It was followed in 1932 by a sequel Aparajito, which was later also adapted into a film of the same name by Satyajit Ray.

    Does it herald the apocalyptic departure of the gods or is there a more rational explanation? The Kahars, inhabitants of Hansuli Turn, belong to an untouchable "criminal tribe" soon to be epically transformed by the effects of World War II and India's independence movement. Their headman, Bonwari, upholds the ethics of an older time, but his fragile philosophy proves no match for the overpowering machines of war. As Bonwari and the village elders come to believe the gods have abandoned them, younger villagers led by the rebel Karali look for other meanings and a different way of life.As the two factions fight, codes of authority, religion, sex, and society begin to break down, and amid deadly conflict and natural disaster, Karali seizes his chance to change his people's future. Sympathetic to the desires of both older and younger generations, Tarashankar Bandyopadhyay depicts a difficult transition in which a marginal caste fragments and mutates under the pressure of local and global forces. The novel's handling of the language of this rural society sets it apart from other works of its time, while the village's struggles anticipate the dilemmas of rural development, ecological and economic exploitation, and dalit militancy that would occupy the center of India's post-Independence politics.Negotiating the colonial depredations of the 1939-45 war and the oppressions of an agrarian caste system, the Kahars both fear and desire the consequences of a revolutionized society and the loss of their culture within it. Lyrically rendered by one of India's great novelists, this story of one people's plight dramatizes the anxieties of a nation and the resistance of some to further marginalization.

    But it is for his writing for children that he is best remembered.This book is a selection of the best of his stories and the most fascinating of his characters: Goopy and Bagha, dedicated but unsuccessful musicians who are cast out of their homes because their music drives their families and neighbours crazy; Tuntuni, the little bird; the clever fox; Majantali Sarkar, the cat; the intrepid Granny Hunchback; and many others.Swagata Deb’s vibrant translation brings Upendrakishore’s unique magic to a wider audience.

    Tenida is the leader of a group of four young lads who lived in the neighbourhood of Potoldanga, Tenida was depicted as the local big-mouthed airhead with a heart of gold, who, although not blessed with academic capabilities, was admired and respected by the other three for his presence of mind, courage, honesty as well as his vociferous appetite. Descriptions of Tenida's nose also make frequent appearances in the text, being described as "a large nose resembling Mount Mainak". The narrator of the stories is Pyalaram, who seemed to share his leaders frailty in academic exertions. The other two characters who formed an integral part of the quartet were Habul Sen, who speaks with strong East Bengali accent (Dhakai) and Kyabla- the cleverest amongst the four. The stories of Tenida and his gang were usually one of comedy-adventure where the gang goes through a lot of pain- and humiliation- to solve a mystery which were mostly of comical solutions. The short stories were extensively based in Calcutta and it's suburbs, while some of the larger stories took the group to the Bengal countryside, and at times further away. It is said that Narayan Gangopadhyay created the character of Tenida on his landlord (who had the same name) - with whom he was a very good friend.

    For nine months from March to December, the people of the country sacrificed their lives and all else that they had for their freedom in a way never before seen in the history of the world. This is the story of the Liberation War of Bangladesh, seen through the eyes of a child.A story of friendship.A story of sacrifice.A story of courage.A story of freedom.[This is the English translation of "Amar Bondhu Rashed" done by the author, Muhammed Zafar Iqbal's daughter Yeshim Iqbal.]

    Also contains the stories by Buddhadeb Guha, Shyamal Gangopadhyay, Shirshendu Mukhopadhyay, Dibyendu Palit, Sanjeev Chattopadhyay, Baren Gangopadhyay, and Moti Nandi.

    In Nishkriti (Deliverance), the strong-willed Shailaja, the youngest daughter-in-law in a joint family, is made an outcast as a result of a misunderstanding; much later, her elders realize their mistake, just in time to save the family from disintegration.

    Though he is a barrister educated at Oxford his main interest lies in literature. Never afraid to speak his mind, he is always ready to challenge society's pre-established knowledge and rules regarding literature, equal rights, and so on. While vacationing in Shillong, he comes upon a governess named Labanya in a minor car accident. Amit's iconoclasm meets Labannya's sincere simplicity through a series of dialogues and poems that they write for each other.

    Kapalik want to sacrifice Kapalkundla to the goddess kali to get the magical power. But Kapalkundla escaped from his hands with marrying a young man Navkumar. Story goes in the family life of Vestal (sadhvi) Kapalkundla with navkumar and spoiled after entry of Kapalik and Navkumar previous wife Motibai. A classic Story By Bankim Chandra Chattopadhya

    While preparing to wed the beautiful Bidyunmala, Devaraya is threatened by a treacherous brother within and enemies preparing for war without; worse still, Bidyunmala seems to be in love with Arjunvarma, a man Devaraya has come to trust. And so begins Saradindu Bandyopadhyay's classic tale of intrigue, love and war, set on the banks of the river Tungabhadra in fourteenth-century India.

    The story reflects the social, political and religious scene in Bengal at the turn of the century. The forces that were operating in Bengal at that time were one of the intense nationalism and revival of ancient spiritual values and also that of liberal western thought. What makes Gora a great prose epic is not only its social content but also its brilliant story of self-searching, of resolution, of conflicts and of self discovery.

    This collection includes stories as 1. The mystery of Bhopal2. Hotel in a Jungle3. The Key of the Junlegarh Palace4. Mystery of the Rajbari5. The mysterious diamond of Bijoynagar6. Kakababu and BajralamaAll the stories are published in mid to late 1980s. ১. ভূপাল রহস্য২. জঙ্গলের মধ্যে এক হোটেল৩. জঙ্গলগড়ের চাবি৪. রাজবাড়ির রহস্য৫. বিজয়নগরের হিরে৬. কাকাবাবু ও বজ্রলামা

    All the stories and poems are accompanied by Sukumar Rays inimitable illustrations.

    Dakshinaranjan Mitra Majumder was the person who first collected some folk-stories of Bengal and published it under the name of Thakurmar Jhuli in 1907 (1314 of Bengali calendar). The Nobel-Laureate, Rabindra Nath Thakur wrote the introduction to the compilation. Since then, it has become a favourite of Bengali children. Over the years, it has become a household name in West Bengal and Bangladesh.Some characters and stories like Lalkamal-Nilkamal and Byangoma-Byangomi have gained a legendary status, especially among the children. Hundreds of edition of the book have been published from Bangladesh and West Bengal since the original publication. An English translation by Rina Pritish Nandy has been available lately

    Without him I could never have known what it is like to be Indian."—Graham GreeneOffering rare insight into the complexities of Indian middle-class society, R. K. Narayan traces life in the fictional town of Malgudi. The Dark Room is a searching look at a difficult marriage and a woman who eventually rebels against the demands of being a good and obedient wife. In Mr. Sampath, a newspaper man tries to keep his paper afloat in the face of social and economic changes sweeping India. Narayan writes of youth and young adulthood in the semiautobiographical Swami and Friends and The Bachelor of Arts. Although the ordinary tensions of maturing are heightened by the particular circumstances of pre-partition India, Narayan provides a universal vision of childhood, early love and grief."The experience of reading one of his novels is . . . comparable to one's first reaction to the great Russian novels: the fresh realization of the common humanity of all peoples, underlain by a simultaneous sense of strangeness—like one's own reflection seen in a green twilight."—Margaret Parton, New York Herald Tribune"The novels of R.K. Narayan are the best I have read in any language for a long time. . . . His work gives the conviction that it is possible to capture in English, a language not born of India, the distinctive characteristics of Indian family life."—Amit Roy, Daily Telegraph