Shahaduz Zaman stands out prominently as a significant figure in the contemporary Bangla literary landscape, utilising intertextuality throughout his works, and   infusing various texts and genres into his narratives.

In my creative writing classes, whether at the University of Toronto or the Hermitage Residency in Bangladesh, I emphasise that any student of fiction must first master suspense

When my literature professor heard I had been delving into Bangla literature and cultural media in pursuit of a self-undertaken project to finally learn Bangla, she suggested I see the 1970 film Jibon Thekey Neya.

I became curious as to how the experience of reading might change for someone who studied it for a living, and how the lens of a literature student might differ from that of a creative writing one

Although there is much merit to the representation of women’s pain, the evolution of the heavily aestheticised “sad girl” trope in popular culture has started to make a mawkish caricature of real women’s suffering

The craze that once prevailed in academia over postcolonialism no longer seems to hover around there anymore.

A translation of Ahmed Sofa's essay on Dostoyevsky

Much like most media geared toward women, romance novels have frequently received flack for its supposed shallowness, absurdity, and flamboyancy.

How do you attempt to understand testimonies of mass public trauma?

Like many veterans, I joined a creative writing MFA program because I wanted to evolve as a writer.

When I read the title of Charlotte Stroud’s article “The curse of the cool girl novelist” and the accompanying description of said type of novelist, I had a solid image of what she was referring to. Stroud describes “cool girl novelists” as “depressed and alienated”, “incurably downcast”, and “terminally sad”. It had similarities with “sad girl” literature, a supposedly new genre captivating readers and publishers alike.

Readers often look for relatability in the stories and characters they are reading but Nabokov doesn’t give his readers that comfort or spoon feed them. Rather, he challenges them to eschew feeling compelled by Humbert’s justification of his innocence

Making sure to stick to the prompt and ticking all your requirements can massively streamline your writing process.

These words are not just some veils adorning the valour and victory of our freedom fighters; they're not just tributes but testaments to the rare occasion of the oppressed overpowering the oppressor.

An interesting concern in contemporary children’s literature criticism is the discussion of power. Do the fictive children in children’s books, conceived and delivered by the adult author, have the ability to exercise their will and possess a voice?

“They should not do anything, excuse me; they are fit for nothing.”

What do we make of the mysterious thread that connects these stories not by genre, but by an imagination so wondrous they leave room for an underlying horror, and the many things that can mean?

In some ways, Sharatchandra places the blame for Devdas's ensuing sorrow on his lack of courage, made all the more noticeable in comparison to Parbati's courage in breaking social norms despite the dire consequences it could have for her.

As the title suggests, I am a third culture kid, a TCK, or a TCI (I for individual), the phrase literally translates to “people who were raised in a culture other than their parents’ or the culture of their country of nationality, and also those who live in a different environment during a significant part of their child development years”.

I cannot, for the life of me, definitively describe what makes music. Growing up in a family where music of any form was not typically paid any reverence, my exposure to it was tunnelled into mainstream pop songs for the longest time.