deservedly won him critical acclaim. This is a volume that gives a lot of bang for the buck!
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