The Hungryalist Age

The Hungryalist Age: Malay Roychoudhury

( Translated from Bengali by Google )

Introduction

Achintya Sengupta, in his book ‘Kallol Yuga’ writes: Twenty years have passed since “Kallol” went up. How many more years will pass, but “No Ghost! No Bhabhi”. Scenes or subjects will change day by day, but the rhythm of the youth-light in which Bengali literature was once illuminated. – There is no loss – like the truth, it will always be true. Those who once gathered under that light, today they are separated in different lives, maybe not in compensation. Or in competition – but what is the doubt, they are all beads of one rosary, Planets in one space. Each one is moving in its own way, but all are bound by one mantra, unfolding in one rhythm. One and the same ocean of truth-sea, each one | Arms are different, actually one. Actions are different, pleasures are one. Touches are different, feelings are the same. Likewise in all Ghats. One sky, one god on all thrones, one seat in all bodies. So there is unity everywhere. There is no difference, there is no difference, there is no variation, all worship one Sanatan!.”

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Achintya SenguptaKallol literary period is called ‘Kallol era After writing the book in the form of a novel, their era started to be called ‘Kallol Yuga’.call They initiated modernity in Bengali literature in a period of six years from 1923 to 1929, centered around the newspaper, and were naturally attacked, under the police’s eye, just like the poets-writers-painters of the Hungarian era.Some other contemporary magazines in the vein of Kallol’ are Kavita, Pragati, Uttara, Kalikalam, Purvasha etc.।  Achintya Sengupta’s book was probably written as a novel at the request of the publisher.

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I am trying to write the ‘Hungry Age’ in the form of a novel, but this movement is not a one-city event centered on a single newspaper, so I will try to bring the whole era into a scope. There are many books on the Hungry Movement, but before this no book has been written that marks the activities of the youth of that wide period as the ‘Hungry Era’. The books that have been written are group centric. If the Hungry activities are taken from 1961 to 1967, what Achintya Sengupta calls BengaliLiterature one day “In the glow of youth Illumined was his loy-kshaya-vaya-kaya-Truth  It was active”, then there will be no talk of a complete and comprehensive ‘Hungry Age’. Even after 1967, the Hungry Movement was active in different cities, through different groups of newspapers, such as Rivandi, Chihn, Hungry, Hungry News, Giraffe, Fuh, Ritvik, Concentration Camp, Dhritarashtra, Hungry Time, Hungry Resistance, Robot, Kurukshetra, Crazy Horse, Droh, Abharta, Dandasook, Samasutra, Yuddha Yatra, Manvantar, now like this, Anarya, Pakhi alle Raba etc., and till the end of the eighties, the young poets-writers of North Bengal and Tripura, including Calcutta, made that era a meeting ground.

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Compared to ‘Kallol’, Hungry era featured many youngsters, notable among them Shakti Chatterjee, Sameer Roy Chowdhury, Devi Roy,Vinay Majumdar, Sandipan Chattopadhyay, Uppalkumar Bose, Subimal Basak, Tridiv Mitra, Falguni Roy, Alo Mitra, Subhash Ghosh, Pradeep Chowdhury, Subo Acharya, Aruparatan Bose, Avni Dhar, Vasudev Dasgupta, Satindra Bhowmik, Shaileshwar Ghosh, Harnath Ghosh, Nihar Guha , Ajitkumar Bhowmick, Ashok Chatterjee, Amrittanay Gupta, Bhanu Chatterjee, Shankar Sen, Yogesh Panda, Manohar Dash, Tapan Dash, Shambhu Rakshit, Mihir Pal, Rabindra Guha, Sukumar Mitra, Debashish Mukhopadhyay, Anil Karanjai, Karunanidhan Mukhopadhyay, Alok Goswami, Malay Majumder, Raja Sarkar, Kishore Saha , Prabir Sheel, Ratan Nandy, Kushal Bagchi, Sumanta Bhattacharya, Pallavakanti Rajguru, Chandan Dey, Vikas Sarkar, Nirmal Halder, Surya Mukhopadhyay, Devjyoti Roy, Arunesh Ghosh, Anjan Bandyopadhyay, Manoj Raut, Appa Bandyopadhyay, Arani Basu, Pritam Mukhopadhyay, Sunita Ghosh, Rabin Dutt, Salim Mustafa, Rabiul, Arun Vanik, Rasraj Nath, Ratnamoy Dey, Satvik Nandy, Nitya Malakar, Subhash Kundu, Swapan Chakraborty, Subir Mukhopadhyay, Deepakjyoti Barua, Nirmal Halder, Saikat Rakshit, Rabindra Mallick, Bijan Roy, Swapan Mukhopadhyay and others. I have not met many of these poets and writers. Many of them were not familiar with each other. I will try to build a link between everyone in the scope of “Hungry Yug”. Moreover, some have tried to subvert the ‘hungry’ ideology in their own way to negate my contribution and, despite not having studied the original ideology, have rephrased my words in the context of West Bengal. Many thought that ‘hungry time’ meant ‘we can’t eat’, even though they had good jobs or taught, owned flats or houses. As an era, it does not change the Hungry era.

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There should be no objection to the use of the term ‘age’. Yuga is commonly used to indicate the age of time.In the Rigveda, Yuga refers to birth, long period, very short period or conjunction. Mahabharata, era andKalpa (Brahma’s a day) are used interchangeably to describe the cycles of creation and destruction. Suryasiddhanta andBhagavad Gita Accordingly, the names “era” and “age” are commonChaturyuga (Krit Yuga ortrue era, Treta Yuga, Dwapar Yuga AndKali Yuga) or refers to the “Four Yugachakras”. I mark the age of the literary and pictorial period of various Hungarian newspaper groups with the term ‘era’, from 1961 to 1991, just as Achintya Sengupta calls the Kallol period the ‘Kallol era’.

The Hungry Age: Foreword: Sandeep Dutt

Sandeep Dutta, director of the Little Magazine Library and Research Center, in whose library writers-researchers of various languages ​​from India and abroad go to look for old books and magazines, wrote in the article ‘Five or Six Decades of Some Newspaper-Katha’ in the June 1, 2022 issue of ‘Kritivas’ edited by Bijesh Saha. :“Hungry is the first anti-establishment movement in the history of Bangla Little Magazine. Hungry in November 1961The beginning of which is through Generation Bulletin. Creator, Lead and Editor Malay Roy Choudhury, Shakti Chattopadhyay and Devi Roy respectively.Although the paper’s birthplace was Patna, its place of publication was 269 Netaji Subhash Road, Howrah; Address of Haradhan Dhara or Devi Roy. Although it was printed from Patna.

Malay Roy Chowdhury was a 22-year-old student of economics at Patna University. Reading poet Geoffrey Chaucer’s (1939-1400) In The Sowre Hungry Tyme, Malay became excited by the impact of the word Hungry. Hungry’s plan since then. The context of time is also important. Newly independent country. Partition, economic disaster. Poverty, hunger, destitute people. The state of Bengali poetry is also very bad. Traditional poetry of 30-40 is dying. Poets of the 50s are just expressing themselves. Own land has not been discovered. Shakti Chatterjee once came to Patna. Malay talks about the need for power hungry movement. In the first bulletin, a notice on poetry was printed in English.

“The first manifesto was published in Bengal in February 1962. About 107 Hungry Bulletins were published from 1961 to 1965. These bulletins had no publication date. There were 24 a week, sometimes one a year, on various colored papers, even mullet brown paper.

“At the beginning of Hungry, only four people were associated with the movement. Shakti Chatterjee, Devi Roy, Sameer Roychowdhury and Malay Roychowdhury. Then Sandipan Chattopadhyay, Uppalkumar Bose, Shaileshwar Ghosh, Subimal Basak, Subhash Ghosh, Pradeep Chowdhury, Vasudev Dasgupta, Falguni Roy, Ramanand Chattopadhyay, Tridiv Mitra, Arunesh Ghosh, Subo Acharya and others joined one by one.

“Manto Hungira believed that new discoveries in writing were the true bold and original way of rejecting traditional values ​​and standing against conventional trends. Krittivas or Shatabhisha clan could not accept the Hungry movement. Senior writers have also expressed negative attitudes about the Hungarians. Hungry group has been criticized in the newspaper. 

“But this movement was celebrated in all Indian languages. Young writers in Hindi, Urdu, Marathi, Gujarati supported this movement. Other Indian language newspapers were influenced by the Hungry movement. Writers like Ashok Sahane, Dilip Chitre, Arun Kolatkar etc. in Marathi language, Nikhileshwar, Nagamuni, Jwalamukhi etc. in Telugu language. Hindi writer Phaniswarnath ‘Renu’ evaluates Hungry writers.

“The message of the Hungry Movement spread to the outside world as well.

“In late July 1964, many of the Hungris, including Malay Roy Chowdhury, were arrested on charges of obscenity based on a bulletin of the Hungry Generation. From 48 Shankar Halder Lane, Ahiritola, Kolkata – 5 names of ten writers and publishers Sameer Roychowdhury are found in that issue. The list of writers included Malay Roy Chowdhury, Pradeep Chowdhury, Vasudev Dasgupta, Subimal Basak, Utpalkumar Bose, Devi Roy, Ramanand Chattopadhyay, Shaileshwar Ghosh, Subhash Ghosh and Subo Acharya. Malay Roy Chowdhury’s poem ‘Prachanda Electric Carpenter’ was published in this bulletin.

“Sub-Inspector Kalikinkar Das of Lalbazar Press Section filed a complaint against Hungry Generation newspaper for writing obscenities based on this poem. The beating began. Although there were complaints against 11 people, 6 people were arrested. The case, however, was eventually filed against Malay Roy Chowdhury. The case went on for a long time. In May 1965, a charge sheet was filed against Malay Roy Chowdhury. The Hungarian movement ended in 1965. Malay Roy Chowdhury was sentenced in the lower court on December 28 this year. Later, on July 26, 1967, Malaya Roy Chowdhury filed a petition in the High Court, and was fully released.

“Word of the movement reached TIME magazine in New York. This is the first time that a newspaper published in Bengali language was circulated abroad. This movement of the anti-establishment Hungry Generation left a lasting impression on Bengali literature.”

one: I found one

The year is 1961. After graduation in economics, I am working in Patna.In 1959-60 I was working on two texts. One is ‘Philosophy of History’ which was later serialized in Bingas Shatabdi magazine. Another is ‘Legacy of Marxism’ which was published in Bibliography. I need the Hungry Movement while working on these two texts comes to mind While writing essays on the philosophy of history and a book called ‘The Legacy of Marxism’, I became acquainted with the social philosophy of Oswald Spengler and Melebar. Tried post-Partition India With West Bengal. at that time,After the partition, communal riots in West Bengal along with influx of refugee refugees, on the other hand a game of vested interest and dirty politics started crushing the dream of economic swaraj.The dream of a happy, prosperous, developed India that nationalist leaders dreamed of during the Swadeshi movement has started to rot in the post-colonial era.

— We raise our voice against this condition. Told grandfather Sameer Roy Chowdhury.

– How to raise the voice? No one knows us.

– We will print leaflets and make our statement and share it with the public.

— Shakti Chatterjee is still in my Nimdi house in Chaibasa, people still know him. I will bring you, explain your ID to him.

I knew Shakti Chattopadhyay by going to Chaibasa a few times; Lived in grandfather’s house. I enjoyed reading the manuscript of Shakti’s novel ‘Kyotala’. Chintum Sunil Gangopadhyay, Sandeepan Chatterjee, Utpalkumar Basuke, who often came to Chaibasa and stayed at Dada’s house. Sunil Gangopadhyay came to Patna while studying in City College; Dada Patnai made Sunil so drunk by drinking dishy liquor that he vomited into the balcony drain all night; Mother managed by eating lime juice.

In 1961I read a letter by a person named Haradhan Dhara in a newspaper, he wrote about short stories. The address given was 269 Netaji Subhash Road, Howrah. Dhara attracted the surname. I got to know them by asking my father buffalo, means Agricultural community । ‘Kallol’, ‘Kavita’ or the peasant poet-writer had not been heard of in the following decades, so the interest increased. I wrote a postcard and went to his house from Patna. I reached 239 Netaji Subhash Road through a narrow dark lane of Howrah. Several families live in the sheds around the yard, in one of them Haradhan Dhara lives with his brother and parents. One room, couch in the middle, books and magazines on the floor and under the bed. Haradhan is quite fair and cheeky, not the muscular body one would expect from a farmer family.

 I discussed starting the Hungry movement, Chaucer’s ‘In the Sower Hungry Time’ and Spengler’s philosophy. Let me explain to Haradhan  I got the word ‘Hungry’ from the English poet Geoffrey Chaucer‘In Swore Hungry Tyme‘ from the sentence And the philosophical basis of the movement is the writings of the philosopher Oswald Spengler’The Decline of the West‘ The central theme of the book.

I know the meaning of Hungry, but why from the writings of the English poet? Haradhan asked.

I said, this hungry word is not for food, but for time, bad time.

—Can confuse many with hunger. Think hungry means hungry. Think we have to write because we can’t eat. Haradhan said narrowing his eyes.

—I am therefore speaking of Chaucer’s phrase ‘Hungry Time’; India, and West Bengal in particular, has gone through a rough patch since partition; Talk about society, culture, politics, religion, human-to-human relations, caste system, we are getting stuck in the post-colonial cycle. I mean, the Octopus called the Establishment or the seats of power are holding on to everything. We will hit all the corners of the benches.

I saidBy raising the voice of breaking the status quo in Bengali society, by publishing a manifesto, we will start a movement of society, art and literature, it will be called Hungri or Hungrialist. The words arti or katarta cannot accurately portray the ideology.Hungry Movement, this phrase will be accepted in Bengali just as the Sanskritized phrases like Muslim League, Communist Party or Congress Party have been. We will recognize the hybridization of discourses in post-colonial India.

Let me explain Spengler’s statement: The history of a culture does not follow a straight line, it expands simultaneously in many directions; It is a biological process, and therefore it is impossible to predict which parts will turn in which direction When relying only on one’s own creativity, the culture continues to develop and enrich itself, its ever-increasing and expanding. But the end of a culture begins when it runs out of its own creativity and begins to absorb, eat, its appetite is insatiable.

– Seeing the situation in Bengal, I understood your words well. Communists do not want to understand this matter.

– You can see where the Bengali society has reached after the 19th century. I said.

— I know, I used to work at a tea shop until a few days ago. Recently got job in post office. I want to change my name to Devi Roy. I am making an affidavit. But what should I do?

– You go with me to Patna. Dada will bring Shakti Chatterjee from Chaibasa. The four of us will make a plan together. I will print leaflets on various issues and send them to you, you will distribute them among the intellectuals in Calcutta. Those who want to join, will contact them and write. I and Dada will look at the cost.

Haradhan Agreed, even agreeing to use his home address. But the sad thing is that the name is changing. The name Haradhan Dhara is not getting recognition in the literary world, so Devi Roy wants to change the name. I suggested that Haradhan Dhara should be the publisher and Devi Roy should be the editor.

Haradhan did not have friends then because Haradhan’s mother also liked seeing me. He asked a lot about me. He also said that Haradhan does not want to mix with everyone.

– Now you will see, where people will come and mingle. I told Haradhan’s mother.

While going to Patna by train, I saw that Devi Roy could talk to girls quite easily which I could not at all.

Let me talk about one of his previous experiences. Grandpa was studying in City College. From uncle’s house Panihati, he used to take train every day via Sealdah and walk from the station to college. When I went to Uttarpara, I used to go to Panihati by boat from Konnagar. When I was going to Calcutta with my grandfather from Panihati, I saw the plight of the refugees at Sealdah station and asked him., How long have they been like this?Dada said, there is none of them in Calcutta and no money, so there is no other option but to stay in Sealda station premises. Every day, so many families are fleeing that they are covering the station platform, camping in the open space in front of the station, they are spending day after day in the storm, water and sun. Hearing this, I remained silent. I did not go to Dada’s college through Sealdah. Dada also moved to Uttarpara’s homestead. Grandfather’s college friends used to come to hang out at the zamindarbari in Khandahar in Uttarpara. Dada chose the Chilekotha room, for the convenience of smoking cigarettes.

After I reached Patna with Devi Roy, Dada brought Shakti Chatterjee. I explained the idea of ​​Chaucer and Spengler. Shakti listened carefully. Shakti’s name as the leader, Devi Roy’s name as the editor and the creator’s name will be mine. Later I realized that it was foolish to print the names in the first leaflet like this.

Shakti Chatterjee heard the idea and said, “Should we do the agitation without informing Sunil?”

— Krittivas Patrika is not a movement, it is a separate platform along with Buddhadev Bose’s Kavita Patrika. I have written in Krittivas magazine. I have a poetry book coming out from Krittivas Prakashani. And Dada Sunil Gangopadhyay’s book ‘Alone and Some’ has been printed with his own money. Krittivas also pay the printing cost sometimes.

— Sameer explains to Sunil, he is a college friend. We used to hang out at your Uttarpara house. I really liked the food idea. But Sunil can be clever. Sunil had an argument with Sandeepan and Uppal about Kritivas; They feel that Sunil is trying to control them. Sameer knows this. Uppal wants to launch a separate magazine.

— Yes, Sunil has no reason to object. Krittivas is a poetry writing platform for young people. Not a movement. Malay is talking about total movement, about the establishment, about attacking the seats of power.

— How long have you been in love, writing poems about your lover, get married now. I told Shakti Chatterjee.

– I understand, you feel like you are eating while sitting on Sameer’s neck. Said Shakti.

— Hey, Sudhir Babu will not agree to marry her, there is no trick, the smell of Mahua liquor comes out of his mouth, get a job first, then. said grandfather

– Yes, until then Samir is the hope.

– To give to Hungry Bulletin and write a poem and give it to Devi in ​​Calcutta. Devi Roy can print it in Hungry Bulletin. Dada gave some money to Devi.

This poem by Shakti Chatterjee was the first poem published in the Hungry Bulletin, when India was attacked by China.First Sino-Indian WarIndia Andof China A war fought in 1962 between The war started from a border dispute. India was defeated by China in the war. After China annexed Tibet, India’s present-day Arunachal Pradesh and Aksai claimed Chinese territory, thus starting a border dispute that eventually led to war. China won the war and issued a unilateral ceasefire. Aksai occupied China but returned Arunachal Pradesh, after the war India felt the need to strengthen its army. India’s pacifist foreign policy also changed to some extent. in warUnited States, Soviet Union AndUK Supports India, on the other handPakistan Trying to increase friendship with China

A beggar boy looked at the rice with love and tasted it
Paddy-trees spread in Jyotsna, like pure watery butter on the paddy-stem.
Soil flexibility of the rice-hollowed rice, the rice can be rice?
A silent god can speak
Iron can melt
Can the surface of the wood be like women?
But that beggar boy looked at the rice with love.
Seen with love, many visions in life
How many people die from cannabis
In life, without rice, without women, without astrology, what is there?
God is above all in Panth-Nyratana
Lord Paribrajatar is above all
God is above all for people
The beggar is busy giving two rice to the boy
Besides the good son of the beggar, there were many bad sons
They never fought with love
They are also alive, they are also eternal
There are many kinds of fruits like Amalki in the world
The good son of the beggar and the bad son have fallen from the belly of the beggar mother

After a wonderful turn of events in the world, now life is peace, liberation, depression

etc. stand near the battle

Stop fighting in any form

Their bellies – bombs don’t need to be dropped

Girl in their bellies – let the bombs die in the bellies

Every year is a fatal wedding anniversary

Will Khrushchev-Kennedy give birth someday? ?

But stop the violent megaton war eruptions

Or the hungry will eat torn meat as needed.

Harassment is from groups of snow hyenas along the Indian border

With the red flag of irreligion only with the lame hunger of the body

And Tushar saw the hungry hunger of the woman in the eyes of the hyena

Chief Minister, send a group of starving poets

They don’t even know how to write, they know how to swallow miraculously

The entire border will be discussed in the coffeehouse

There may not be much difference in chanting in modern stories

Marriage in Bangladesh takes place at 3-30

Give Bentic Street leather to Jyoti Babu

How did Soumitra act in Chinese-Expedition?

Why can’t people take poetry like rice?

Will the war stop? Even the beggar understood the poem

Why don’t you understand, Professor, Chief Minister Sen?

— My mother removed the curtain of the room and called to eat, “I let you eat to get a seat in that room.” Mother knew that Shakti Chattopadhyay lived in Grandpa’s Chaibasa house and was in love with Sheela. There was no dining table in Patna then.

Shakti Chatterjee was probably having difficulty understanding the matter. So while the pre-dinner drinks were going on, I said,Spengler said, a culture doesn’t just go along a straight line; It expands simultaneously in different directions. It is a biological process, and therefore it is impossible to predict in which direction the various parts of the society will shift. When relying only on one’s own creativity, culture flourishes and prospers. When its creativity runs out, it starts absorbing and eating what it gets from outside, its hunger is insatiable. As a result of partition and after, West Bengal faced this terrible end, and the emergence of Bengali at the level of the 19th century Manishis is no longer possible. will be hungryCounter cultural Movement, and Hungry will be literatureCounter discourse।

– Understood, understood, Shakti shook his head.

I’ll keep meaning though.

—-The artistic and literary movements of Europe took place on the basis of the idea of ​​a linear history; Kallol’, ‘Poetry’, ‘Kritivas’, the works that brought about renewal within the boundaries of colonial aesthetic reality or colonial reality, why not they are logic-based, and in their mentality it is assumed that the consciousness of the individual is single, compact and integrated.

– I know, I know. Said Shakti.

I will still keep saying it, because I found out later that I can get burned.

——The main flaw in that idea is that contexts consider themselves superior to ancestors, and neglect spatiality and hierarchical development. The seeds hidden in that ideology create the psychosis that threatens and abstracts collectivity, because wisdom is established as a gender-neutral personality trait, the tendency to absorb the benefits of society, and the haste to determine historical coordinates among individuals.

– Yes, correct. Grandfather said.

– The construction of personal theory became important in that thought. It is precisely for this reason that a study of the European artistic and literary movements shows that the ears of the society are bursting with blood in the dama of the dominance of individual wisdom, that the society does not care. Looking at Kavita and Krittivas papers, it will be seen that the ‘Shatbhisha’ group is non-existent under the influence of capitalist institutionalism and fostering competitive individualism. Even ‘Kritivas’ has been limited to only a few intellectuals. On the other hand, if we think about the pre-colonial discourse before the colonial-tantra, then it can be seen that the macro-range of Padavali Sahitya is composed of Vaishnava and Shakta works, and the micro-range of Manasa, Chandi, Siva, Kalika or Dharma Tagore in the range of Mangalkavya. Note that in pre-colonial times the context was important, not the author.

– I understand, I understand, you don’t have to give such a speech, if you get a job as a professor in college, you can go, said Shakti.

Shakti used to leave Shakti at his in-laws house when Dada went on tour in Chaibasa. Once Sunil Gangopadhyay reached Chaibasa in search of power and said in surprise, “You buried the station here?” Shakti Chatterjee would wait for a long time by standing under a tree on the way back when his lover went to study in college.

 In PatnaDevi Roy stayed for a few more days. Manuscript of my book ‘Legacy of Marxism’ and nineteen thousand rupees to Shakti for printing the book in Calcutta. The book was printed in such a way that at the end I rushed to the house of Shakti Ultodanga and poured kerosene and set it on fire. Sunil Gangopadhyay said to Dada that you have not got any more people. A book called ‘Letters to Sunil’ has been published by Talpata Publications which contains letters from many people about the hunger movement, mine is the largest number of letters. My relationship with Shakti has deteriorated since then. And Shakti also thought that I and Dada broke the marriage with his lover.

Two: Hungry manifesto

I hatched a plan to print a one-page bulletin in Patna and send it to Devi Roy because I could not get Bangla Press. necessarilyIn November 1961 I printed leaflets in English and sent them to Devi. What was printed in the leaflet:

 ‘ First English Manifesto (November 1961)’ Poetry is no more a civilizing manoeuvre, a replanting of the bamboozled gardens; it is a holocaust, a violent and somnambulistic jazzing of the hymning five, a sowing of the tempestuous hunger.  Poetry is an activity of the narcissistic spirit. Naturally, we have discarded the blankety-blank school of modern poetry, the darling of the press, where poetry does not resurrect itself in an orgasmic flow, but words come up bubbling in an artificial muddle. In the prosed-rhyme of those born-old half-literates, you must fail to find that scream of desperation of a thing wanting to be man, the man wanting to be spirit. Poetry of the younger generation too has died in the dressing room, as most of the younger prosed-rhyme writers, afraid of the satanism, the vomitous horror, the self-elected crucifixion of the artist that makes a man a poet, fled away to hide in the hairs. Poetry from Achintya to Ananda and from Alokeranjan to Indraneel, has been cryptic, short-hand, cautiously glamorous, flattered by own sensitivity like a public school prodigy. Saturated with self-consciousness, poems have begun to appear from the tomb of logic or the bier of unsexed rhetoric.’ 

Some panelists questioned why the leaflets were not dated. No date given as no leaflet was published as a literary magazine. However, Devi Roy said that after the distribution of leaflets, many people want to join, are inquiring about the matter. I started sending the matter written in Bengali and money to Devi Roy, so that she could print it there. The leaflets were as follows:

 First Bengali Manifesto (November 1961)’  Poetry is now immersed in the contradictions of life. He is no longer the adjuster of life, no longer a hyperbole, no longer a relentless reasoner. Now, at this time, human need emerges in a terrifying hunger of inescapable depth such that the need to find meaning in life is over. Now it is necessary to find anartha, it is necessary to polarize, it is necessary to reach the goal. The aforementioned hunger is not only of earthly opposition, it is human, physical and physical. Poetry is the only nurturer of this hunger, because what else is there in life without poetry. Man, God, Democracy and Science have been defeated. Poetry is now the only refuge. Despite the poetry, all kinds of incoherence of unbearable human life. In the cruel rebellion of the inner world, in the desperate resentment of the inner soul, poetry is written in every drop of blood. A. Why is human life so dull? Perhaps, the unnecessary existence of those who are used to seeing poetry and life differently is the regulator of this crisis. What we think of as poetry is not simply the result of a terrible attraction to disillusionment with life. It is no longer poetry to ensnare the nature of the world in the framework of form. Even the use of poetry as a means of escape from a rejected world is now ridiculous. Willingly, in consciousness, surrendering to the cruelty demands of free poetic wisdom in the midst of absolute savagery is poetry. Among all kinds of taboos, therefore, the hidden treasures of the inner world can be found. Only poetry will remain in the soul. The game of calling the game of rhyming prose as poetry needs to end now. Gone are the days of lighting a table lamp and a cigarette, dipping a pen into the cerebral cortex, and making poetry. Now poems are written spontaneously like orgasms. Therefore, at the moment of trashnu balatkar or ‘consciously bewildered’ by consuming poison or drowning in water, it is now possible to create poetry.Declaring war on art is the first condition for the creation of poetry. It may be possible to write prose in a hobby, thoughtfully, in rhythm, but it is never possible to write poetry. Be it sonorous or melodious in tone, without the power to quench the hunger of the inner and outer soul, poetry can become characterless like Sati, vaginaless like Priyatma, unsearchable like Ishwari.”

      14-Point Emancipation Manifesto (1962)1. Authentic discovery of my complete ego. 2. Presenting me and all of me as much as possible during the poem. 3. Poetry captures me at the exact moment when I burst out for some reason, and the direction comes out of me. 4. Each value is challenged by one’s own ego, then accepted or rejected. 5. Start by considering everything as an object, and shake each one to see if it is alive. 6. To look back at every aspect of the matter without accepting it completely. 7. The use of a simple personal style, eliminating both rhyme and prose, that will fit into the mood of the person being addressed. 8. The type, size and weight of words used in speech is exactly the same in poetry. 9. The sound of the sound that is filled in the word while speaking, to reveal the poem more in that sound. 10. As well as breaking the hitherto tight bond of two words and thereby creating unaccented and illegal words and sentences. 11. Rejecting all aids hitherto used in poetry, and allowing poetry to be original by itself without taking any outside bribes. 12. Poetry is the last religion of man, to openly admit that. 13. In the words like an arrow, the extreme existence, Vibamisha, Birag Agagora are strongly conveyed. 14. Final commitment.

   ‘Manifesto on Politics (1963)’1. The soul of every individual will be depoliticized. 2. Individuals will be convinced that existence is pre-political. 3. It will be understood through history that politics calls the people of Astakur, pulls the aesthetic nonsense for its service. 4. It will be revealed that after Gandhi’s death, the comparison between the elite and the politician is impossible. 5. The opinion will be declared that all the learned artifice called political theory is in reality a fatal and charming sleight of hand, growing out of abject irresponsibility. 6. Somewhere between the corpse of a whore and the tail of a donkey will be shown the place that a politician in today’s society is. 7. A politician will never be respected regardless of race or gender. 8. We will never run away from politics and at the same time we will never allow politics to run away from our existence. 9. The face of political belief will be changed.

About the political manifesto of that time ‘The main editorial in Yugantar newspaper, was written on 19 July 1964; Before the Hungry Movement case was filed. Title: ‘No More City of Processions’

“The faithless politics of factionalism in Bangladesh is busy chewing on its own head today. Is it because of this climate that a kind of pessimism is being born in society, whose face is drainpipe mastani, whose voice is horribly expressed in the whistling of street romeos and the ‘grimness’ of literature? It is not surprising, therefore, that the worshipers of these perversions who have taken the name of the ‘Hungry Generation’ want to place politicians ‘somewhere between the corpse of a courtesan and the tail of a donkey’ with the utmost irreverent contempt. Is it the penance of barren politicians or the curse of a sick society that the starving boys of Calcutta are scorned and imprisoned in self-loathing?

I used to print the names of those who were joining the movement on one side and my writing on the other side to Devi Ray. Devi said that the writings of Shakti Chatterjee, Vinay Majumdar, Sandeepan Chatterjee, Aruparatan Bose, Vasudev Dasgupta, Pradeep Chowdhury etc. have been found. So it should be published in the form of a booklet. I sent the money. It was Bulletin No. 10, in which Vinay Majumder’s poem ‘Ek Ujjal Maash’ was printed:

A bright fish flies once
Apparently Sunil but in actual proposal in clear water
Drowned again – after seeing this smiling scene
Apkva Raktim is the result of the dark juice of pain.

Perilous mortals fly, endlessly fleeing,
As everyone knows under his white feathers
There is hot flesh and fat;
Short life rests on the weary hill;

All watery songs evaporate, though

At such a time you, O sea fish you… you…

Or, look at the diseased trees

The world’s vast forests

Stirring in long, tired breaths

Yet all the trees and flowers are far apart in each other’s land

Breathtaking words will forever be in the mind।

In that issue, Shakti Chatterjee’s poem titled ‘Shilpa O Kartuz’ was published:

There is no one brave enough to face it

He knows that I will bite him, he knows that he will lose his limbs

Who will reorganize, except the crazy Ramkingkar Baez?

A once in a lifetime art lover

I grabbed the surplus part of the nangar and said, what do you think

Art is enough! Why is the cartridge hanging in the body?

Sandeepan Chatterjee in a 1963 letter instructed Devi Roy to publish his writings in the Bulletin.

Mirzapur, 5 October 1963

Dear Haradhanbabu

I wrote for the Hungarian generation. Plot, content, craft — have asked for definitions on these, for now I have sent some other definitions, I will write them later. See if publishable. All must be printed together when printed — otherwise there will be misprints. There should not be too many printing errors, if necessary please send a fresh copy to the press.

Have you seen the advertisement of my book in Amrit? If not, I’d be happy if you could go to the publisher and send him a cutting. That advertisement is supposed to come out in the country Yes — if it comes out, kindly look at its proof. Any statement of the writers of the writers in Anandabazar or not? Then send a cutting of that too.

Will change house next month. Will stay for another month or more. won’t go easy good body I could not write again in short stories, if possible, please forgive me.

Will send new address next week. If written before then, to Kumud Bungalow, Room No. 5, Tikore, Chunar, Mirzapur, — to this address. What is the spelling of ‘attack’? “N” or “N”?

No one but you should see the text before it is published. I have written with many omissions, very softly, saving all aspects, no fear.

I asked to make a symbol of the Hungarian generation, what happened to it? You can pay 5 new paise.

I put the commas carefully, they should be the real thing.

Where there is a closing date, give the date of publication.

Did the ‘invasion’ happen in the past?

Greetings to Sunilbabu (Hajra).

the end

Sandeepan Chatterjee

Many people have said various things to print and distribute the bulletin. Nandini Dhar, who calls Hungry poetry ‘Pod Poncha Kavita’, writes in the October 2019 issue of ‘Aynanagar’ magazine,“I have no difficulty in accepting that there was a kind of rebellion lurking in the Hungry movement. That rebellion left its mark in a kind of market orientation, through a kind of underground small magazine manifesto culture. It can be said that Hungry movement is a kind of alternative print culture movement. That alternative culture is stubborn in one way, stubborn. Outside the market is its main focus, living. Today, when I write, magazine, and think about the political and literary role of pamphlets, I look to the history of the alternative printing press for inspiration and learning. No, there’s not just Hungry, there are many, many alternative print and alternative media efforts before and after Hungry. But I have no objection to admit that, along with many other individuals and groups, the Hungry clan is one of my ancestors.।”

Vasudev Dasgupta’s ‘Randhanshala’ was a watershed story of the Hungry era. Ajit Roy wrote in this context, “Vasudev Dasgupta’s ‘Randhanshala’ gets black print in magazine in sixty-three. The prose was published in the custody of Uppalakumar Bose, in 1965. If we have to talk only about this kitchen, and if we have to take the year of the first light of 1963, I would say, in the context of that time, such an expression of the omnipresent hunger of India for a thousand and a thousand years and its debut in such a rural, primitive, rustic and uncomfortable language is no more than a big tehlaka. was not This was the kind of writing that, after reading, the reader of Bengali literature would vomit all the previous readings. The shelf of Bengali prose was almost empty after reaching the kitchen. Kolkata was full of excitement that day in the kitchen. Picking up Khasi’s laze, those horse critics who are good at predicting the fleet of flesh are forced to confuse the work with Franz Kafka, Louis Ferdinand Silin and Ginsberg. Basu-Bandhu Shaileshwar accepted: There are not many such examples of imaginative literature in Bengali language. Real experience is the place where the author steps, then Vasudev takes the reader into a completely new experience.

In 1963, Utpalkumar Bose printed his poem ‘Pope’s Tomb’ on a long piece of paper and distributed it himself.

[THE REAL POPE IS DEAD]

A Hungry Generation message on the death of Pope John XXIII

Looking at the red yellow glass window

Suddenly that day

I am in the dirty moment of the afternoon

uncomplicated

Eyes open to sunlight

‘The Pope’s Empire and

of his illness

Mysterious Resilience’

A big one on the finger

The globe is the earth

Showing the circumference of the circle

I told you in Calcutta

‘The Pope’s Empire

And the mysterious spore of his disease is the immunity

Let’s see how much.’

You don’t want to fight with germs?

At least I don’t want it

Because if that war is not a religious war

Kurukshetra in the darkness of whose mouth

I see the reflection of the globe of the small world

As if shocked

I will be the play doll of Kaurav?

Internal with stirring

The sound of germs, of terror, of siki-dust,

Will you hear the tumbling?

Like many other men, this twenty-seven twenty-eight

Only a few years of life

Membranous veins enteric

In love with the divine body

Coming down again and again

Why do we hesitate?

Right drunk, sinner,

It was not so much to fight with the religious, the saint and the thief.

The boat did not travel far

Love didn’t grow strong–

There was no dispute in Khalpara–

Reader, now, from the square of Rome

Keeping eyes on the far window

It was seen that the light went out

Near the Catholic Mission

I am for malnutrition in India

I will ask for powdered milk

After the death of the forty-nine popes in mysticism

The sterile life of forty popes returns — in this sense.

But us too

Like many other men

Another twenty, twenty two years of life left.

Until then I go to the airport and sit

Or go to the printing press and tell my poems

Do not scratch or stain the thumb

Don’t spread the hoof stains of the laze

change me

In the mysterious main window

In the dark, yellow is a different color than blue

The papal empire is gone today

As small as a spore

Numberless, cunning and gentle

Matabbar God’s appearance is in Sadalbole.

Devi Roy from the very beginning tried to introduce a newness in poetry which modern commentators call rhizome, logical crack, indeterminacy, irony. Here is Devi Roy’s poem ‘Am chupke khale’

If I keep quiet
The blade gets stuck in my finger while cutting my nails
very deep
I wait, blood — not seen
Great fear gripped me, I swallowed
This fear is as incredible as a strange intimate death
The bus-tram swallowed me many times
To go to a friend’s flat
Standing on one leg with a stiff pulse at the door for a long time
in one go
“Home is not home” someone said in an unfamiliar foreign voice
Or the sound of the hook opening first after shaving
When I look at my face in the mirror
Hudkhola – who
Holiday, empty streets along the Red Road
A friend’s wife wants to be introduced to her with a pale smile
Very hungry I became impatient – ​​very hungry
i am
Now Bastram can eat up – from Bethany –
By the time Jesus arrived, he was already hungry
If I am silent, the stones of the road scream
get up
Looking at people’s faces, I understand that they are born impotent
someone
People have become political eunuchs
someone
Wanting to see poetry equal to religion
made himself impotent

Meanwhile, a young man named Subimal Basak joined the movement to my advantage. His mother and brothers live in Patna. Said, Stenographer in Income Tax Office. A very muscular look compared to Devi Roy. He is writing poems and novels in Bengali language and also drawing sketches. No newspaper in Calcutta will print them. I gave him ideas to write poems and draw pictures in stencils. He published one or two bulletins almost every week, containing his sketches. Here is a poem by Subimal:

I and we slept with the lamp on all night

How free I am to cover the blue hezhan

There is no sign of old veterans in Or Chara

My fodder also has no sign of old age

Both of us are blindfolded by the fear of death

However, the lehan of the cruel has come

How many penalty moments?

Some time-octo

We play the ‘veteran’s game-veteran’s game’

At the call of Subimal BasakTridiv Mitra and his friend Alo Mitra joined the movement. They started publishing two magazines called Unmarg and The Waste Paper. Later they published two collections of letters written to me. Subimal Basak wrote an essay on Tridiva and Alo called ‘The Traitor of Hungry Movement’, I am giving it in full, along with Tridiva’s poem:

Tridib Mitra, traitor of the Hungry movement, and his then-lover Alo Mitra (whom he later marries after much storm) are not given special coverage in the newspapers, because some in Hungry tried their best to make the couple special. And don’t get promoted. Hungry would have remained just a magazine without the contribution of Tridiv and Alo. The response it got was due to the incredible initiative of both of them. Kalida, who was the owner or manager of the Khalasitola kiln, said that no other woman had dared to enter Khalasitola before Alo Mitra.

The new activity started by the literary people in the sixties was the brainchild of Tridiva Mitra and Alo Mitra. They were the first to start poems on postcards, poems in booklet form, poems on colored paper, poems on folding paper. They were the first to organize poetry readings at Michael Madhusudan Dutt’s tomb. They were the first to organize the publication of the first issue of the newspaper on the birthday of Jeebananda Das at the famous kiln in Kolkata called Khalasitola. They both used to publish two magazines; ‘Waste Paper’ in English and ‘Unmarg’ in Bengali. Before them, no one could think of naming a magazine like this in Bengali literature. In fact, since then, there has been a revolution in newspaper naming in West Bengal.

Malay Roy Chowdhury and Devi Roy printed all the masks for distribution on behalf of the Hungry Movement, Joker, Monster, Animal, Mickey Mouse, Gods and Goddesses, etc., they used to deliver them to the then ministers and administration leaders, newspaper-owners, who needed enough chest. . Both of them carried ladders on their shoulders and pasted posters of the Hungry Movement in Calcutta and Howrah Colleges and elsewhere; Posters were painted by Anil Karanjai and Karunanidhan Mukhopadhyay. Before the Hungry Movement, the literati of Calcutta did not have the idea of ​​poetry posters. I met Tridib at Khalasitola Bhatikhana. Then through me, Malay and others. Tridiber became close to Malay and because of that, Tridiber’s paper became the direction of the two Hungry movement. When his paper was published, we used to organize events in Khalasitola; Then went out and grazed till late night on the road to Calcutta; Sometimes the puriya of ganja manages the entire night at Ramakrishna Ghat. If you have money in your pocket, you are safe. Tridiva’s voice started to speak as soon as he drank alcohol in his stomach; At other times, he was very quiet and never spoke to anyone. Falguni is the complete opposite of Roy. Even though we used to get together in coffeehouses, Tridiv, bored with too much talk, usually didn’t go to coffeehouses. It used to be when Hungry had to distribute a bulletin or a mask or a postcard or a folder, or put a poster on the wall of the stairs of the coffeehouse. Many people used to tear the posters, so we had to stop them from fighting with Tridiv.

Tridiv left only two poetry-books – Ghulghuli and Lalap-Dukkh. Ghulghuli was in folder size and the delirium was a 48-page, unvarnished black matte, cover with a waist-length negative photograph of Triday — lying on the grass, cigarette in hand. Ganesh Pine painted the cover of his Delirium-Dukkh book. Even after the publication of the book, Tridib did not promote it in the same way, when the Hungry Bulletin was delivered to everyone’s table or home or office.

 Tridib’s ‘Massacre’ poem:

I have to fall into the traps of life again and again

Death is only deceiving me

Four tigers and three wild boars

The destruction is going on in dim light

From my lying tongue sprang the challenge of truth

Manu and children are burning

Hearing their cries my ears are becoming deaf

My tongue is jumping up to seven floors in joy

I cried with joy after seeing the pain of my lover

My mouth is getting dry while kissing

From the surrounding wet damp darkness

Not understanding whether I am a monster or Jesus Christ

Women are crowding the restaurant

Today no one can find a path to walk simply

All roads are paved

A dust storm rolls under all the carpets

At the heart of all life is the terrible trembling meaninglessness of emptiness

Ah, death is death

I am afraid that death will return

Because I understand the suffocation of death

For I went to death with plain eyes

His eyes were narrowed with fear

He cried with blind eyes and bowed his head

And I had to return empty-handed to the lonely sun with complicated eyes

I can’t hide myself from myself anymore

You laughed at my impotence, my love

Lying between fear and love, you return to fear

In the urge to save you come back close to the brain

I was thrown out of the geometry of the stupid brain, in chaos

Despite hating civilization, you hid in the clutches of civilization

Indigestion is the cause of my bad anger

Hanging himself from the wrong consciousness of the societymZero wireless

3 million kisses every day through the telephone

The world is moving around

74 million flies are flying over the thick wire of the railway

Numerous ‘bait’ around my body

Self-exaggeration with life and people

I wanted to play tricks

I can’t separate love from your deception at all

I think of our first curse

I think about our last kiss

My light is my darkness

I am surrounded by indecency and revelry again and again

People are going

I understand people can’t love people

….Man has never loved man

A hearty corpse is jumping from the top of a tall building

I can see what needs to be raised to the sky

I can’t remember what my religion is because I never understood it

To take the blood from my veins

Helpless-helpless war is going on after people

The wings of rosin are coming out after crushing the ribs

A scaly razor-sharp love is made from the froth of alcoholic blood

I am gradually drifting from love to bodylessness

The lover’s purple face is burning and falling into the trap as needed

My present is pouring into useless papers

Poetry is sucking my life from my chest

My love is flesh and blood people are making their fichlemy

To bring back ill love

Woe to you with the human machine

With all my heat, I made red rose feathers

If you take it from commercial production, you are a total fraud

The light of the fire hit me

I laughed like a child

My whole body burned

My anger reached the sky

No one can keep their hands in the hands of freedom because of fear

Oh

A long deep rift is growing between me and everyone

I understand that nothing will happen by me

I didn’t love myself like that

I am panting in this one birth

Laughing and not laughing at the same time

O fatigue fatigue – tireless noise – crooked tunnel –

Loop – Statistics – Hunger – Love – Hate –

101% of people live only by carrying burdens

The soul cannot be traced through the whole body

Dances of revolutionary agitation, conflict, violence, and silence

I can’t even look back at myself

I could not do any human work till today

I’m lying in a crouched position with nauseated eyes

Secret powers are brewing in the brain

Lala aka my love is my helplessness

Human bloody tapes are made up of mountains of bodies

Unable and unattainable freedom

The body is holding the body around the human body

Numerous chaotic disciplines

Oh, I never wanted to love

Ah……………………………..Ah

Colje rolled in suppressed violence

The anger of the engine is suppressed in the chest

Wildness is created from blood excitement

Tsubo willingly bowed at the feet of the non-existent soul

After three months of hideous silence, the lamp curled up

Learned to mistrust human bravery

Misunderstanding and mixing with wrong people

I willingly forget to be clever

Along with the flow, cleverness and stupidity are also rolling in the darkness

How long did Tridiv himself not recognize Tridiv’s face

In fact, I can’t find a clear face for myself

“Man has no character of his own,” it was said

3.52 billion people have traditions and lack character

Oh, it’s hard now

Someone is holding the throat by mistake

my

Unbeknownst to them…

 Pradeep Chowdhury started editing a magazine called ‘Swakal’ while in Santiniketan. Infatuated with Ishita Tagore, a student of Vidya Bhavan, Pradeep mentions the young woman’s name in his poem; The girl did not like it and complained to the Vidya Bhavan authorities. They warned Pradeep but it was not possible for Pradeep who was suffering from infatuation to forget the girl. He mentions the girl again in his poem. Today’s girls might have ganged up on the young man by slapping him or threatening him, but this was the case with the young women of fifty years ago. Pradeep did not teach me those controversial poems; I did not have poetry or prose in that issue.

 Vidya Bhavan authorities rusticated Pradeep Chowdhury. Pradeep can be said to be the first casualty of the Hungry movement. Here is the eviction letter:

No. IDP/VII-10/63-10 dated 18 July 1963

Shri Pradeep Chowdhury

         You have not desisted from this organization’s anti-interest activities despite being warned. As determined by the authorities, your presence as a student in this range is not desirable at all. Therefore you are ordered to vacate the hostel before two o’clock today and informed to collect your transfer certificate and pay all dues as soon as possible.

Kalidas Bhattacharya PC Dasgupta Hirendranath Dutta

Principal Vidya Bhavan Proctor Head of Department

Santiniketan Visva Bharati English                                                                                   

      Poem by Pradeep ChowdhuryBlack hands are entering the blood. I give it here

 Black hands are getting into the blood.

“Give me something,” echoed the cry of the body.

I can’t give anything to this greedy.

My privacy is over.

My love is not active.

I hear someone’s suppressed laughter in my veins.

He and I

After getting rusticated, Pradeep got admission in Jadavpur University. While studying at Jadavpur, Pradeep developed an interest in French language and literature. He then studied French at Central Institute of English and Foreign Languages ​​(present name: English and Foreign Languages ​​University) in Hyderabad. He developed such a keen interest in the French language that later Pradeep started writing poems in Bengali and English as well as in French. During his college life, Pradeep was attracted to the French poet Arthur Rimbaud. The writings of the French poet Lautremont also influenced the lamp. Later he did not want to be typecast as a hungry poet. The newspaper was published in French, English and Bengali. He went to France many times to give lectures on poetry and Bengali literature. After dying of corona, his body was cremated in Ganachita.

Subo Acharya was a close friend of Tridiv Mitra. Later Subo Acharya became close with Pradeep Chowdhury. Subo Acharya once went to grandfather’s house with me. Dada was then posted in Dumka. Subimal Basak and I have been to Dumkay many times. Sheyalda to Rampurhat. Then by bus to Dumka. Once I took David Garcia. We all played the swing. Subo Acharya went to Deoghar and became a disciple of Anukul Tagore. According to Shirshendu Mukhopadhyay, Subo went and said to Anukul Tagore, “Save me, I am on the path of degradation.” Pradeep Chowdhury said, “It’s nothing, they are Bamun Purut’s family at the family level. Subo is now the head of Anukul Tagore’s ashram in Burdwan. I am presenting a poem titled ‘Empty’ written by Subo Acharya before he became a saint

No one wakes up today on my journey, rocky
The sun fell on the ground, was it childhood?
Everyone is far away, dying, alone or
                                      The pig got into the cover

On all sides the shadow of the approaching night, the conspiracy of the stars, the beckoning of the moon,
Man has also thrown away his own life, the talent of the poet
Being scared, he moved his hand to take the flesh from Satya’s body
A hundred and ten miles away you lie beneath another youth, smiling,
Laugh, sing or chill with an aljive,
                                                            Show with him again,

We have no love, no fear, no pain, no sorrow,
I realized that one day, this life existed even if I kept the gender strong
How wonderfully simple; Was it? One day was love?
Was there love? Was such a woman?
It is as if someone stole the moon and stars
Darkness like a mother’s womb wakes up around me –
I am freed to take another birth in the world.

Falguni Roy joined the movement at the call of Subimal Basak. ‘The first issue of ‘Zebra’ and the Hungry leaflets drew Falguni to Subimal. Subimal talked to Falguni for a long time at Shealda station. Falguni gave a poem from the collection of poems he had just finished reading. The second issue of ‘Zebra’ was being prepared, and that poem was printed. Later Vasudev Dasgupta published a book of his poetry ‘Nashta Atmaar Television’. After Falguni’s death, ‘Falguni Raisamgra’ has been published in two Bengali, several times, with the poems that were with Subimal. All his poems are famous. I am presenting his poem ‘Here’:

Here the sea enters the river and the stars mix with the sun
Here are the instructions for running and stopping on the tram clock
Standing here on Charmina’s lips I am cold and warm of blood
Listen to the mysterious footstep of the touching poetry
Here is the cry of the soul next to the poem
The dim ominous moon falls here on the courtesan’s menstruation

Here is the rapture and rape of a Greek hero from 323 BC
Here, heroism and valor are embedded in history
Forgetting the soft taste of Bishnupriya’s body from a human to a human being
Gone is the upper arm of consciousness Love—above all
History wakes up on religious consciousness here

Here is the smell of an unsatisfied lover rising from the grave
My ambition grew here in the face of millions of mockery
My heart sinks here when I see real questioning eyes
Here one has to raise one’s feet to go behind the reverent gaze

I walk for miles wanting to see a woman’s face only to see crowds of magi
Twenty-seven years–Twenty-seven years alone in a private bed
Poems of poets next to the decrepit nervous system without talent
The absolute darkness of the surrounding mound walls.

Falguni’s aunt lived in Patna where her lover got married. We both used to go to different places and drink ganja barfi, sharbat khetum or blow leaves. Then they were available in government stores.

Two artist-writers from Benares joined Hungry according to my sources. Anil Karanjai and Karunanidhan Mukhopadhyay. Karuna gave a brilliant piece of prose in the Bulletin, ‘About birth and death’ in the title

“Today at 6.45 am. My only son Arak died. Bronchopneumonia. I took him alone and went across the river to Baliadi. I sat and thought a lot. Then I tied a heavy stone to his body and threw him into the river. It took about two hours to find the stone. I returned home. My wife is crying a lot. I have nothing to spoil people’s sentiments. There was endless time today at noon. I was born in Kashi. Father was in Netaji’s group at that time. Then when I was twenty-five, my father took me to Rangoon. Leaving the INA, my father took a job in the police. Stayed in Rangoon for almost 10 years. Then sirens, blackouts, newspaper headlines, hospitals. Straight from Burma by ship to Khidirpur.Kashi again from Khidirpur. I found out that my father married a Burmese girl. Since then, the fight against society, against culture, against oneself. No education. After reaching the class, father’s father’s money stopped. Since then I went down. Help! Help!! Help!!!

He had a tendency to draw as a child. I was the first boy in the class. While drawing the picture, everything got messed up. I rented a house in Kashi and made my own studio. People started saying crazy after seeing the picture. The people of the house threw me out of the house saying that the mother and sister were all crazy. I am the eldest son of the house. I went to the marriage registrar and married a Kayshah girl. As a Brahmin, I cannot enter the house.

 no one no one

Shambhu Rakshit started publishing a Hungry magazine called ‘Blues’ from Howrah. Shambhu used to go to the letter press and compose himself.Edited Hungry’s “Zebra”, Shambhu’s poem published in its second issue was titled “Ami Swachchachari”, in which Shambhu said he wanted a completely different chisel from Rabindranath and Jibanananda, and warned that he would pounce like a tiger — – Shambhu wrote Shakti Chattopadhyay’s poem “Ami Swachchachari” a long time ago. The poem is given here, noting that Shambhu defied the canon of monolinear poetry of the time as early as the sixties:

I am arbitrary

These coconut leaf combs, turning back, are also scary.

Nothing, for a minute, know nothing, about public opinion in the communist parliament or.

Chandal dogs howl around me–and I must know, absolutely me

To be allowed to sink, to be allowed to go where one does not want to go, to be allowed to walk.

My throat is clear — I am voluptuous — hair in glass foam — let me speak clearly

And if I can’t concentrate in conversation, Seref

Strolling around — standing under the clouded skies of all the worlds.

A bath cures after anger and crying. After washing the water of sweat, I say Salam Alaikum

I will walk around like 1 to 2 to 3, 4, 5 leaves. in rendezvous

Leaving the ground to get unerring traps. on the road At the bridge flat. on the train,

In any girl’s body. Last night — draw a map of the world, only parts of it

Whoo Whoo Jetplane I want to go where I won’t go, through it

Through her — and. hmm I want some kind of chisel–

Which is somewhat different, not Rabindranath or Jibanananda — right

Like a starter’s pistol on the playground — ready — I’ll pounce like a tiger. informant

Jailed during Emergency imposed by Indira Gandhi ShambhuRakshit, I haven’t read his prison memoirs, I don’t know if he wrote them. Binoy Majumder crossed the border into East Pakistan without a passport-visa. There Vinay was jailed for three months. Shambhu Rakshit and Jyotirmoy Dutta were in jail for eight months. The Special Branch police officer who physically assaulted them was named Tarapada. Volume III of “Violation of Democratic Rights”, edited by Akshay Kumar Ramanlal Desai, states that in 1976 the police brutally tortured Shambhu Rakshit, Jyotirmoy Dutta and Prashant Bose in court, then detained them for eight months without trial. All the belongings of their residence were deliberately ransacked by the police at the time of their arrest. Jyotirmoy Dutt’s house was posh compared to Shambhu Rakshit’s Howrah flat. Jyotirmoy Dutt’s daughter’s description of the police behavior at that time, gives clues as to how Shambhu Rakshit was treated, as the police gloat over the abuse of the poor. Shambhu Rakshit’s clothes were worn and dirty as they were then, with rubber soles on his feet.

Shambhu Rakshit met me again at poet Devi Prasad Bandyopadhyay’s house in Putiyari, when the old house was demolished and not yet a flat. I took a big bottle of whiskey with me. Dedicated my “N” book to Deviprasad Bandyopadhyay, went to give it away, and whiskey to celebrate the book. After a while Shambhu Rakshit came, to take the poem from Deviprasad and to give him ‘Mahadigant’, a bunch of proofs in hand – of Deviprasad Bandyopadhyay’s poem. Unripe beard of a few days, baldness on the front of the head, drooping eyes, protruding chin and neck, becoming skinny. Shambhu Rakshit was leaving, I said, stay for a while, took out the bottle of liquor from the bag. Shambhu’s face glowed. Shambhu became drunk after eating glass after glass. Deviprasad Banerjee asked Shambhu to reach Taliganj Metro. Bhumendra Guha, who treated me after my second heart attack, went to Shambhu’s house in Birinchiberiya, a remote village of Sutahata in Haldia, a short walk away. He said that the world is written in big letters on the wall. Run away. He lives by plowing himself. His only table fan was taken away by thieves. As Shambhu’s health was very bad and he did not have enough money to cure his illness, forty-one famous painters of Kolkata, Paritosh Sen, Yogen Chowdhury, Robin Mondal, Tapan Mitra and intellectuals Kalikrishna Guha, Sandeep Roy, etc. organized an exhibition to help Shambhu Rakshit on the initiative of Bhumendra Guhar, and the money from the sale of the painting was given to Shambhu. was done On that journey Shambhu recovered. Shambhu’s poetry has been translated into English and Hindi. In fact, one cannot write whatever one wants unless one is completely reckless outside the feudalist blunders of current Bengali literature, which we have seen in the unconventional poetry of William Blake, Arthur Rimbaud, Mallarme. Reading Shambhu’s poetry, one can feel that he does not care about anyone, he writes as he wants. I did not use the word institution. The institutional ideology is so twisted that the evils of Bengali literature and culture can be pointed out by the seats of feudal power.

No one who wrote our constitution could have guessed that post-colonial feudalism lay dormant in that constitution, and would rear its head in time. The bureaucrats will clean the shoes of the powerful or tie the shoelaces, and MPs will keep saying that the government employees will be beaten. Thousands and thousands of poor people’s money will be killed and stolen, and political convicts who have returned from prison will walk around with their chests puffed out, they will come out of jail and show the victory sign with two fingers, old people will bow down with their hands at the feet of leaders who are younger than them. Ganglords and their vassals have flourished in the same way that Bengali literature and culture have rotted in the rot of post-colonial feudalism.

Three: The beginning of monopollution
In the August 2015 issue of the newspaper ‘Ei Samy’, Baijayant Chakraborty wrote this beautiful prose about the moral pollution of the Hungarians: “2nd September 1964, 7.30 am Subhash and I had just woken up to go out for tea when there was a knock at the door As soon as the door was opened, 8/10 people rushed into the room They stood with shoes on the floor bed He began to drag things, books Holding a search warrant, they said, “They are coming from Lalbazar.” – Hungry Generation Movement, Shaileshwar Ghosh Shaileshwar Ghosh and Subhash Ghosh were arrested. Later Devi Roy, Malay Roy Chowdhury, Sameer Roy Chowdhury and Pradeep Chowdhury Complaints? Shaileshwar Ghosh in the preface to ‘Hungry Generation Authors Hungry Collection’ published by Sahitya Akademi – ‘Vulgar literary works and conspiracies against the state’. Is this the first manifestation of the state’s misogyny about sexuality in Bengali literature after independence? After that, life has passed fifty-one years A kind of inherent Uzbukpana exists within the state But if this national headache and Goda-type grandfathering with poetry from the age of seventeen years of the independent country is a little illusory in the eyes of today’s throwers like us, these unfortunate Kushilabs of Kunatya will forgive that gustaki. I am not saying that the state’s bloodshed is calm now Rather, awareness is increasing Every moment But I don’t think anyone gets up to the task of writing ‘three widows pregnant and lying in a bed of virtue’ (Ghost Talks with Horses, Shaileshwar Ghosh) or ‘Let me be born from your womb, Amari Shukra’ (The Great Electric Carpenter, Malaya Roychowdhury). will be Despite the recent surge of those who find cum (and beef, of course) in the alphabet, the range of government jobs is different for now. Not obscenity, but ‘thinking’ is all the fuss lately And if someone reads Kisu in Bengali, it’s a headache! Therefore, the Hungry Generation movement and the institutionalized machinations and policing against it are the product of a particular period. It is necessary to go to the door of history to find out the model However, the commemoration is not entirely simple The later histories written by the hunger strikers are unbearably conflicted and stilted for the enthusiastic but unbiased reader. It is difficult to discern the truth from the mass of aggressive rhetoric of Malaya Raychoudhury and community vs. Shaileshwar-Vasudev-Subo-Subhash-Pradeep conflict. Their constant barrage of accusations and counter-accusations about the movement’s paternity claim would put even the left’s ideological pandering to shame. Yet it is necessary to present a brief narrative for the sake of the illiterate reader Shaileshwar Ghosh says Shakti Chatterjee coined the term Hungry Generation. In 1962, in a newspaper named ‘Samprati’, Shakti wrote in his criticism of Binay Majumder’s poetry – ‘All the movements that are currently happening in foreign literary centers, which are the Beat Generation, which are angry or in the context of similar movements in Soviet Russia, if there is any impure movement in Bengal, it is ours. A hunger movement is possible in a political or social environment’ This is the beginning and almost the end of the power relationship with the movement Within a year or two, the relationship between the two sides will stand at a standstill The main figures of the Hungry movement were already writing solo Vasudev Dasgunt’s ‘Randhanshala’, which is undoubtedly one of the best Bengali short stories of the 20th century, was published in ‘Upadrut’. Shaileshwar Ghosh’s poem ‘Ghora sa bhautik kathabarta’ was published in ‘Eshna’ newspaper. Malay Roy Chowdhury’s poetry book ‘Shaytaner Mukh’ was published by Krittivas Prakashani. This parallel stream of writing was largely confined to isolated manifestos and bulletins They were incorporated in 1964 The Hungry Generation collection is published Authors – Subo Acharya, Pradeep Chowdhury, Devi Roy, Subimal Basak, Vasudev Dasgunt, Shaileshwar Ghosh, Utpalkumar Bose, Ramanand Chattopadhyay, Malay Roy Chowdhury and Subhash Ghosh. It was written, it is ‘poetry collection of motherless matriarchal matricide poets’ Then the police attack and the writers in the court The impact of the incident was widespread and international “Time” journalist Louis Carr flew from the United States The report reads: ‘Last week, in a land that has become so tightly laced that its movie heroines must burst into song rather than be kissed, five scruffy young poets were hauled into Calcutta’s Bankshall Court for publishing works that would have melted even Vatsyayana’s pen. . The Hungry Generation had arrived.’ Bengali responses are also interestingSunil Gangopadhyay- “They are doing dirty in the name of literature”.Jyotirmoy Dutta– ‘It is sad to think that what happened in France one hundred and thirty years ago is now considered revolutionary in our country.’Tarashankar Banerjee- “A group has emerged who call themselves the Kutkattar sect It is impossible for me to give any examples of their writing.Santosh Kumar Ghosh– ‘Hungry (not knowing what to get) writers can’t write what they don’t want to write, raising empty weeds, old Samaresh wrote ‘Bivar’ as if to show them.’Later this group was joined by Arunesh Ghosh, Sameeran Ghosh, Avni Dhar etc. and of course Falguni. Judgment On the other hand, non-hungry writers like Amitabh Dasgunt, Mohit Chatterjee, Devesh Roy try to objectively evaluate the works of Hungarian writers instead of mere cynicism. After all, it was this movement that inspired Shankh Ghosh to write a legendary article – ‘Shabd ar Satya’. Shankh Ghosh denied obscenity in an interview in Khudharta newspaper. The complaint Arunesh told Ghosh – ‘I don’t believe that the word ‘obscenity’ can have any meaning to the real reader. A lot of writing fails through apparent obscenity, a lot of writing passes through apparent obscenity. The question is not about failure and passing, obscenity-obscenity’ But Shankh Ghosh also notes that Hungry is ‘a cradle of anarchism in consciousness’. Debesh Roy also directly compares Hungry thought with Naxalite anarchism A proposal that Pradeep Chowdhury directly rejects in his article ‘Shabad and Gupta Satya (Or The Calling Bell Terrifies Those)’ – ‘No doubt, the poisonous sirens of society and civilization make our bones tremble,… but how have you forgotten that the same is true of our personal lives? And asexual visions of various kinds, past-person divine life’s melancholy, joy and terror-dreams. You can’t put it in the same compartment as a one-way political movement.’ Not only the writing, but also the daily life of Hungry poet-storytellers certainly challenged conventional sociality. By living with beggars and harlots, wandering intoxicated in the traditional bohemian shrines of cemeteries and cemeteries, and celebrating Jibanananda births in Khalasitola, they also stirred up the sullied Padmaban of Matta Hastivatva Banga. But that’s all? They were not “guilty of revolution”. Would there be anything wrong if the debate over half a hundred forms of Ghishima seems a little fanciful in an age of leapfrogging?

With a little study, a negotiator will know that when a movement has a large number of youths, disagreements naturally arise. Dada, Surrealist, Beat, Symbolism, Progressive Writers, Shruti, Anti-Scripture, Nim literature, Italian Futurism, Apocalypse, New Poetry, etc. movements have also been maligned; Surrealists even rioted in the streets of Paris.

Among the Hungrys, hatred began with each other.In the third year of the Hungry movement, in 1963, I met Subhash Ghosh and Shaileshwar Ghosh at the College Street coffeehouse, introduced by Devi Roy, “He wants to join our movement, he has brought his writings, let’s take him”. I took Subhash Ghosh’s short prose, which was Subhash’s first piece published in Hungry Bulletin. I was in Calcutta for three months on office work, I stayed in the office guest house in Dalhousie Square, I had no difficulty in publishing the Hungry Bulletin with the traveling allowance I got. Together, his name is Shaileshwar Ghosh, both of them came to Kolkata from North Bengal, in pursuit of studies and jobs. Subhash gave a chatty magazine called “Eshna”, editor Satindra Bhowmik, in it I read Shaileshwar Ghosh’s “Ghora sa bhautik kathabarta” and said, I will translate it into English. Subhash said, tomorrow he will come to the coffee house to write to you, then we will meet। The next day I received a letter from Shaileshwar Ghosh. Both my translated poem and the poem given by Shaileshwar were published only in Hungry Bulletin. I made a collage with photos of both Vasudev Dasgupta and Subhash Ghosh. Subhash said, “You are biased, Vasudev’s collage was supposed to be mine, I was born with a deformed child’s linga on my forehead.” Vasudev took care of Vasudev’s mess, I don’t know what Subhash did to his mess. I made two collage blocks in Patna; When the Calcutta police went to Patna to arrest me, the block shop was raided. I also created the block of the magazine Subhash published called ‘Artanad’.

About Vasudev Dasgupta, Subo Acharya wrote, “Since he has chosen a leftist ideology, he seems to be a stylish leftist in what he has written, and that ideology does not seem to have stuck with him very well.” In fact, I see in him an excessive tendency towards ego, a kind of narcissus complex working in him, a kind of self-conceit.”

Sunil Gangopadhyay also got excited when his friends joined Hungri, and he raised Hungri’s voice while reviewing Vinay Majumdar’s book. . Dada’s letter to Sunil to dissuade him:

 ২০/৫/১৯৬৩

Sunil,

I got your long letter. I have suffered enough to know your mental condition. It is we who have made Shakti so great. Its main responsibility is you, me and Malay. And still I want to raise each of my friends. It was you who gave Shakti the initial encouragement to write. You are the first to say ‘Bangladesh’s best poet’ repeatedly. That is, only that today Shakti is saying it himself. A long time ago, Uppal and Shakti made a sinister plan to sit on the throne of the industry, leaving you behind while staying at Chaibasa. I also had to be present in all these discussions. The plan to bring out the magazine is then made. The issue of agitation was also raised repeatedly by Malay. I have always said that I cannot leave Kritivas. I consider Krittivas my own magazine for various sentimental reasons. Like many people, it is not possible to think of ‘Sunil’s paper’. I don’t think Shakti and Uppal can do ‘Zebra’ without you. At least Malay won’t let that happen. Moreover, in all meanness, even the stinging power of the subtle intellect cannot escape. I do not believe that there will be a rift between us. If so, there will be a huge loss of energy. Money is needed for his art, Sheela is also there, Philosophical debt is also needed, he knows the dire straits he will fall into if he excludes Sameer and Malay as well as Sunil. Shakti wrote to me, your writing is in ‘zebra’. It is a couple of months late to come out. Rather, Uppal is a bit more against you. Maybe jealousy, maybe some other reason. Shakti is forced by all these complications to keep Uppal happy. Malay’s pride is that you do not love him at all; Absolutely boyish. I took Shakti to Patna when Seva Sheela was admitted to Patna. There Malay convinces him about this movement. The story, written in short stories, gives the plot and plan to Malay Shakti (miniature attack). It is decided that the matter will be started by going to Calcutta and publishing the booklet. We will all be. Surely you too. Without waiting for our further instructions Shakti returned to Calcutta and started the matter. Meanwhile, I have to come to training. In Malay Patna. In Calcutta Shakti alone built a throne for himself in various ways in ascending order. Because you didn’t join in the matter, which has turned into a misunderstanding, the situation has come to this today. Malay also said it. Malaya now wants you in any way. As a result, you might be getting this type of attack. Strange complications. He wants to publish a collection of poems called ‘Hungry’. Wrote me to ask you to send me the poem. Matter tends to edit itself, avoiding the complexities of energy. Sandipan is also likely to bring out a prose collection. I have sent short stories for ‘Chihn’, ‘Chotogalp’ and ‘Zebra’ on their request.

The lure of fame and power is ever present. Maybe it’s normal according to his environment. In fact, you can be an artist without being a human being, that’s how much of a mess it is. Small people, lowlifes and thieves can also be artists. Rather, these things help to become an artist. As a result friendship, humanity is confused.

In one moment, all the pride, arrogance and meanness of power can be smashed to pieces in Bangladesh. I have no shortage of suitable precedents; But it is never possible for me to take revenge against power or anyone. I have some ideals of my own, right or wrong, that I want to live by. Don’t want to live as a reaction.

You have to hold on to your ideals for kritivas too, there is nothing to be embarrassed by the shouts of others around you. Thanks, we will go out. I personally love people more than art. Shakti is much bigger as an artist and thinks art is much, much bigger than people. I cannot think of art separately.

It is natural and appropriate for everyone to have different perspectives. I do not believe in these boys who are not poets if they do not write poems like Shakti or Uppal. As some poems of Shakti make me crazy, I am blown away by some poems of Alokaranjan. At that moment Alokaranjan felt like the owner of my entire being. How to deny him? Similarly, there may be someone who is healed by the verses of Tarapadar. Who are we to determine these excellences? I don’t understand the happiness of those who read poetry, of time, of not letting go of these things. Shakti will make a big mistake if this continues. As big as he can be, he will destroy him with his own hands. Maybe Allen’s World Pair name got him a little excited. Shakti has told me this several times।

I will leave here on June 15th and reach Chaibasa on the 17th. You don’t come then. I will also ask Shakti to come. If there are three together, many misunderstandings will be broken by themselves. Can walk around. Bela has also become quite healthy.

give letter Write some fierce prose and poetry not only against the Hungry Generation. In a special booklet of Hungry Generation I will bring out; Malay will also agree. In fact, the movement of the heart is needed before all these movements.

I may have to absorb the suffering of loneliness for the rest of my life. Yet, and perhaps for this reason, I cannot separate man from art, find no reason to think greater or less.

Sameer Roy Chowdhury 

Sunil Gangopadhyay went to all the cities of Dada’s postings, alone or with his wife, Patna, Dhanbad, Chaibasa, Daltonganj, Muzaffarpur, Dwarbhanga, etc., but their friendship was no longer what it was in those college days, mainly because of the Hungry movement. After Dada’s death, Sunil Gangepadhyay wrote this short essay about Dada:

“A collection of letters is being published, letters written to me by many at different times. A few letters of Sameer Roy Chowdhury are being printed in it. My memory being weak lately, I did not remember the contents of those letters. The history of making Hungry Generation and Sameer Roychowdhury’s relationship with Krittivas are covered in those letters. I remembered, once I was in a crisis with Kritivas. Then Sameer stood firmly beside me. He made me understand that nothing can stop kritivas. He is ready to help in any way, even with money.

Sameer has helped me a lot on many other occasions as well. Friendship due to studying in the same college, though our subjects were different. Sameer’s Biology and mine Economics. In college, you get to know many people, but the friendship with someone becomes very deep. Sameer got a job very quickly after graduation. I spent several years struggling with unemployment. At that time Sameer got involved with Krittivas. Krittivas had some tension with Hungry Generation, Sameer tried hard to match it. His younger brother is MalayRoy Chowdhury was arrested by the police and a case was filed, in which I was the first witness for Malay even though I had nothing to do with the Hungry Generation.

Although working in Bihar, Sameer wanted to start a publishing house from Kolkata. His first book is my ‘Alone and Few’. Few people know me as a poet then. However, the publication of my book of poetry revealed a lot of generosity of Sameer. Sameer’s poetry book Berul, ‘I am lying beside the fountain’. The name is probably given by me. I also dabbled in the press. At that time Sameer used to write beautiful romantic poems. Later his poetry took a different turn. Sameer’s other book, ‘Amar Vietnam’ came out from that organization. Later that publication was discontinued. Apart from writing, I developed a deep intimacy with Sameer, a relationship in which there was never a question of misunderstanding. I knew I could always count on this tall, handsome fellow. I can’t tell you when I helped him. When Sameer was transferred for work, I went there. Like Daltonganj, Bhagalpur, Dumka, Muzaffarpur, Chaibasa, Dwarbhanga and their own house in Patna. The bright and sweet memories of those times will never be forgotten. During the wedding, Sameer played quite a joke. We know that his love relationship is with Chaibasa Bela. But Sameer retorted, he is marrying another girl. A few of us went to Chaibasa to attend the wedding in great anxiety. If you ask Sameer something, he smiles. A sigh of relief came out of my chest when I saw the bride’s face before the ceremony. Lavaniyamayi later adopted all of Sameer’s friends. On the occasion of my marriage with Swati, both Sameer and Bela came to our Dumdum house. I did not know that the bride has to give something as a gift on the wedding night. How to know, I am a wood Bengali. As Sameer reminded me of that almost at the last moment, we both bought a ladies watch, most probably Sameer paid for it. Then these two families became close.

Shakti Chatterjee was first introduced to Sameer by me. Then a lot has been written in Bengali literature about Shakti-Samir’s Chaibasa episode. Although in Bihar, Sameer occasionally came to Calcutta and became acquainted with other writers.

After the beginning of the Hungry Generation movement, I developed some distance with them. Many of them did not like my joining ‘Anandbazar’ and writing a lot of prose besides poetry, I heard. That is the grip of the establishment, and rightly so. After a few years Shakti also joined the ‘Anand Bazar’ organization.

In the world of literature, like politics, there can be ethical objections and distance. But I am never in favor of creating that distance in personal life. When the Hungry Generation episode was over, the slight temporary rift in my intimacy with power was easily patched up. Like Sandipran. But some prefer distance. I remember breaking up with Sameer more. I have always liked Sameer’s writings, his various plans about literature. The person I considered the most was Sameer.

How cruel life is. When the pace of life will take a turn, nothing can be said in advance. Once upon a time, the strong friendship, chatting, drinking, exchanging dreams, all these will become grey. After leaving Bihar, Sameer has now moved to the suburbs of Kolkata with his family. But I hardly see him anymore. Who knows why! Maybe there are many errors on my part.

Let me tell you a recent incident. Swati and I went to a clinic for eye treatment. quite crowded Meanwhile, Swati pointed her finger and said, “Isn’t Sameer sitting there?” Go closer and see, it’s really Sameer and Bela. Nice exchange. It’s about children. One time I said to Sameer, a few days ago there was a festival at Kanailal Jana’s house, I heard that you were also supposed to go there. Why didn’t you go? It’s near your house.

Sameer looked directly into my eyes and said in a cold voice, I didn’t go, if you don’t recognize me there?

A bullet pierced my chest. I haven’t heard such cruel words in a long time. The friend with whom I have a Tui-Tou relationship, with whom I have never quarreled, never created bitterness, I will not recognize him when I meet him? I do not know what fault or wrong I have done to hear such complaints. After that, I was very upset for a few days. It seemed, who knows how many more such sudden blows from life!

Maybe Sameer also said this out of deep pride. I myself must have caused something like that, but I do not know the details of it.”

Dada came to Bansdroni, Kolkata in the nineties and started editing and publishing a magazine called “Hawa 49”. He met Sunil, Sandeepan, Shakti, Uppal, Sarat etc. and urged them to write. No one responded except Uppal alone. Dada was very saddened by the behavior of his close friend Sunil. For about two years Dada kept the Krittivas newspaper financially supported, but when Dada and other Hungarians were arrested and cases were filed against them, Sunil Gangopadhyay wrote an editorial against the Hungry movement in the Krittivas newspaper. Dada was very angry at this behavior. Sunil Gangopadhyay sent news to Dada through Bhumendra Guha that why Dada doesn’t visit his house even once when everyone is congratulating him for the Akademi Award. When Dada had no place to hide in Calcutta in the Hungri case, Sunil never once asked to take shelter in his house. When Dada’s story book “Khul Jaa Simsim” started being discussed in Kolkata’s young writers’ circles to open up a new horizon of stories, Sunil Gangopadhyay did not write a single line about the book. Sunil Gangopadhyay campaigned against hunger even in his old age abroad, convinced Allen Ginsberg not to give importance to the movement, Dada learned from various foreign researchers. When Amitabh Ghosh’s foreign wife was writing a book on Ginsburg called “A Blue Hand”, Sunil Gangopadhyay misled her, which is why the book is said to contain no factual information. At his last age, Sunil Gangopadhyay wants to save himself in the pages of history. Shakti Chatterjee with Sameer Roy ChowdhuryHe did not hesitate to reveal about him in his novel ‘Kinnar Kinnari’. But Sunil Gangopadhyay did not give importance to Sameer Roy Chowdhury in his novel ‘Aranya Day and Ratri’, when the incident took place in Chaibasa.

Sunil advised him to leave Hungri in a letter from America as Sandeepan Chatterjee had joined Hungri. After receiving this letter, Sandeepan has said contradictory things about Hungri at various times.

  The letter Sunil Gangopadhyay wrote to me from America is better called a threat. But the letter he wrote in response to my letter, interestingly, he omitted it from the book ‘Letter to Sunil’. Sunil’s letter is like this

Iowa
10 June 1964
Malay,
I don’t know what bragging letter you wrote in Calcutta. What are you doing? Some of my friends have written vaguely about the mess in the coffeehouse. Rather than writing something, you aim more towards movement and commotion. Do you sleep at night? It’s nothing — I don’t have a headache. You can move as much as you want — Bengali poetry doesn’t care. It seems that you are very greedy for short-cut fame. Can’t even get it. I never did these movements, I was so busy with my heartbeat. But, it is true, the city of Calcutta is mine. I will return and reign there. You cannot change a single hair of it. Many of my friends are emperors. I would be afraid of you if I could see even a little bit of Zella in you. Tanmoy Datta was the only one younger than me, at least six years younger than me — but no other poet came to this country after Jibanananda. He left with great pride. That is why I still repent for others. I myself haven’t written anything yet, I’m just trying to write, but commercializing poetry like yours has never occurred to me. Like Balzac, I separate my vocabulary into poetry. No matter how much I love you, Malay, I have yet to feel any enthusiasm for your poetry. I am waiting, of course. Many think that if the poets of the next generation are not put in the hands of the poets, the fame in literature will not last. For that some of my friends once became your mentor. I don’t accept that. I have enough strength on my feet, even to stand alone. My words are: whoever you have friends, come near, whoever writes good poems come near — whoever is not friends, write bad poems, get away from me. Age gap is very popular to me।

Carry on and hypocrisy of all movements or generations. I enjoy reading or watching them. from afar I don’t know why one group is so greedy to put the Morsi patta on literature. But it is better to inform one thing. You must have seen me as a calm, good person. I am so, even though I have the blood of Padmapad on my body. So you should keep me at a distance, not poke too much. Otherwise, there is no telling what to do when suddenly excited. I have been so excited once in my life. last year I didn’t break your Hungry Generation early just because a couple of friends are on the O-Team. Still able, know. But I still don’t want to break the playhouse. A friend of mine said that you have printed some parts of my letters/ I don’t write letters for literary purposes. What is my letter about? Of course, there is nothing to hide. But aside from the before-and-after, someone prints one of my letters for dot-dot trickery — but come back two and a half months later and tell him to slap his ear twice. I hope you are in good health. take my love
Sunilda

Shakti Chatterjee left the Hungry Movement, mainly under pressure from Sunil Gangopadhyay and to fulfill the conditions of the newspaper owner. Devi Roy and Subimal Basak were also with me in making masks, cards, white paper, shoe boxes etc. Not finding me in the coffee house, Shakti Chatterjee surrounded Subimal Basak in front of the coffee house with his gang to beat him up, hid an iron rod in the coffee shop under the stairs of the coffee house to beat him. Subimal Basak’s appearance was that of a wrestler, Shakti Chatterjee ran away with his Hindi galmand’s pride.

Shaileshwar Ghosh used to write extraordinary poems. I translated his poem ‘Horse with a horse’ into English and published it in the bulletin. Here is the original poem:

one

We will not hang poetry around the tree, the tree has spread in the bedroom,

Gravity in the tree means smuggling — takes place in the bedroom

Frequent protests; Fruit grows with the tree for a long time

Beloved – Neelam rejected ten years in Calcutta

Darasarbarah Nidraprem price increase – exchange rate

Dinman Hriday Chit — Thirty-three hijras are born during the day

Dinamandhare O Ghora ghostly hunger poem.

two

Bahukal The love-formation with the thirty-three ghosts is Bahukal

Accounts Payable in KolkataBengal

O horse, where did you go on the long road?

A hundred girls’ breasts eat grass and produce poetry!

three

A hundred brides bow, only poetry bleeds

We have opened a charity hospital in Pechhabkhana

Calcutta melts— conjugation in the heart etc

Washing is done – we do not trade in flour

A hundred devils together become ghosts of the day, factories give birth,

A hundred devils together abort the bride-

The various origins of a hundred devils shine forth

All-day poetry O horse is menstruation!

four

In twenty-six years there is a lot of grief, twenty-six years as if not

Twenty-six years of sleepless rot still not seen

Ha Laukik Ha Miraculous Ha Cruel yet not seen!

In twenty-six years the crocodile takes away the crops — Jalpahar

Exploded vehicle embezzlement — twenty-six years

I am sitting without hunger and thirst in the temple of Juachor whore

Twenty-six years of Balatkar on twenty-six years

Ghosts come from the blood

Twenty-six consecutive years are not by any means

O horse cruel twenty-six years why not seen!

five

Someday in free signal exchange

The love boat was laden with nuts—

I have been in business for 26 years

Horse you know their identity

Because the imprint of ink is erased by your hoof

floats to your hopeful face,

One day the surprised heart rose in the kiss of the grass—

One day it was applied to the eyes of men and women

Even today those people have no preparation time

It has been many times to return, but alas

26 The fierce roar of a tiger has never been learned

Returned — a day of free exchange of signals took place

With marble hills seen— Madimdda two

Behadd got to know the cat’s paw,

The bird only returns home — repeatedly for 26 years

A ball of wool rushes to the bed from a distance

It can be seen that the harbor is developing like a sea

O horse, see you at the top of the hopeful stairs.

six

O horse, love was in your heart

The cloudy bed was the shell of Paramayu

Blushshaya Submarine tore in close kisses

The court of history fills the sense of adultery—

It is known that in old age, our thighs are thin

The ghostly sea wakes up — known only at the gambling table

The knowledge of war was known — the choice of birth was known

Not successful – the cost of the ship is known

The detective also takes off his clothes – O horse

Your mark is kiss on my face

Like flies – the pride of blood in the stomach of the whore

A boy is born – the lights of Dantodgam festival all around

I am still sitting awake on the table written in khurshabad.

seven

I have been sitting in the painful letter pocket for three hours

Kolkata Chowrangi written like silent gun in hand

How long do you spend awake on guard – ten minutes

The price of an acre of land in Maidan pocket!

For three hours Sabujpalli was beaten by the hands of perception

The duck still blew the modern clothes on

Paragaon wife salutations in the full moon

Thousands of children attack Kolkata

Satsamudratal, Monument Maidan in three hours

Goes to the belly of the cloud, the painful letter in the pocket

One Acre of Land Protest Day the gun

How many days do you spend on night vigil in the hands of the horse!

eight

Three widows are pregnant and lying on the virtuous bed

O horse, Tingelas health care in Kolkata

Salvationlessness laughs Purut’s Nambaligita

Dhatudharma tumbles seven times—three widows

Air service travels to the South Sea—

The thirty-three deities give fruit to the cultivators

At the front door of Punyachor – all the girls of the house

The old man wakes up and throws nails all night

By reading Purangita, Kuladharma learns to protect you, horse

If you give love to silkworm, where is the heart?

A dog’s testicles accumulate metal after listening to the Gita Dharma

Horse, you are the body of thirty-three million virtues

Where is the heart?

Three widows are pregnant and lying without virtue

O horse under the mystery

Transportable roads are far away empty!

Four: Keshtabishtu’s complaint

Achintya Sengupta in the book Kallol Yug described the fall of Lalbazar, we had to be a little more strict than that because only then would the Naxal movement begin. Achintya Sengupta describes his experience as follows:

“Next morning Muralidhar Bose and Shailjanand Mukhopadhyay went to Lalbazar and appeared. To chant the name of Shulpani in fear.

First meeting a homarchomara. Bengali, but what he is saying in Bengali is absolutely pathetic.

Looks like a happy-go-lucky guy. Do you do this?

Have you read?

Darn it—I’ll read it and all the nasty snuggling? Any respectable people read Bengali?

That’s right. But if you don’t read us too –

We fall or fall on the body. It left us reeling. Your friend sir. You are a tribe.

who Who?

All brave heroes, riches and jewels of the literary world – in a word, all Keshtabishtu. What can they say? Otherwise, where are we free to look at all these? I will catch bombs, no, I will catch these paper thongs?

The policeman smiled sarcastically. Later he thought that this pose was not correct. At the very moment Meghgambir became serious. He said, Ravithaku Sarat Chatujje Naresh Sen Charu Bandaye – I will not leave anyone behind. As soon as your case is settled, I will pursue it in a big way. Then you will see:

It’s like melting in modesty. Muralidhar says in Gadgad language:

This is very good. Back and forth all the way to Bharatchandra. But please start from the big side, wouldn’t it be right?

no Prablabrabar shouted: Let this be a test case in the beginning.

Leave Raghabboal and always look at Chunopunti? A little grocery-manihari leaving the lords of the mattress?

He was sent to the police court.

Satiprasad Sen—our gorababu-police-kot budding advocate-arranged bail. The litigation was transferred to Jorabagan Court. Date of hearing.

What to do now?

An influential friend was Kew Muralidhar. He came forward. He said, tell me, go and get Tarak Sadhu. Tarak will surely provide relief when then. Instead of saying Trahi Mang Madhusudan, Trahi Mang TarakaBrahman will definitely work.

Muralidhar smiled. He said, no, nothing is needed.

What to do then? All this is a big dirty thing. The judgment of art and the judgment of the court may not be the same. And if there is a conviction, then there will be a punishment, in addition, your school work will go.

know that But stay. Muralidhar remained steadfast. He said, love literature; I worship and serve literature. Literature is about life – whole, integral life. How can I be a lifer without him? Su and Ku both live in Pashashasi. Argument about who is what. Quarrels about how far the truth is beautiful, and how long the beautiful is true. I hate both prudery and pornography. From truth we take courage and from beauty we take restraint – we are creators, we are Samadhisiddha.

The gentleman was cut off.

The case will not be fought. No, no lobbying, no stalking. Just file a statement and stay silent. Whatever the result.

Went to Dr. Nareshchandra Sengupta. A eponymous advocate, a literary figure above all, a mighty patron of ultra-modern literature. The accused read the two texts by heart for a long time. He said, plead not-gill.

As far as I remember, there were complaints about two episodes of Chitrabahar. One youth pain, two gates of hell. And the whole thing of hearing-thickness-gahan-fascination.

Most surprisingly, Saturday’s letter praised Chitrabha. Even protested against filing a case against him.

There is a reason for this ghost-in-the-face-of-Rama-name. Sureshbabu Mohitlal’s friend. And Chitrabah Mohitlal’s recommendation was printed in ink pen.

Saturday’s letter writes about Chitrabaha:

..The author has depicted the development of a character and the outcome of life through all aspects of human life, good, bad, beautiful and ugly. If one tries to see life as a whole, nothing needs to be left out. Because then a harmony of its whole is caught. Ku and Su together form an integral Ragini, neither morale nor immorale—greater, more mysterious. …

Sounds like a wonderful healthy person. Saturday’s letter if you know how to spell! Baiki knows that. If there is a party or if it is necessary, you have to do other things. Aymarambh: Shubhaya Bhavatu.

Nareshchandra drafted the statement. He said, everyone should submit one copy to the court.

tahastu But left the lawyer’s team. Say, fight. Why stand and beat?

It will not understand at all, it will explain on the contrary. Understand the matter. This is not child’s play, you can go to jail without a fine. Don’t play forward, stand in goal. Will the police hit the ball into the empty goal and win in one shot?

Great irony. Critics on one side, police on the other, lawyers in between. Like foxes on one side, acacia on the other, dates in the middle.

Muralidhar did not move.

It doesn’t make any sense sir. Either just apologise, or let us fight. Afraid of fees, we don’t want a single fee. This is our labor of love for literature.

Muralidhar smiled to himself. He said, thank you.

Pushing the crowd, the three entered the court-room. The sergeant and the redneck, the knave and the pickpocket, the thief and the gambler, the whore and the gangster, the bound and the vagabond. Next to him are publishers and editors, and writers.

The Presidency Magistrate entered. After a few torn cases, the ink-pen was called.

Who knows why, the accused were not sent to court. He signaled to sit on the chair.

His Excellency P-P came, ink-pen in hand. The accused part is thickly marked with blue pencil. Doubt that the bookshop supplied him is an insider.

Those who oppose our views and ways, or dissenters and dissenters, make our minds narrow or unsatisfied. That is the mind, the impurity. In order to remove the impurity of the mind, it is necessary to think about the virtues of the dissenters and bring a sense of humor to the mind. A flower pleases both, the one who holds it and the one who smells it. Likewise, I am also delighted by the fragrance of your acquired virtue. This is the feeling. Purity

But is this an easy pursuit? As a writer who does not have the desired success, can he support the next literature in his heart?

P-P opened the cask of speech. They are the disgrace of the society, the enemy of the country, the garbage of the state. They will not be killed by eating salt now, if it were in law, they would have to be pierced with iron bars.

What do the defendants have to say? Nothing, just this statement. Only words are not poetry. Rasa cannot be explained to Orsik by speech.

That nameless lawyer is still unrepentant. He will make a speech on behalf of the accused. I understand that such an opportunity without money will never come again in life.

We have no advocate. Muralidhar said: Only the future is our advocate.

The magistrate asked the lawyer to sit down.

The date changed and the date began to read. Finally came the day of judgment.

Two friends are waiting on the balcony of the court. Shailjanand and Muralidhar. What punishment is determined in the literary judgment! What insult after poverty and rejection!

Who knows what will happen. Shailaja smiled dryly.

what will happen again It will be very fine. Muralidhar dismissed the matter.

Even if it’s only fine, I can’t give it.

You may not necessarily be their guest for a few days. So what is evil! Muralidhar smiled: Story writing will get new food.

That’s the benefit. Consolation Pel Shailja.

Ray Berul after noon. The magistrate did not find P-P’s literary and sociological narratives particularly useful. He released the accused with benefit of doubt.

Hungrid’s writings were also being taught to the police. The police statement is also the same: “All brave heroes, riches and jewels of the literary world – in a word, all Keshtabishtu. What can they say? Otherwise, where are we free to look at all these? Am I going to get bombs or not, these paper thongs?”The possibility of a police case against us was rife in the coffee house and it was evident in this letter from Devi Roy to me.

In the morning, at home
২২/৬/১৯৬৪

Malay,
You-I have been arrested in Calcutta. Rumors are all around. A few acquaintances, half-acquaintances are looking in surprise when they meet; This is the thought, ‘when you get rid of it’. Now I want to go out with Ektaara in Kolkata. Everyone is in tune, to ‘touch the tiger’, to prove pornography. Someone said to Subimal, ‘Let’s see how ‘Hungry Generation’ turns out. Sameer was on the verge of giving a message to Roy on the phone; But it is understood that Samir is a mule boy, Shalad will take off his coat. What’s up with Samirdar? Meanwhile Parija is red. Why did we give Ganda Parthika etc… Shaileshwar returned from Balurghat, did not meet, did not send letter…sent to ‘rival’. Shaileshwaras write one, do one, say one, think another, Choh: Know the matter of ‘Eshana’. give letter Lalmohan was saying, ‘Chotogalp’ will come out.
Devi Roy

The complaint was lodged by the Keshtabistura of Kolkata, I got to know two names, Santosh Kumar Ghosh and Abu Syed Ayub. Secretary of the Congress for Cultural Freedom. B. Shah came to Kolkata from Mumbai and met the Deputy Commissioner of Police. He wrote to me and said, “I met the Deputy Commissioner of Police the day after we met at the office of Radical Humanist at Calcutta. I was told that they would not have liked to bother themselves with the Hungry Generation but for the fact that a number of citizens to whom the writings of your group were made available, insisted on some action being taken.”

Abu Sayyid Ayyub’s drive is evident in this letter to Allen Ginsberg:

Dear Mr Ginsberg,

I am amazed to get your  pointlessly discourteous letter of 13th. That you agree with the Communist characterization of the Congress for Cultural Freedom as a fraud and a bullshit intellectual liberal anti-communist syndicate did not, however, surprise me; for I never thought the Congress had any charge of escaping your contempt for everything ‘bourgeois’ or ‘respectable’.  If any known Indian literature or intellectual comes under police repression for their literary or intellectual work, I am sure the Indian Committee for Cultural Freedom would move in the matter without any ungraceful promptings from you. I am glad to tell you that no repressions of any kind have taken place here currently. Malay Roychoudhury and his young friends of the Hungry Generation have not produced any worthwhile to my knowledge, though they have produced and distributed a lot of self-advertizing leaflets and printed letters abusing distinguished people in filthy and obscene language ( I hope you agree that the word ‘Fuck’ is obscene and ‘Bastard’ at least in the sentence “Fuck the bastards of the Gangshalik School of Poetry’, they have used worse language in regard to poets whom they have not hesitated to refer to by name ). Recently they hired a woman to exhibit her bosom in public and invited a lot of people including myself to witness this wonderful avant-garde exhibition  ! You may think it your duty to promote in the name of Cultural Freedom such adolescent pranks in Calcutta from halfway round the world. You would permit me to differ from you in regard to what is my duty.  It was of course foolish of the police to play into the hands of these young men and hold a few of them in custody for a few days ( they have all been released now ) thus giving the publicity and some public sympathy—publicity is precisely what they want to gain through their pranks. I do not agree with you that it is the prime task of the Indian Committee for Cultural Freedom to take up the cause of these immature imitators of American Beatnik Poetry. I respect your knowledge of European literature but can not permit myself to be guided by your estimation of writers in my language —- a language of which you choose to remain totally ignorant. With all good wishes in spite of  our grave disagreements and in admiration of some of your wonderful poems.

Yours Sincerely

Abu Sayeed Ayyub

Abu Sayyid writes to Ayub Ginsburg that the Hungarians have been released by the police. In fact, the police was processing the case and no one had been released yet. Let us read the letters of foreign and non-Bengali poets in the context of Ayub’s letter:

Allen Ginsberg, 704 East, 5th Street, New York, 28 September, 1964

Dear Malay,

I saw clippings from BLITZ, Sept 19, 1964 p6 and also I think Calcutta STATESMAN 17 September 1964 that you were arrested as well as Samir and two boys named Ghosh whom I don’t know, for your HUNGRY GENERATION manifestoes. Are these the same as were printed in the issue of KULCHUR#15? As soon as I read about it, I racked my brain about what I could do to help, and so today I wrote a whole bunch of letters to the following:-1 )A.S.Raman, Editor, Illustrated Weekly, Dr. Dadabhai Naoroji Road, Bombay. 2 ) Sharad Deora, Editor,Gyanodaya, 18 Brabourne Road, Calcutta. 3 ) Abu Sayeed Ayub, Editor, Quest ( sent a message to him indirectly), and member of Indian Congress for Cultural Freedom. 4 ) Shyam Lall, Editor, Times of India, New Delhi. 5) Khushwant Singh, novelist and member of Congress for Cultural Freedom, 49 East Sujan Singh Road, New Delhi.

I also wrote to Jyoti Dutta and phoned Lita Hornick of KULCHUR. I asked them, the Indians above all, what they could do to help you, suggested they activate the congress for Cultural Freedom as this sort of thing is the proper activity of the Congress and Quest magazine, and told them that the manifestoes were printed here in CITY LIGHTS JOURNAL and KULCHUR, and were not obscene. So the whole mess was scandalous bureaucratic illiteracy. Please if you need literary help or advice do try to contact these people for support. And in addition perhaps ask for advice/help from Mrs. Pupul Jayakar, 130 Sundar Nagar, New Delhi—she was our protectress in India, we stayed with her, she’s a friend of Indira Gandhi and others. I also notified Bonnie Crown here in New York, the Asia Society, 112E 64 Street, NYC—she commissioned poetry to be translated by Sunil and others and that pack of poems plus your rhythms etc. will be printed together by CITY LIGHTS. She can send you a letter on her official stationery saying your manifestos are known, published and respected in the US and not considered obscene. I will also enquire about Mr. S.K.Roy, the Indian Consul General here in New York who I do not know what he can do at this distance.

If there is anything you want me to do let me know. Write to me and let me know what the situation is and what is the cause of the trouble. In judging from BLITZ I suspected jealous ideological Marxists or something. Are you ruined at the bank?? I hope not. Regards to your family. Get the Congress for Cultural Freedom to supply you with a good lawyer who’ll take no fee. If the Indian Congress doesn’t cooperate, let me know, we’ll explain to the European office. Who are the Ghosh brothers? The manifestoes on prose and politics are pretty funny. I thought they were a little literary-flowery, but they MUST HAVE HIT SOME MENTAL NAIL ON THE HEAD. Good Luck.

Jai Ram

Allen Ginsberg

Allen Ginsberg, 704 East 5th Street, NYC,  January 11, 1965

Dear Malay,

Enclosed copies of letters from KULCHUR, from Abu Sayeed ayub ( 3 letters in answer to mine—each letter 2 pages) and one from A.B.Shah—Congress in Bombay. You should follow their letter up. Congress office in Paris has been contacted & they will probably send some note, notice to the Indian Committee. I answered some of your letters via Utpal—I sent copies of these letters, also, to show Sunil, Jyoti, etc. CITY LIGHTS JOURNAL#2 is on its way to you.

That Jyoti, Sunil, Sandipan & yourself are all working at slight cross-purposes is making things difficult. I suppose they are embarrassed by your ‘brashness’ (as TIME magazine might term it) or your slight edge of naivete as I would term it. However, if it is possible to reconcile with them & put up a united front it would be best for everybody’s safety. Best thing is to stop all cutty gossip, for it is only mainly gossip that Abu Sayeed is using as an excuse. Obviously they also were questioned by the Police, and so, feel a common threat with you. Don’t get angry at them—just work out a basis where you can all defend each other—and try you now—the only present basis (since there seems to be some literary disagreement) being freedom of literary expression. They all don’t want to be grouped as Hungry exclusively apparently, and they may resent or be scared or not want you to lump them all under your Hungry banner. And this is natural. Once a MOVEMENT gets name and publicity it is also a drawback as I’ve found. Also, the name is irrelevant & a drag sometimes to one’s individuality. See the first sentence of my letter to Shakti, Feb10,1963 that was published in a Hungry type magazine in Bengali. Best not to get angry at anyone—Jyoti, Abu Sayeed—even the police. Think carefully & coolly & get all working together if it is possible. I leave for Cuba in a week and will be back in 2 months. Love & Happy New Year

Allen

Margaret Randall, Mexico City, June 17, 1965

Dear Malay,

Please, please excuse so much time without writing, and now that I finally am able to sit down to write, this jumpy typewriter is driving me out of my mind. The man promised to come this week to fix it but this is Mexico (land of ‘manana’) etc!. How are things going for you—the trial; your case, the things taken from you and your friends, etc.??? All over the world, through EL CORNO, people write asking about you and wish you well, it has caused an international scandal among people in the arts, at least. I hope for good news, please write!!! And the book with Carlos Coffeen’s drawing on the cover—did it come out???

Under separate cover and by regular surface mail I have sent you two copies of our 13 in which I printed your letters. Hope they arrive one of these days and in good shape. Naturally: when the issue was printed I sent you a copy, but it must have gone astray. I don’t know why Samir Ray received his and you didn’t. Here we are in deep problems with the magazine. No money, for one thing, and tremendous work. Just when EL CORNO seems to have become a world wide interest spiritually and literally, it faces a quick death financially. The change of government here in Mexico in December has thrown us into utter gloom. All our base patronage was cut out from under us, and we were faced with stopping publication altogether, and so we had to turn to a thousand improvised plans to get us through. At the moment we are having a giant art show (more than 50 painters and other artists have donated works to sell for the benefit of the magazine). The show opened at a local gallery a week and a half ago. So far we have sold 18 works, keeping the linotype purring at least through the first part of 15. 15 is now at press and we hope to get through all of it, fingers crossed. I’ll try to use your poem in the first part of next year, but it isn’t at all sure. We have so much work at hand and so little space and money. In reality, space and money are the same thing!  Otherwise we are fine. Working like hell! Translating; writing, praying, trying to keep the mag going. Learning daily from our children (now there are three), the youngest is a year old today! Be well. Write. Good luck with the court case! Love

Margaret Randall

Allen Ginsberg, c/o City lights, 261 Columbus, SF, Calif, July 11, 1965

I have been wandering around from Moscow to Havana to Warsaw to Prague & thus didn’t get your letter of Jan 29th, much of which is obsolete by now? I have gotten so many conflicting letters & gossip from every body, I actually have no idea who’s doing what to who in India. Is your trial over or not, & what’s what? I’ve done all I can from here. I went to Cuba, as a judge of a poetry contest ( and later got kicked out for talking too much). It was a Latin American contest, the judges (as myself) all had to be able to read Spanish. Also they’d published poetry of mine & I had friends there and I had spent years in South America. So I got invited. I’ve been back a week & will leave again for San Francisco in 2 days. Then settle down to solitary poesy again. Write me news. I haven’t much time to correspond, though, except in big emergencies.

As ever

Allen

Daisy Aldan, 325 East 57 Street, New York, February 1, 1966

My dear Malay Roychoudhury

A friend of yours, Howard McCord, has sent me your address. I am distressed to hear about your plight, and hope that the situation will be ameliorated as soon as possible, even though, I do not at present, agree with the kind of poetry you and your friend are writing. I think YOU ARE EXTREMELY TALENTED. I am a poet myself and Editor, and a great associate of the Avant Garde. I consider myself in the forefront of the true Avant Garde. I published a magazine called FOLDER which presented poets whose work could not be published elsewhere because of its contemporaneity. But I think what you are doing now is first of all, passé, and second of all, a debasement of the spirit and language. I also think it is all wrong for India, and that there is room for excellence and contemporaneity without debasement. However, this is just my opinion, and I am sure you have good reasons for yours. You certainly should not be persecuted for your poems.

The major reason for this letter is to let you know that I am editing a book for Thomas Crowell called POEMS OF INDIA and I would be happy to consider some of your poems, and those of your friends. I wish to include poems of every region of India. Since the book is directed to young people, I can not publish any of the poems of the nature of the one Howard McCord published (a copy of which I have). If you wish to choose poems that do not deal with sex in this way, then I shall be more than happy to consider including them. I am eager to publish much contemporary work. Also any suggestions you may have about poems of the past which should definitely be included would be deeply appreciated. If any of your friend wishes to send me poems, then they should include a brief biography and permission for me to use.I will send you under separate cover, my own poems: THE DESTRUCTION OF CATHEDRALS, SEVEN:SEVEN, and A NEW FOLDER:AMERICANS:POEMS AND DRAWING, an anthology. Since it takes months for mail to get to India, I hope your answer will arrive before you receive them. All submitted poems, by the way, must be in English or translations. I spent four months in India last year—mostly in Bombay and gave a lot of readings of my work. I met many poets whose work I admire, among them, Padgaonkar, Karandikar, Ezekiel, Bapat, Katrak.I love India, and happy to be involved in this project. My best wishes to you, and I look forward to hearing from you soon.

Fraternally,

Daisy Aldan

Lawrence Ferlinghetti, San Francisco, 26 March, 1966

Dear Malay: I have read the legal decision on your case, and thank you very much for sending it. I find it laughable. I want to publish it together with your poem STARK ELECTRIC JESUS in the next ‘City Lights Journal’ which will be out this coming summer, and I enclose a small payment immediately, since I know you must need it desperately. I am sending a Copy of this letter to Howard McCord. Perhaps he knows the answers to the following questions and will send them to me right away, since time is of essence, and it may take some time to get a reply from you. I think it is a wonderful poem, and I will certainly credit McCord for having first published it. Bravo. Allen is in NY and his new address is: 408 East 10 Street, (Apt 4C), New York, NY. I need to know the answers to the following questions: (1). Was the poem first written in Bengali and was it the Bengali or the English version which was seized and prosecuted? (2). Is this your own translation, or whose is it? (3) Do you wish me to use the typewritten copy of the poem which you sent me last year, or the version printed by McCord? (I find some differences.) Let me hear as soon as you can. Holding the press.And Good Luck. I hope you are still able to survive! With love.

Lawrence Ferlinghetti

Octavio Paz, New Delhi, The 16th of July, 1966

Dear Mr. Choudhury:

Last time I was in Calcutta, I met some of your friends who talked to me about you.I hope I shall find an opportunity to meet you when I visit your city or whenever you get a chance to come to Delhi. Meanwhile please accept my best regards.

Cordially yours,

Octavio Paz

Ameeq Hanfee, 104 Gandhi Park Colony, Indore, 26 July 1966

My dear Malay,

I am extremely grateful to you for your permission to translate your poem ‘Zakhm’  into Urdu. I assure that the Urdu version of your poem will do full justice to it and may even sound better than the Hindi one. The Hindi translator has done his job very well, no doubt, but at places either he or the press has not been very careful in the use of ka! ki! Ke! etc., as well as certain Urdu words. On the whole the Hindi version seems to be a fairly faithful reproduction of the mood, spirit and expression of the original. I had written to Basak to send me literature of and on the Hungryalist writings and movement, and he had promised to enlighten me, but I did not get anything except his own article, the Calcutta Presidency Court judgment and the Hindi version of ‘Zakhm’. Whatever I know about your movement is through what I read in BLITZ, TIME, DHARMAYUG, MARAL, GYANODAYA, ANIMA, and LAHAR. I wish to go still deeper before venturing to write about the Hungryalists in Urdu. I am a poet and find your poetry—Hungryalist poetry—full of inspiration, freshness, fire and oxygen. I am looking forward to the day when we will meet and not only compare notes but also exchange heart and mind. I was all the more interested in ‘Zakhm’ because I found that you and I share a lot of common ground. There are so many lines in ‘Zakhm’ which express the same or similar experiences I have expressed in my long poems ‘Sindbad’, ‘Sharzad’ and ‘Shabgasht’. I must give you the credit of being more modern—rather up to date in your imagery, diction and poetic statements than I could be. Still your wound is not very different from mine. Let us all succeed in exploding the atom for real peace and freedom—the atom of our individual experience. After all the subterranean source is the same from which we all have our blood-lines connected. With admiration, regards and love

Ameeq Hanfee

Dan Georgakas, Box 418, Stuyvesant Station, New York, New York 10009, August 23, 1966

Dear Malay,

Sorry to be so long about writing but you can see I have been moving around. Your ‘In Defense of Obscenity’ is a beauty. Allan Van Newkirk is going to print it in GUERILLA. Allan and I are not connected with Artists Workshop except for in the most casual way. Smyrna Press is separate and so too is the new GUERILLA. Karl Heinz Weissner tells me he has contacted you (at my urging), and he is tuned on by Stark Electric Jesus. I hope you will dig my own Manifesto For The Grey Generation. Allen and I have founded a group called The League of Revolutionary Poets: Torp. We combine politics with poetry-in-happening—action events. Example: On August 6th we attended a peace parade and hung Johnson in effigy and flew the NLF flag. August 7th we attended the Festival of People at Artists Workshop, and held a mock trial (they had no warning) of love-dove poems, which angered many in the audience. August 9th: Anti-war poems: reading at downtown rally. August 13th: letter to paper congratulating Detroiters on letting their Greek Theatre die since any nation supporting a Vietnam atrocity could not support Gk Theatre too. New activities: war crime tribunal in Detroit, melon poetry reading in Pittsburgh, trial of love in Chicago. We seek creative vandalism. Today I read a foul story in the Village Voice. Wiped my ass with it and sent it into the paper. I am getting a squirt gun and will fill it with paint. Shoot when ready, the Grey Generation. I want to go to the opening night of the Opera when all the shitheads are there, and hurl anti-war poems from the galleries when the war-criminals enter. DADA lives. SURREALISM returns. Lasslett in Australia, Weissner in Germany. Nutall in Britain. Partisans of the world unite. Towers, open fire.Doubleday & Co will anthologize a poem for me. Story in homosexual magazine. Poem in communist magazine. Makes me a capitalist homosexual communist dog or a chameleon. Clifton de Berry is our man. io! ee! This is the world, begins with a BaaaaaaaaaaannnnnnnngggggggGGGGGGGGG…..’’’’’ Wichita Vortex Sutra—–wonderful. Ginsberg reads in Washington Square on Sunday to test new law about pornography and such. Allen says he has sent Miller’s Sexus. Prices sky high in New York. Faces ugly. Squalor everywhere. But a vitality. The Blacks are beautiful. Anger. Revolution. You must stay in India and smash them. This is the age of sabotage and subversion. Smash the word. Destroy the logic. Warp the system until it snaps. Love, oxygen, semen, tulip buds, serendipity syringes—-breakthrough in the grey room—dan georgakas

And

Carl Weissner, 24 September 1966

Dear loving brother guru

This finds me in the process of recovery from illness & series of bringdowns & now again working diligently on issue 4 of the mag….before the sickness had led my metabolic blues astray. I had got a job & they had to pay me for the whole period of illness which is the only pleasant thing about a job,…I have been able to cut costs for printing the mag down to something like 150 bucks, but still…Tell me: did you get your copy of the manifesto? (I mailed two copies to Subimal Basak) and did you get my last letter? What abt the proceedings of appeal? already over? And what is the outcome? favourable for you I hope!….yes will write to Donatella…..she has just sent an English translation of her Ginsberg essay which appeared in ‘Studi Americani’ in Italy last year…also good letters from Carol and Dan…. YES! BY ALL MEANS SEND THE TYPE SCRIPT OF LIFE , ARREST, TRIAL, GINSBERG, CALCUTTA!!!!! Listen:!! Gerard Malanga just sent a large and fantastic collection of poems, 4 of them dedicated to Allen! Also magnificent photos of Allen and himself! He will probably also write for KLACT abt his friendship with Allen! And Diana Di Prima sent a collection of cute short poems, all from 1957….all this will be included in KLACT 5 (spring 67)…I have also written to Allen & asked him to contribute original work, hoping he be willing to do so…COULD YOU WRITE HIM AND TELL HIM A FEW GOOD WORDS ABOUT ME AND KLACTO PLAN AND URGE HIM TO SEND STUFF??!!!! He is at 408 East 10th Street, Apt. 4C, New York, NY 10009…I have not yet found time to contact the people you told me, but will do so any day now….I will concentrate on Subimal’s and your work, tho… in No 5….but may be I will also contact Howard McCord (please give me his address!)….if it shd turn out that I have space left for more Bengali/Indian in No 5….. DID YOU RECEIVE THE ‘ICONOLATRE’ ISSUE I SENT YOU??!!! Also Larry Eigner sent me more poem: today, which will be in KLACT 5…yeah, things are really swinging now!….I am also thinking of publishing George Dowden’s new great visionary poem RENEW JERUSALEM in a limited edition, sometime later this year, if I have the money….(!)….. The English original of your article of course will be in KLACT, and I will translate it into German, too, and look around for possible publication in German mag…ok? O YEAH! Looking forward to translated passages from ‘JAKHAM’ plus one page in original BENGALI! GREAT! Please note: Bengali pages, if possible, should be written on white sheet of paper in black ink, and should be sent whole, that is, not folded—-so that it can be used for repro…. Do you know MAHENJODARO (ed. Samir Roy, 55/4 Natabar Pal Road, Howrah)? What is it like?—and POETRY TODAY (ed. Nissim Ezekiel, The Retreat, Bellasis Road, Bombay 8)? Qk. So much for this time. All best to you, Love

Carl

Carl Weissner, 5 December 1966

Dear malay

The great sky is open—-northern Italy washed away in vast mud & storm chaos & deluge—-desperate letters from Donatella Manganotti—-priceless artwork destroyed forever—and just a few minutes ago I hear in the news that they are in for yet another meteorologic showdown—Bihar province like a vast dried-up cunt I gather—hunger & revolts everywhere—German government collapsed, neo-Nazi movement scoring for the gaps: Christian & Social Democrats joining forces to make a last desperate attempt at saving the old ship St. Nanana already half drowned—Hanoi set ablaze by efficient hordes of technicians of death masterminded by sick pentagon eunuchs & a corny Texan cowboy putting out fake charismatic vibrations that materialize in tons of explosives & charred remnants of Asian bodies enabling Wall Street to hang on for another fiscal year—you see how they are caught in loops and spins of lethal genetic roulette—a uniform grey generation scurrying among nuclear debris of heavily infected areas of cancerous mind like rats in terminal stage of dream withdraw eating erogenous holes in huge chaotic setup of punch-cards that represent lives marked for Total Disposal—one more turnstile before the whole shithouse blows up—Nova Criminals wishing up dwarfed marks everywhere on this sick planet—SECONDS TO GO—you can already hear that heaving human blues heading for its irrevocable Dead Whistle Stop—so? Burning heavens, mister—nova armies conspiring across the wounded galaxies—icarus, nova-directed asteroid, due to blot out a terrestrial spot of bother the size of new york or tokio or London, on june 15, 1967—or September 13, 1968—what’s the difference—with the impact of one thousand hydrogen bombs—you see how things have grown to hitherto unimaginable bad proportions—a disarmament conference would have to include representatives of Nova, Interzone & Minraud, and there’s little chance that one could ever bomb this intergalactic gook rot to parley—and god knows how many of their agents are already operating among us disguised as word & image technicians seconds to go—we’ve got to attune our paranoiac feelers to that vast danger around us, spot them wherever they show a blind spot & stop them dead in their tracks—

In order to achieve this we have to provide ourselves with an insight into their methods & operating schedules, and the work of Bill Burroughs & a few other semantic cosmonauts shows precisely who they are & how they operate—in supersonic patterns of sense-wave control—or long, medium, short & ultra short waves of the world—in cozy bed sitters, court-rooms, arenas, parliaments, newspapers, or gone streets—in subcutaneous offices of annexed brains around the paralyzed globe—right where you are sitting now there in Bad News Department walking in on you cool & casual with a perfunctory ‘hello there’—and metamorphosing you into an obedient Hate Virus host in a matter of seconds—if you are not fully aware—each second & if you do not know who they are & how to fight them—now—in forthcoming issue of KLACTOVEEDSEDSTEEN you will find more details & outlines of steps to be taken towards an immediate universal survival training in a piece by Mr. Burroughs & Mr. Weissner; called LAGUERRE PARTOUT (war everywhere), precisely showing some of the hideous techniques by which the nova criminals try to mono-police & control & manipulate so-called ‘reality’ in order to subvert & takeover mind & consciousness of every single of us—

Carl

George Dowden, London. 22 April 1967

Dear Malay,

Good to hear from you; glad you have some kind of job now. I’ve gotten together with Utpal Basu here, good bloke, but doesn’t seem to be doing any writing here; just teaching. He introduced me to the shehnai (recording: The Magical Shehnai of Bismillah Khan), which is a lovely instrument. I dig the morning raga on that recording, but not the evening one particularly. I also wrote to Dick Bakken about collecting SALTED FEATHERS, just yesterday. I am about to write to the National Library of India about Ginsberg, as you suggested. Meanwhile, if you have spare copies of any Indian mags he was in, please send, like UTTARSURI of Dec 1963, MOHENJODARO of 1963 etc. AS I said, I’ll pay—or send you things in exchange. You mentioned wanting books on Cubism, Surrealism and Dadaism—there is a good series here, which includes all of these, a book on each; the publisher is Thomas Hudson; the Cubism book is by Edward f. Fry, Surrealism by Patric Waldberg, Dadaism by Hans Richter. Do you have these available there? If not, I’ll get them for you and send them. Let me know. Did RENEW JERUSALEM arrive all right? Let me hear you about it. Seeing lawyers now, wanting to safely bring out an edition here. America is getting worse and worse; lies and destruction, a threat to the whole world. Fortunately the youth are not listening to their bullshit except to jeer at it, and as long as that goes on, can not be stopped, there is hope. If the totalitarian impetus in America gets its own way, and all the power, then all hope is gone. South America would become the next Vietnam, and so on. But I think they will be stopped—though not until more blood flows. Let me know how you are doing. Write soon. Cheers,

George Dowden

Five: Law Courts:Great electrical carpenter 

In 1963, I wrote the 90-line poem ‘The Great Electric Carpenter’. The poem was published in 1964Hungry Bulletin. After publication in courtHungry’s A case was filed against in three sections. After the poem was published in the “Hungry Bulletin 1964” issue, the West Bengal government issued arrest warrants against a total of 11 Hungri under sections 120B (conspiracy against the state), 292 (literary obscenity) and 294 (misleading youth) of the Indian Penal Code. Six of those who wrote in the numberCalcutta Police  arrested In May 1965, everyone else was released, but a charge sheet under section 292 was issued against me and the case lasted for 35 months. testified for meSunil Gangopadhyay, Young Sanyal, Jyotirmoy Dutta AndSatrajit Dutta And testified againstShakti Chatterjee, Shaileshwar Ghosh, Subhash Ghosh, Holy Vallabh, Sameer Bose,Sandeepan Chatterjee AndUppalakumar Bose. Pavitra Vallabh and Sameer Bose were police stooges, false witnesses. The Bankshall Court gave me a maximum sentence of 200 rupees and one month imprisonment without payment of fine. Poet due to arrest warrantUppalakumar Bose Dismissed from teaching job. the novelistSubimal Basak And the poetDevi Roy Calcutta Transferred from Mafswal. In 1967, the Calcutta High Court rejected the judgment of the Bankshall Court. The poem has been translated into various languages ​​of India, East Asia and Europe.University of California The poem is included as the only poem from South Asia in the published collection ‘Modern and Postmodern Poetry of the Millennium’.  The poem is given here

‘Oh, I’ll die, I’ll die, I’ll die

My skin is burning like hell

Where should I go? Nothing is good

I will kick literature and literature and leave

Shubha let me go inside your watermelon-angrakha

In the darkness of Churma, in the shadow of the saffron mosquito

After lifting all the anchors the last anchor is leaving me

And I don’t care, a lot of glass is breaking in the cortex

I am Jani Shubha, hold the vagina, give peace

Every vein carries tears to the heart

The infectious spark of the brain rots in eternal sickness

Mother, why didn’t you make me a skeleton?

Then I kiss the hips of two million light-year gods

But nothing feels good to me

Multiple kisses on my cheeks

How long have you returned to the industry after forgetting the woman during the rape?

Adityavarna of poetry is in the bladder

I don’t know what is happening, but it is happening in my chest

I will smash everything

I’ll tear your ribboned festival to pieces

Shubha will be dragged away by my hunger

Shubha has to give

O Malay

Kolkata looks like a wet and slippery procession today

But I don’t understand what is wrong with me

My memory is failing

Let me go to death alone

I didn’t have to learn to rape and die

I didn’t have to learn the responsibility of wiping up the last drop after urinating

I didn’t have to learn to lie next to Shuba in the dark

Did not have to learn the use of French leather lying on Nandita’s chest

But I wanted the health of the vagina like Alya’s new job

Healthiness of perspiration like shards of glass in vulva

Today I turn to brain-sheltered disaster

I don’t understand what I want to live for

I am thinking of my forefathers the lusty Savarna Chowdhurys

I need to create something new and different

Let me sleep for the last time on the bed like Shubha’s breast skin

I remember the intense sun damage from the moment of birth

I want to see my own death

The world did not need Malay Roy Chowdhury

Let Shubha sleep in your intense silver uterus for a while

Give peace, give good peace

Let your menses wash away my tattered skeleton

Let me be born from Amari Shukra in your womb

Would I be like this if my parents were different?

From a completely different Shukra Malay aka me to be Partum?

Even if my father entered the womb of another woman, would I be Malay?

If not Shubha, would I be a professional friend of my dead brother?

O: Let someone answer these things

Shubha, Oh Shubha

See the world through your cellophane glass

Come again on the green mattress Shubha

For example, cathode rays have to extinguish the flame of a strong magnet

I remember that handover letter of 1956

Then the area around your clitoris was decorated with bear bark

The rib-snapping jhurri then descends upon your breast

Silly kinship swells in the heat of unsuspecting obliviousness

Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

I don’t know if I will die

Tulkalam is becoming in the whole helplessness inside the chest

I will destroy everything

For the sake of art, I broke the sakkol

For poetry, there is no normality without suicide

good luck

You court me in the memorable incontinence of the labia majora

Let go of the impossibility of sorrowless ayas

Besmal hearty golden green

Why am I not lost in my mother’s vagina?

Why didn’t I get carried away after my father’s fornication?

Why didn’t I get mixed with mucus during menstruation?

But under me, Chit is in a half-baked state

I am very sad to see Shubha taking comfort

Even with such a helpless face, women are treacherous

Today it seems that nothing is more treacherous than women and art

Now my violent heart is going to an impossible death

The water swirls up to my throat

i will die

Oh, what is happening to me?

I can’t find my hands

Pajamas are dripping with dried semen

300000 children are flying towards Shubha’s breast

Flocks of needles are running from blood to poetry

Now my stubborn thong smuggler wants to ride

From hypnotic wordplay to death-defying sex-narratives

I am looking at the mirror on every wall of the room

Let alone a few Nangto Malays and his unrepentant Kheyokheyi.’

In 2014, Mrigankashekhar Gangopadhyay and Hash Tanmoy made a silent short film based on this poem. The film ‘The Great Electric Carpenter’ has been an official selection in 12 international film festivals including No Gloss Leeds International Film Festival in Britain, Trinidad and Tobago International Film Festival in America, Australia, Paris, Barcelona, ​​Germany, Spain and Most Promising Video Artist in Madatac International Film Festival in Spain. (Most Promising Video Artist) Awarded.

Six: Hungry period in North Bengal and Tripura   

  At the beginning of the eighties, a few young poets-writers brought new blood to the body of Hungri through the ‘Consecration Camp’ edited by Alok Goswami and the magazine ‘Dhritarashtra’ edited by Manoj Raut, among whom Alok Goswami, Arunesh Ghosh, Raja Sarkar, Sameeran Ghosh, Malay Majumder, Vikas Sarkar, Jivatosh Das, Manoj Raut, Ratan Nandy, Nitya Malakar, Subrata Roy, Nakul Mandal, Tanumay Sarkar, Dibakar Bhattacharya, Vijay Dey, Anyaman Dasgupta, Jamaluddin, Anubhav Sarkar, Sumanta Bhattacharya, Pallabakanti Rajguru, Chandan Dey, Praveer Sheel, Kishore Saha, Kushal Bagchi, Devjyoti Roy etc.

The Hungry era started in 1961 and subsided somewhat after the case, although Subhash, Shaileshwar, Vasudev, Pradeep were publishing a magazine from Calcutta called ‘Khudharta’: but in the eighties, a new impetus was given to Hungry in North Bengal by a group of twenty-two-year-olds called ‘Chandramikma’. Alok Goswami while reminiscing in the Sharad 1422 issue of the newspaper wrote: “Divya was fighting to ride the sampan of the establishment. In the middle, the road suddenly turned and turned in the opposite direction. Not everyone. some of us I turned myself around. Some companionship and letters helped to change the idea of ​​wandering. I knew that literature is not just a medium of entertainment. Nai Bhatghum subsidiary pharmacy. In front of the utopia called reader taste, the main purpose of the art and culture is not only profit, but also to claim public consciousness. Literature and life have to be held together. And truth is not a one-dimensional thing. The theory of artifice or progressivism was born to hide the real truth. The main purpose of the little magazine is not to supply writing to the organization, nor is it a training session. Another word closely associated with Little Magazine is ‘Andolan’. The purpose of the movement is to raise the expectations of the reader by making him aware. Challenging established assumptions through explosive language. Established ideas do not emerge from the bottom of life. Therefore, the language should be freed from elitism by using the language of the people. That is, whether the institution must be destroyed. A few of us held out hope with the new slogan—’literature of protest’.”

 These Hungarians from North Bengal were familiar with my writings. They did not know that my poem ‘The Great Electric Carpenter’ had been sued; It was witnessed by Shaileshwar Ghosh and Subhash Ghosh. That means I have no role in reviving the hunger movement in North Bengal. Like the original Hungry movement, they are independent. In the same article, Alok Goswami wrote, “What I read is enough to make my head spin. Few issues of ‘Khudhart’ magazine. I got acquainted with the writings of Subhash, Shaileshwar, Falguni, Pradeep, Vasudev, Arunesh. I got a role model. Our Jihadi life started in the city of Mafsasal. A few of us jumped off our magazines and published a jointly-edited paper — ‘Concentration Camps’. By the time we come into contact with the hungry, the prison-fine phase has settled and the spotlight has moved away from the hunger movement. The hunger movement could not attract anyone from the new generation. So it can be said that in the eighties there was a revival of hunger consciousness in Siliguri. And that was done by the ‘concentration camp’. Then Hungry spirit spread throughout North Bengal. Apart from the ‘concentration camp’ many newspapers were published from other cities like ‘Giraffe’, ‘Robot’, ‘Dhritarashtra’, ‘Kurukshetra’, ‘Pagla Ghora’, ‘Droh’, ‘Bikalpa’ etc.” The young hunger strikers of North Bengal were the first to be ignored. Then a Calcutta resident poet, who is from North Bengal, tried to break the unity of the Hungarians of North Bengal through cultural politics and succeeded; The ‘concentration camps’ were dismantled and eventually closed. Raja Sarkar wrote in that issue of ‘Chandragahan’ magazine, “It was very surprising that even after nearly two decades, the writer-world of Siliguri was still in the dark about the Hungry movement. Searching information, books, nothing is found. The fruits of past pressures still remain as a burden on hungry writers. The newspaper does not come out. They themselves were very much separated from each other. Today, there is no denying that the Hungarian writers of the sixties became known in these northern regions only through the ‘concentration camps’. We sensed that a Hungarianism was taking root in the minds of some Hungarian writers. Two decades later, efforts to create a theoretical basis for the movement began. Hungry Manifesto attempts to eliminate the incompleteness. “Concentration camp” has been used somewhat in that context.”

Alok Goswami writes in his book Memory Local, “I appeared at the gate of Shaileshwar’s house one afternoon with the newly published concentration camp under my arm. alone I wanted to sit face to face with Shaileshwar and talk openly about all the misunderstandings. Since the memory was the memory of the first acquaintance with Shaileshwar, there was confidence in Shaileshwar’s wisdom, personality, sense of logic and gentleness. There was a firm belief that Shaileshwar would point out our mistakes and joint discussion would clear all the misunderstandings and start walking together with new zeal. But unfortunately nothing happened. On the other side of the gate is Shaileshwar at the ringing of the bell. He frowned when he saw me.
– What do you want!
Minmin said, I will talk to you.
– Who are you?
Despite laughing at the incorrect position of questions number one and two, I pressed on and said the name.
– What’s up?
– How can I talk if the gate is not opened!
– No need for words. go away
Why are you talking like this?
– What I am saying is correct. go to Otherwise, I will be forced to call the neighbors.

After that, I was a bit scared because of my appearance, if Shaileshwar shouts that he is a robber, a robber, then I might not get a chance to return with my life. However, I was not afraid of being called ‘boys’. As homosexuality was not a fault, I stood firm.

I’m afraid but I can’t leave. It is important to understand a little more to reach a conclusion.
– Okay, I’m leaving. But keep that the new issue of the newspaper has been published.
Shaileshwar stopped even while coming forward.
-Which magazine?
-Concentration camp.
– I won’t take it. go to

I did not stand after that. There was no need to stand. By that time I realized that we were not mistaken in recognizing the person Shaileshwar Ghosh. And this understanding was so satisfying that humiliation didn’t even get a chance to touch it. Aftershock started then. Many people left the ‘concentration camp’ at Shaileshwar’s hand. Arunesh had moved away, he took some of his close people with him, some of whom we also thought were close people. Of course, nothing came to us. Instead, I wrote on the cover of the concentration camp, “When the truth is unbearable, the bourgeois viruses roll towards their own destruction.” I wrote, “I know, reader, you are neither pajamas nor pendulum.” But even if nothing came to us, one went, Subhash Ghosh. The Subhash-Shaileshwar chemistry was on fire. Although Subhash tried to convince his friend Shailesh about his own position and helplessness but failed. The failure was so extreme that Subhash had to be physically assaulted at Shaileshwar’s behest in Kolkata itself. Shaileshwar Ghosh did not hesitate to convey the news of Balyabandhu’s insult to the followers of North Bengal.

The most talented poet of the Hungry period lived in North Bengal and edited a Hungry magazine called ‘Giraffe’. My interview was published in it. His name is Arunesh Ghosh. Bhumendra Guha about himGoyar Gobind Arunesh Ghosh wrote in his article,“Anandbazar Patrika’s one-time personality, Santosh Kumar Ghosh, is said to have been impressed by some of his literature at one point, and after learning about his poverty, wanted to offer him a job at Anandabazar Patrika; Arunesh himself was unholy. He refused the offer because he didn’t want to do it, he said, he will definitely be smarter to work in Anandabazar newspaper, he will be less worried about money, maybe he will be able to handle family responsibilities more politely, but maybe Charlie Chaplin’ Like Charlie in the Modern Times movie, you’ll fall helplessly in the grip of a few spinning wheels, and keep convincing yourself that you’ve done the right thing. It will be unbearably sad for him. To overcome the fear, Santoshkumar explained to him, what is the meaning of the fact that everyone should be like this, either by his own inadvertence or knowingly, but Bhabi did not forget.

Arunesh Ghosh through his magazine “Giraffe” in the mid-seventiesHungry again Arunesh made itNorth Bengal Cooch Behar district Hawar Garhi lived in the village and inspired about twenty poets and writers in North Bengal. Notable among the New Hungris who later became famous were short story writer Alok Goswami, and poets Raja Sarkar, Nitya Malakar, Jivatosh Das, Sameeran Ghosh, Manoj Raut, Vikas Sarkar, Subrata Tay, Nakul Mandal, Tanumoy Sarkar, Diwakar Bhattacharya, Vijay De. , among others Dasgupta, Jamaluddin, Anubhav Sarkar, Rajeev Singh, Malay Majumdar, Sumanta Bhattacharya, Arun Vanik, Salim Mustafa, Rasraj Nath etc. . Despite being highly educated, Arunesh was a primary school teacher in his village all his life. He did not want to leave the village to go to Calcutta. Arunesh was the head of the Ekannavarti family in the village house. That is why he is also called an exceptional domestic poet. Arunesh was an excellent swimmer but nevertheless drowned while taking a bath in the pond.

Far away from the Calcutta metropolis, they brought the village and town lunatics, prostitutes, drunkards, brothel-yards, naked teenagers, pimps, rapists, murderers, vagrants, monks, cripples, maternity homes, vagrants, syphilis, children of harlots, vagrants, into a completely rural background far from Calcutta metropolis. , rural politics, party system, torture of cadres, cremation etc. The marginal existence of individuals, the dark aspects of communal life have come up again and again in their writings. They hoped for the opposite of social order, controlled lifestyle. Seeks to take the subject matter to the level of mystical understanding through vulnerability, intense conflict etc. Mixed with him is the mundane magical reality of North Bengal, the colorful world of folk life. Let’s read two famous poems of Arunesh: 

Small town guest

Under the stars where this

Broken buses and stables

Where rusted iron

Our booze hangout in the trash

Whispering girls, stifled laughter and spitting

Spread both legs and look at the sky

There, a stable of broken cars

Your mother brought you

It’s like our small town crooked and bearded

God’s Right Direction: From One Farm to Another Farm

He didn’t run away and went straight to me

This broken car, drunkards and prostitutes hideout

When we were cursing the drunkards

“Hush hush…police”

While girls are tucking under underwear

Dirty twisted red two rupee notes

When the glass is overflowing with wine

Dead metal skeletons soaking in wine

Raised the hood and woke up around

Intoxicated by the smell of alcohol and rusting

Hissing screams in spite of being torn to shreds

the guest

What did you get for so much money?

From a harlot?’ – before dawn

He wants to go out, leaves the house, wears clothes and pants

Kalpit stands in front of the imaginary mirror and fixes his hair and mustache

Once, twice, three times wipes the face with a yellow handkerchief

wants to know

asks the half-sleeping half-nyangto girl

Is there any impression left on the face?

Sometimes it feels like entering a maze

Basically a middle class

Sometimes – from another planet – thought

This is our main hero – just a little shorter in the head

A picture of money and a lover in the same wallet over the heart

He opened the wine on the table and showed it

After counting the money to the prostitute, the prostitute stands in the yard and cries

Holding one hand and lifting the head above the forbidden village

Nameless tree

Another night passed under the same blanket

Two on either side of the same woman, the body of a whore

When I put my hand in the vagina, I see that it is possessed

Another’s furry paw

Still women don’t want to deprive me

Secretly pulls the mouth and rubs the nipple

A hand, a breast, a deep thrust of a hip

Even bisected his own vagina with two hands –

Vipul stood with his palm in the dark night

The gods laughed

Atal Ra was startled by the dog’s cryI think about it

This is jumping from two sides

Ejaculated above, merged, merged

No river of sorrow?

We become strangers to each other when we go out on the street

The sky of Brahmamuhurta enters the chest, head and cave

Overhead is a star and a waning moon

I stood facing him

When the blood comes out from the forehead through finki

That’s when he understood

What did you get from the prostitute for so much money?

He rushes back to the same room, when the sun has risen

The body of the sleeping prostitute and the city have woken up

Our whole head is covered and wrapped

Then it seems that this is our main character – father worker mother middle class

• Raja Sarkar is one of those who spread the Hari movement in North Bengal. While discussing his life and poetry in ‘Anudhyan’ magazine, Shimul Milki wrote:Although the life and poetry of poet Raja Sarkar are mainly discussed, we have to discuss Netrakona with it. Because, in the spatial and temporal identity of the poet’s life, a kind of identity of the poem is glimpsed. Some evidence of that can be found by going through the biography of the poet. Raja Sarkar said in his autobiographical book Anturghar – “I dream at night when I am a boy.” I dream of wandering in the village of Srimantpur. Now that is another country. You can’t go there now if you want. Can these things be said to anyone?… Nostalgic.” Even if it is not said, this thing has been said in his poem –
• “Every time I want to go to the source
• Consequences are touching the toes
  Arms across thighs and breasts
  fire in hand
  Household sitting on it, with
  This lovely bed—”
• Being particularly sensitive, the lifelong struggle the poet has to go through is out of the ordinary. That struggle is certainly multidimensional. – As the struggle is rooted in the lack of life, the pain of loss and humiliation, the poet also has a brave expansion in the social-political-economic phenomenon. However, I will assume that this struggle of the poet is basically a struggle for poetry. Because he gives us poetry. From him we want poetry in the end. Judging poetry is a very difficult task and I think it is difficult to recognize real poetry. Aram became disillusioned with the comfort-loving world while reading Raja Sarkar. Look at the bloody yard in reality. He said, “Kit, who was born in a bowl of light, has come and stood.”In this dim light,
  Sword in hand, tears in the eyes, blood on the corner of the lips –
  Coins full of money fall, crowds, traffic chaos, sleep is disturbed
  Affected people run away, patients are crushed, miscreants loot and more.
• In Raja Sarkar’s poetry, we can see the shadow of various aggressions in society, family and religious structure. Where emotional feelings, perceptions and brutal realities of life are captured. With the skill of keen observation and judgment analysis, he has given a new form to his poetry in his own narration. He says in his poem – ‘It is fortunate that you have identified the binary. Research on blood plasma, elementalism, the storm of superhumans – you wanted to know the feeling of the woman who got acid burns in the fiddle smile? Or
• “If the world becomes only flesh, the fingernails will cultivate stupidity. We can celebrate with the rhythmic body by leaving everything unearthly in exile. His poetry has a long history of suffering. There is a shadow of death. There is a blood count. He had to leave Bangladesh as a refugee at a young age. This is where the tragedy begins. He had to adapt to the difficult life in the refugee camp. Then Siliguri. The atmosphere of the Naxal movement in the seventies. Life in Calcutta at the end. Through this rotation, he has to do everything including education, job, marriage, child rearing. His perspective has become more evident in the bloody experience at various levels of life. But in poetry, he is irresistible, rebellious, uncompromising, reckless. This eloquent poet has presented the mast of great poetry in candid analysis.
  We have to leave the border smuggling route behind
  To be left behind is the reckless suicide of intense sexual vigilance
  Ashes kept at zero rent and hidden holes in the floor
  Our skeletons still yearn for incendiary petrol-bombs
  We must leave the axe, the kettle and the salt
  Not to be left behind – loads of firewood, dirty towels
  Must be left rusted ball
  Leave behind empty houses, weeds and murderers
• Remnants of the Hungry-era rift still linger in North Bengal, as Snehashis Roy’s recent statement captures:About 80 long letters (INLAND LETTER CARD) of Arunesh written to Shaileshwar have been recovered. Arunesh wants to ‘carry like a self-absorbed pregnant woman’ besides ‘a pack of uncreative dogs has been barking forever’. Arunesh is reminded of the comical comparison of Miller’s writings with him, and Jeebananda’s keen attempt to match the lines of Yeats by placing them even side by side! Financial crisis, prostitutes and non-prostitutes in numerous associations, whether he is a lover or not. No, seeking to have intercourse with perfection through all this. The country, Anandabazar, etc. these days are not letting go of the paper and are not allowing Krishna Dhar and Amitabh Dasgupta to be called Hijra writers. Hungry Generation Literature, Politics, Calcutta Literature, Manuscript sent to Shaileshwar. Horrible emotions about ‘Robot’ (Editor : Jivatosh Das). Thoughts about own paper ‘Giraffe’. Father’s illness Calling doctors ‘Magi’, destroying money and killing patients. Politics of other newspapers of North Bengal at that time. Despite the jealousy and diplomacy of the Raja Sarkar (Editor: Concentration Camp) with the name, he tried to correct him. How many more things did he say in the letter to Shaileshwar. These letters become a tragic book. A time, a long life of poetry, bio-terrorism and historical documents. Shall I drop the bomb or not!”

Seven: Comparison with paintings and bits during the Hungry period

Juliet Reynolds, an art critic, has written on the subject:    

In both movements, given the number of poets and writers, few would argue that the Beat Movement and the Hungry Movement were indeed literary movements. Although both movements have drawn comparisons with the Dadaists, neither would call them art movements, even though they included literary figures.

But if the histories and legacies of the Beat and Hungarianists are examined in detail, there is no doubt that the contribution of artists to these two movements was much greater than the debaters admit. A preliminary analysis of the bit movement proved to be true. The self-centered reference to art that was present in their movement from the beginning never ceased. It should be noted, however, that information about the Bits is well-documented, which is not the case with the Hungarians, contributing to the First World and Third World cracks. The Beat movement emerged as a counterculture in the most powerful countries in the world, while the Hungry movement took shape in a poor, underdeveloped country, even if they were limited to one state or region. Moreover, the Beatniks were not at all what the Hungarians had been politically claimed to be. Ginsberg, Ferlinghetti, Corso, Burroughs and the rest were able to use their notoriety to their advantage, whether they wanted to or not. As a result, their movement was able to survive for a long time and grow by leaps and bounds, becoming a cult in the public mind.          

On the other hand, the movement started in 1961 by Malay Roy Chowdhury, Sakthi Chattopadhyay, Sameer Roy Chowdhury and Devi Roy was suppressed within a few years due to government lathi-charge and infighting among themselves, due to the pressure of government people to harass and grind the agitators. The case against Malay Roychowdhury and others on charges of obscenity and the subsequent imprisonment of Malay was a plan of the West Bengal government to crush the Hungry movement. They were accused of conspiracy against the state and each member’s home was raided by brutal police and intellectual and personal belongings, books, manuscripts and letters were confiscated.

In the case of Hungry artists, in Benares, the studios of Anil Karanjai and Karunanidhan Mukhopadhyay and fellow artists called ‘Devil’s Workshop’ were raided by the police, their paintings and movement documents were destroyed, which were never recovered. Fortunately, some of Anil Karanjai’s works, from the period of the Hungarian movement, were recovered and preserved as valuable assets in his collection, which can be found in the ideas and concerns of the Hungarian movement. Hungry movement can be understood more deeply from these. It would not be a cliché to say that pictures can convey a purpose more clearly than words. Anil Karanjai (1940-2001) was the only artist dedicated to the Hungarian movement. A similar Beat painter was Robert LaVine (1928-2014). Allen Ginsberg wrote that Robert had a major contribution to the birth of the Beat movement. The bohemian, unclothed, wild young Beat movement in Robert’s large San Francisco home all characterized the Beat movement. Robert painted graphics and posters for the Beat movement. Anil and Karuna also used to do the same in Hungry movement.

Ginsberg and Robert discussed aesthetic ideas among themselves. Both wanted to reflect in their work the decadence and mortality reflected in the minds of depressed youth at the molecular level, in the words of Robert LaVine, the “lie of permanence” he learned from Ginsberg. He was paralyzed by the idea of ​​permanent artwork in a world without a future, from which he could not escape unless he came into contact with the Beatniks. Known to Ginsberg as the ‘crazy, languorous poet’, and Robert Ginsberg as ‘the great nude artist’, both portrayed colleagues and friends in their own work, the former in the fiery ‘Howl’ poem and the latter in his line and colour. His oil painting of a young Ginsburg elaborates the matter.

Compared to the Beats, Anil Karanjai started painting portraits quite late. The two artists differ in style, but the tenderness of the subject can be found in several of their portraits. This can be found in Anil’s charcoal sketch of Karuna’s baby girl, the child Anil knew from birth, and became the mascot of the hunger strikers.

 Robert LaVine, Ginsberg’s rival in love, painted a large painting of Peter Orlovsky, Ginsberg’s favorite image. A naked, uncircumcised penis covered in pubic hair, the image is sexually provocative but sad and sad. Ginsberg wrote that when he saw the film before he met Peter Orlovsky, he “looked into the eyes and felt electric in love.” By the standards of the time, both Ginsberg and LaVine were pornographers. But the artist was spared court harassment more than the poet, a matter of considerable importance because until the first half of the seventies public nudity and homosexuality were considered punishable offences. Like Robert Lavigne, Anil Karanjai also painted nudes and did not fail to impress the court. But in Anil’s ‘Clouds in the Moonlight’ (1970) romantic canvas, Anil seems to be a visionary compared to a beat painter.

Lawrence Ferlinghetti, the famous poet and founder of City Lights, who faced obscenity charges for publishing Howl and who published the works of the Hungarianists during the hunger strike trials, was himself an artist. Ferlinghetti’s Expressionist scenes, early abstract, later figurative and often directly political — moved viewers and increased his importance as an anti-establishment figure.

William Burroughs, the author of the book ‘Naked Lunch’, who had to fall into the trap of the law, a famous member of the Beat Generation, was also a visual artist. But Burroughs’ paintings and sculptures are truly awe-inspiring. He often painted with his eyes closed to reveal the depths of his mind, which were insane, not only from heavy drug use and promiscuous sex. Several canvases have bullet holes, to suggest to his audience that, like William Tell, he killed his wife when he went to shoot her, mistaking her head for a toy. Burroughs was called the father of ‘Punk’, later became friends with Andy Warhol, the ‘Father of Pop Art’ and the two would have fun together. Andy Warhol was well aware of guns, although he was the victim, not the aggressor. Burroughs often visited Warhol’s New York studio known as ‘The Factory’.

Early on, Beats was placed alongside the Abstract Expressionist painters, although the Abstract Expressionist painters were not as vagrant in their lifestyles as Beats’ unconventional private life. They also tried to surprise the media and the audience with their work. They, likewise, expressed themselves spontaneously by subverting traditional painting conventions. For that, they used quick fluid strokes on huge canvases; They called it ‘orgasmic flow’, and this ‘orgasmic flow’ was the focus of Hungarianism. Abstract Expressionist painting may now seem anarchist, similar in composition to the Beat and Hungry movements, but the Hungry Painters’ art was deliberate, their chaos planned.

An artist painting with uncontrollable passion like a madman is a mere cliché, and few artists have emphasized it as much as Anil Karanjai. Even as a neophyte, Anil Karanjai paints painstakingly well-thought-out canvases with insatiable vigor and sheer vigor. Being with the hunger strikers, among whom he was the youngest, these characteristics gained importance. The only artist who could influence him was the Dutch artist Hieronymus Bosch (1450 – 1516). Bashar’s grotesque ironic imagery inspired Anil Karanjai, who was trying to project a singular vision of a class-divided and exploited society into his paintings. Anil learned about abstract expressionism much later.          

 The most notorious abstract expressionist, Jackson Pollock — “Dripping Jack” — an “Action Painter,” has a place with many other artists at The American Museum of Beat Art in California. You’ve also got the extreme Dadaist Marcel Duchamp, who coined the term ‘anti-art’ before the Beatniks were born, and thus the Beats’ ideal. But it is said that when Allen Ginsberg and Gregory Corso met Dushan in Paris in the fifties, the two were so drunk that Ginsburg kissed Dushan’s knee, and Corso cut his own tie. The old man did not like it. The behavior of the Bits at that time was so selfishly unrestrained that they succeeded in fooling many, even Jan Jane, whose manners were not at all good.

 Anil Karanjai and Allen Ginsberg do not seem to have had any meaningful discussions on the subject of painting during their stay in Benares. The American man was interested in higher matters, i.e. saints, cremation grounds, mantras, ganja etc. Along with Hindi-language Buddhist poet Nagarjuna, Anil and Karuna introduced Allen Ginsberg to the harmonium as well as taught Ginsberg and Orlovsky how to draw the lihim, which is almost ritualistic and not at all easy. Also, Ginsberg was not particularly interested in painting hunger strikers. Anil didn’t feel bad because he was young at that time, he was glad to have the opportunity to speak English, which Anil wasn’t very good at then. Both Anil and Karuna did not particularly care for the famous American gentleman, but Anil would later shout out a line from Ginsberg’s poem America, saying, “When will America send your eggs to India?”

There is no doubt that Ginsburg was not a racist, at least on a conscious level. But he had the arrogance of the white man, which was among the other bits. Despite being an anti-establishment movement, it was very elitist at one level. Burroughs, for example, was acquitted of murdering his wife because he had studied at Harvard University and had a wealthy family. Ginsberg did not come from a rich family but became a superstar at a very young age. No matter how poor he came to India, it could not bring him down from his stage, apart from that, he would also have the happiness of Chugnagiri in India. Perhaps the Hungarian Agitators were the only ones who exchanged ideas on an equal footing with him, and it does him no good to acknowledge the influence of the Agitators on his poetry and thought.

Ginsberg, who seems to have been indirectly attracted to the religion of India, could not accept the religious thinking of the Hungry Agitators. Hungry activists renounced God and condemned any form of religious belief in contemporary language. As Anil spent his childhood in Benares, he did not believe in religion from his childhood; He used to challenge the elders of the temple from the age of twelve, and lose their arguments with the knowledge of Hinduism. Anil was a believer all his life with a scientific mindset. Although early Buddhism attracted him, Anil was critical of Tibetan Buddhism, and later in life Allen Ginsberg converted to this religion. Of course, the anti-war politics of the Beat poets was similar to the worldview, as was that of other members of the Hungarian movement.

 If we talk about the politics of the Hungarians, Anil Karanjai supported them as everyone launched a strong attack against the rooted institutions, but Anil could not accept their anarchism. Anil could not accept Hungrid’s statement that humanity is before politics and that political ideologies should be discarded. Anil joined the Communist Party for a few days but left before joining Hungry. Despite that, he had a tendency towards the extreme left. It is not true that he joined the Naxals after the Hungry movement ended.

It is true that in Benares and Kathmandu the Hungris indulged themselves in the orgy of communal sex, but that pales in comparison to the tumult of the sex life of the Bits. Anil and Karuna lived in an international commune in Benares with hippies and foreign saints, Karuna even being the manager and head cook of that commune. They used to experiment with drugs like LSD, magic mushroom etc. in a walled place to spread consciousness. It had a strong impact on Anil’s consciousness because Anil did not take drugs irresponsibly, tried to stay positive, he wanted to expand his vision as a painter. He did not fall under the grip of what is meant by ‘drug abuse’. (His Malay Roy Chowdhury Arup is your thorn He gave a picture of their sex life in the novel.)

The Hungarians deliberately burned their paintings, a far-fetched gossip that was circulated at the end of an exhibition at a famous gallery in Kathmandu in 1967. A meeting of writers was held in which Malay Roy Chowdhury and other Hungarians were invited for poetry readings. Karuna destroyed all his paintings by burning them. Anil Karanjai stood aside and enjoyed the fun. Such anti-art work did not suit his mentality. Anil’s iconoclasm was of an entirely different kind.

Although he had some differences with the ideology of the Hungarians, Anil developed the aesthetic outlook of the Hungarians. This is reflected in his painting ‘The Competition’, painted for fifty-two consecutive hours in a Benares commune in the 1960s, with a banyan tree, which he proposed as a metaphor for the struggle against Chaos and time. In this painting the purpose of Hungry is revealed as well as the purpose of Bits; Human unity with the natural world, where there is no such thing as obscenity and human innocence is re-established.

Although Anil Karanjai’s painting world changed and matured in the decades after Hungri, the experience of Hungri remained in his consciousness. His ideas may have been drawn from various sources, but Hungry’s goal was never out of his sight. His later paintings are largely classical, an expression of reality. His landscapes seem contradictory to early surrealist painting, which confuses his viewers. But it can be said with certainty that although he moved away from suggestive figurative imagery, the basis of the picture did not change. From the beginning to the end, Anil Karanjai’s film can be found in the drama of human existence which nature is expressing through its mood and attitude. And it fits with Hungarian poetry. Vinay Majumder captures the spirit of the imagery in his poem ‘A Bright Fish’, when he says:

The world’s vast forests

Stirring in long, tired breaths

Yet all the trees and flowers are far apart in each other’s land

Breathless words will be in my mind forever.

In the life of Anil Karanjai, this dream of union has come back again and again in his paintings. In his 1969 painting ‘The Dreamer’, Anil makes the loneliness of the creative person clear: the ‘Dreamer’ is hungry for confrontational LSD drugs; Malay Roy Chowdhury’s announcement in another watercolor by Anil has become the theme of the film. “I think the first poet was the Genjasthropus creature who picked up a stone from the ground millions of years ago and turned it into a weapon,” Malay said. Next, Anil paints poets and philosophers, carved in stone, heroes of nature, their weapons only their knowledge and experience. These pictures are painted like a great artist. Hungry had a painter like Anil who was original.

Eight: The Hungry Era’s Hungry Magazine Episode

Shivnarayan Roy wrote in his editorial in ‘Jigyasa’ magazine Kartik-Paush 1391 about bailing the participants in the Hungry and being a witness against me.: “What I find most deplorable is not the stupid, amoral tyranny of the police, but the surrender of the rebel writers at the first blow. The case was ultimately against Malay; Most of his literary colleagues denied their relationship with the Hungry Movement to the police. Martyrs are not the responsibility of artists; But no movement can gain strength without self-respect and loyalty to endangered friends. Movement is not essential to artwork; Many of the artists and thinkers are in favor of sitting in solitude and doing Sadhana. But no movement—whether in art, literature, or any other aspect of life—can make an impact, unless those who are part of it prove to be honest, ethical, and trustworthy to each other. A friend is one who stands by one’s side as in a festival, in a famine, in a revolution, in a royal palace and in a cremation.”

After the judgment of the Bankshall Court was dismissed in the Calcutta High Court, I left Calcutta and in order to get rid of the job of burning Reserve Bank notes, I left the Reserve Bank and joined the Agricultural Finance and Development Corporation. In my new job, I had to read so many books and take training on agriculture and rural life that I lost touch with literature. Living in Imlitla Basti of Patna, I did not know the difference between millet and jowar fields, Mussoorie and Mugdal fields, different methods of irrigation, goats, cows, pigs etc. across India. I did not know that there are herds of wild cows in the Terai of the Himalayas. My pension has been relatively reduced due to quitting the Reserve Bank job, though I have had a lot of experience with India.

Perhaps because of the hunger strike, those who remained in Calcutta started publishing a magazine called ‘Khudharta’. The first issue was published in 1969 and the seventh or last issue in 1984.The first three issues were successively edited by Vasudev Dasgupta, Subhash Ghosh, Pradeep Chowdhury and the next four issues were published by Shaileshwar Ghosh. During this time, many new writers were inspired by Hungri ideology and wrote in the Hungry magazine. An anthology of these numbers was published in 1995 by Sahitya Akademi under the initiative of Shankha Ghosh. The proverbial literary academy is a seat of power.

A Hungry Generation anthology has been published by Dej under the initiative of Shankh Ghosh. About the book, Kathakali Dutt wrote in ‘365 Din’ newspaper under the title ‘Distortion of History’, “When the Hungry Generation collection of essays is published by a reputable publication such as Dej, it makes sense. So I quickly collected the book from the editor. I do not know the editor Sabyasachi Sen. At first I thought Ghyam must be someone, I found after searching, no no, not that person, Shaileshwar Ghosh’s spoon. The poor man has not yet reached Shankh Ghosh, Although there is a lot of effort, the conch spoon has reached Abhik Majumdar. If luck breaks the shoe. Talking about the Hungry – in the meantime, where did Shankh Ghosh come from! I didn’t bring Abhik Bhai, Sabyasachi’s nephew, Shankh Ghosh — you did — at the beginning of the book. The medium-sized poet who took out a long tongue and licked the feet of Anandabazar all his life became a poet, is he hungry? Gold stone bowl! Jackal season! In his hunger, the other brother Abhik, nephew Sabyasachi.Now you have to publish the 670-page book only on Sankhara’s instructions, to make Shaileshwar a hero and to humiliate Malaya Roy Chowdhury, the creator of Hungry! Poor thing! History is not a chalk-duster that can be erased at will. Whatever one may say, the creator of Hungry movement was Malay Roy Chowdhury. Many others may have been with him, but Malay Roy Chowdhury is the father of this movement. The truth will remain the truth even if parents want to talk about it. The agitators brought out a manifesto of 11 proposals under the leadership of Malay. It was an anti-establishment protest against a sour and decaying time.”

Whatever Kathakali Dutt may say, Shaileshwar Ghosh was a talented poet of the Hungry period; Shailerswar has brought renewal in poetry. The highest achievement of the Hungry period is that his followers had to remove the term ‘Hungry’ and accept the concept of ‘Hungry’ in the collections. However, Shaileshwar Ghosh should not have taken a photo sitting next to the corrupt minister Partha Chatterjee, the representative of the institution at his last age.

Shaileshwar Ghosh’s interview with Sabyasachi Sen is worth noting in this context

Sabyasachi Sen: We see our poets, they are running after publicity, after awards, running after social establishment – in short, after success –

Shaileshwar Ghosh: The whole world today is running after the word ‘success’. This is the biggest disease in the world. Here too you made a mistake, ‘not all are poets, some are poets’. Those who run after success validate the values ​​of power in people’s minds and power tells them to run towards greater success.

Short story writer Avni Dhar has created a new panorama in the hunger phase. On the request of poets Shubhankar Das and Sharmi Pandey, I edited and published a collection of Avni Dar’s short stories.

The evening of 1968. Hungry activists gathered at Khalasitola to celebrate the birthday of Jibananda Das. Avni Dhar got up on the table and danced and began to sing this song, which she used to sing while working as a Khalsi on ships, with foreign sailors. Everyone present, even some of the Hungry Movement, thought the song was abol-tabol, because they did not know such a word in English. The journalists who came to cover the news also thought the song was a ploy by the hunger strikers, a ploy to get publicity. The next day’s report in The Statesman made a cursory reference. That week’s ‘Amrit’ newspaper carried a mocking two-page spread titled ‘Lost Generation’, with Avni Dhar’s cartoon. Amrit’ who used the term ‘Lost Generation’ in the magazine did not know that the phrase was coined by Gertrude Stein and Ernest Hemingway, F. Scott Fitzgerald, T. S. Eliot, John Dos Passes, EE Cummings, Archibald McLeish, Hart Crane etc. were said to be members of the ‘Lost Generation’. The song goes like this, sung in a special tune by Mozart:

Jing gang guli guli guli wacha,

Jing Gang Gu, Jing Gang Gu.

Jing gang guli guli guli wacha,

Jing Gang Gu, Jing Gang Gu.

Hyla, oh Hyla Shayla, Hyla Shayla, Shayla uuuuuh,

Hyla, oh Hyla Shayla, Hyla Shayla, Shayla, uh

Shaly Wally, Shaly Wally, Shaly Wally, Shaly Wally.

Woompah, woompah, woompah, woompah.

In 1920, for the first World Scout Jamboree, Robert Baden-Powell, 1st Baron Baden-Powell (the founder of Scouting) decided that it would be good to have a catchy song that Scouts of all countries could sing; No one will find it difficult. He borrowed the melody from Mozart’s Symphony No. 1 in Eb major. The song became popular among scouts as well as common school students. Some of these scouts succeeded in spreading it among sailors and other personnel by taking jobs on ships. Avni Dhar worked as a sailor on a ship for some time and also liked the song sung together.

Avni Dhar’s dance sets Hungry Yug apart from other literary think-pieces. Can anyone imagine that a writer of the Kallol era is dancing and singing on the table in Khalasitola?

No: Hungry era efficiency

Here I am quoting what Abhijit Pal has said about the merits of hunger. There was no other movement in Bengali literature like the Hungry Generation of the sixties. This is the only movement in the Bengali language of a thousand years which has been able to strike and change not only the literature but also the entire society. Later, it encouraged young writers and editors. 1) The first and foremost characteristic of the Hungry Generation movement was that they refused to mark literature as a commodity. Not only that; They used to publish one-page leaflets and distribute them to interested parties free of charge. They were the first to introduce folder-poems, post-card poems, and poems and lines of poetry on posters. Posters were painted by Anil Karanjai and Karunanidhan Mukhopadhyay. Subimal Basak used to draw sketches in folders. Tridiv Mitra used to draw the cover of his magazine ‘Unmarg’ himself. Later their influence was observed in two Bengals. 2) The important contribution of the Hungry Generation movement is anti-establishment. The writers did not think about opposing the establishment before their arrival. Subhash Ghosh said that anti-establishment means not opposition to the government, not opposition to the newspaper; The struggle of the Hungry Generation overthrew the Morsi patta of conventional literature and imparted new values. Latest styles, everyday slang, street language, colloquialisms, diction, purpose, word usage, thoughts, etc. Despite the left-wing government in West Bengal, the left-wing poets have not been freed from middle-class values. They did not use the colloquial language of workers, bully, abuse, quarrel in their writings. It was first done by poets and writers of the Hungry Generation; Notable are Avni Dhar, Shaileshwar Ghosh, Subimal Basak, Tridiv Mitra etc. Before Subimal Basak no one wrote poems and novels in ‘Bengali language’. This influence is evident in the writings of Little Magazine writers and poets in the later decades of the Hungry Generation. 3) The third contribution of the Hungry Generation movement is the labyrinthine application of language in poetry and fiction. The best example of this is Malay Roy Chowdhury’s poetry and story-novel. Malay Roy Chowdhury first raised the issue of dystopia in the society of West Bengal. At a time when the leftists were promoting the dream of utopia, Malaya Roy Chowdhury pointed out the courtly structure of dystopia. Mention his novels ‘Ghog’, ‘Jungle Romeo’, story ‘Jinnatulbilder Rupkatha’, ‘Arup Tomar Entokanta’ etc. He wrote ‘Another time Khudhit Pashan’ based on Rabindranath’s ‘Khudith Pashan’ about the incident of Saibari in Burdwan. Subimal Basak’s poems written in Bengali language are also mentioned. This influence is evident in the writings of the poets and writers of the Little Magazine of the next decade. 4) The fourth contribution of the Hungry Generation movement is the revolutionary change in the name of the magazine. Before the Hungry Generation, magazines were named ‘Kavita’, ‘Krittivas’, ‘Uttarasuri’, ‘Shatbhisha’, ‘Purbhasha’ etc. which were an expression of middle class values. The Hungry Generation activists named the newspaper ‘Zebra’, ‘Giraffe’, ‘Dhritarashtra’, ‘Unmarg’, ‘Ratibandi’ etc. Later it had a huge impact. A completely different approach was discovered in naming the magazine. 5) The Hungry Generation movement was the first to emphasize subaltern or lower-class writers. The works of the lower class poets are not found in the magazines like ‘Kavita’, ‘Dhrupadi’, ‘Kritivas’, ‘Uttarasuri’ etc. The editor of the bulletins of the Hungry Generation movement was Haradhan Dhara, son of a farming family. Poets of the time including Sunil Gangopadhyay criticized him to such an extent that he was forced to take the name ‘Devi Roy’ in an affidavit. Besides, Shambhu Rakshit from a lower-class farming family, Subimal Basak from a weaving family, Avni Dhar, a ship’s sailor, Nitya Malakar from a Malakar family, etc., were also in the movement. Later, many subaltern poets-writers appeared in the arena of Bengali literature. 6) The sixth important effect of the Hungry Generation movement is the danger of logic in writing, freedom from the centrality of logic, the tendency to go beyond logic, the co-existence of emotions, not giving importance to the beginning and end of the poem, lack of order, duality of logic, centripetal polylinearity, etc. Before their movement, the text showed the predominance of logic, indulgence of logic, the logic used to move step-by-step like a broken number, poetry had a beginning-middle-end, the composition was linear, centered, self-contained. 7) Before the Hungry Generation movement, writers-poets were imbued with optimism mainly due to communist influence. He dreamed of utopia. They were isolated from the real world. The Hungry Generation activists first talked about heterotopia. Hungry Generation poet Arunesh Ghosh unmasked the Leftists in his poems. The poets and writers of the decade following the Hungry Generation caught the two-faced activities of the leftists, especially after the Mirichjhampi incident. 8) Before the Hungry Generation Movement, poets-writers wanted to fix the meaning, talked about moderation and colloquialism, the poet had a fixed meaning and the school and college students could not go beyond it. The authors of the Hungry Generation brought endless meaning, expanded the concept of quality, put the onus on the reader to determine the meaning of the work, rejected conventional ideas. If you compare Shaileshwar Ghosh’s poetry with Alokranjan Dasgupta’s poetry, the matter will be clear. 9) Before the Hungry Generation movement, the ‘I’ was at the center of the composition, there was a single I, the writer-poet constructed the ‘I’, it had predetermined standards, the author defined the limits, the self-context was the main context, the negotiator measured the pedigree of the ‘I’. . The Hungry Generation activists brought about the absence of a single emir, the friendship of amir, they broke the standards, blurred the boundaries, hybridized, brought about liminality. 10) Before the Hungry Generation movement, the topic was marked by the title. The subject was at the center of the composition, there was sole ownership, the author or poet was the title holder. Hungry Generation writers-poets called the title rubric; The title is not important, the composition does not have a focus, ownership is abandoned, their composition is rhizomatic like grass, not monocentric like a tree. They said that the reader is the title holder. 11) Before the Hungry Generation, poems-stories-novels were written in a linear style according to colonial values. They had linearity, directional writing, monophonic emphasis, poets matched sounds, considered time as progress. A linearity came to imitate the story of the Jewish and Christian scriptures; They thought of time as moving in one direction. For a long time in our country, history has been written only about the change of the throne of Delhi. The history of the various kingdoms spread across India was neglected. The best example of polylinearity is ‘Mahabharata’. Poets-writers of the Hungry Generation abandoned monolinearity and started polylinear works. Such as Subimal Basak’s novel ‘Chatamatha’, Malay Roy Chowdhury’s long poem ‘Jakham’, Subhash Ghosh’s prose book ‘Amar Chabi’, etc. They adopted pluralism, shelter of many voices, directional dynamics, appearance of Hungry Generation poets and writers started to write multi-linear works from the 8th decade. Poets of the Hungry Generation said that poetry is the species characteristic of Homo sapiens. The next generation of expert poets was brought to an end by New Kabir Dal and Navnav Little Magazine. 13) Many poets claimed their superiority under the colonial influence. As European writers considered themselves superior to the ‘natives’. Before Hungry Generation, there was a trend of best poet, best poem, excellence, highlighting someone special, hero-poet, government poet excellence, hero-poet, once upon a time a great poet, brand poet, icon poet, etc. The Hungry Generation managed to break that idea by applying their postcolonial values. They have managed to decentralize the process of analysis, to emphasize collections of multiple authors rather than the poet, to judge the text rather than the individual poet. He said to take everyone with him. He talked about general thoughts and feelings. Their later poets and writers adopted these values ​​of the Hungry Generation. 14) Prior to the Hungry Generation, there was a tendency to restrict vocabulary. The composition was the report of the poet ‘Ami’. Hungry Generation Poets-Writers Say To Keep Talking He said that there is no end to the words. Has taken the risk of words. He freed Rachna from self-centeredness. Later poets-writers have adopted these ethnic values ​​of the Hungry Generation. This effect is very important at the social level. 15) Before the Hungry Generation there was a tendency to ‘drop’; Editors or special groups would decide who would be excluded. The cultural tool before Hungry Generation was “Elimination”. They kept the culture under their control through the process of exclusion. The Hungry Generation editors and compilers spoke of alliances. Talked looking for links. He talked about Shabdzot, Vakazot, Orthzot. He even gave scope to extreme opinions. This characteristic of theirs is evident in the contributions of later editors and compilers. For example, Alok Biswas brought everyone together in the collection and discussion of the eighties. This quality shines in the character of all the little magazines except commercial magazines. 16) Before the Hungry Generation, only one ideology, Izm, Tantra, was given importance. The poet-writer group had ‘high command’, ‘headquarters’, ‘politburo’ type of Morsi Patta. Despite being a movement, the Hungry Generation opened up the range of many ideologies, was able to tear apart all the ‘isms’, talked about constant changes, constant changes. About fragility. It is supposed to come up from the floor. After the Hungry Generation, the entire Little Magazine world saw this feature and was an important social influence. 17) Before the Hungry Generation, there was a trend of writing ‘chubby poetry’ or self-contained elitist poetry. They used to talk about the identity of the author’s strength. About serious poetry. About the specific colonial model. Like sonnet, ode, ballad etc. The Hungry Generation poets and writers came up with occasional poems, multi-colored, multi-voiced, immeasurably out-of-reach poems. Its influence was seen among the next generation of writers. Now nobody respects the colonial ties anymore. To give an example, the works of Alok Biswas, Devyani Basu, Dhiman Chakraborty, Anupam Mukhopadhyay, Pranab Pal, Kamal Chakraborty etc. 18) Before the Hungry Generation, winter was dear and change was slow. Poets and writers of the Hungry Generation began to explore change, acknowledging the intervention of technology. In later decades, this vandalism was characterized, as in the case of Kamal Chakraborty, Subimal Mishra, Shaswat Sikder and Navarun Bhattacharya; They were able to give importance to language, character, diction, social structure under the influence of Hungry Generation. 19) Before the Hungry Generation, there was a rabid culture of snobbery, fringes were considered indecent, profane and obscene were distinguished, and differences were identified through the medium. Poets and writers of the Hungry Generation made culture accessible to all. Eliminated the cultural divide. He looked for difference. He spoke about the importance of uniqueness. Real-surreal-superreal abolished. It is to be noted that Buddhadev Bose closed the door as soon as he saw Malaya Roy Chowdhury at his door. We see the strong influence of their contribution in the later Little Magazine. 20) Before the Hungry Generation there was a binary contrast brought over from Europe that British Christians took from their religion’s God-Satan binary contrast. As a result, the ‘big critic’ has been seen issuing decrees on what is to be called poetry and what is not to be called poetry; What is ‘good’ writing and what is not good writing; Which poems or stories have been published and which have not etc. Poets and writers of the Hungry Generation broke this binary opposition. They spoke and wrote works as they wished, such as the prose works of Subhash Ghosh. The poets and writers of the Hungry Generation emphasized the multifarious tendencies, spoke of the recklessness of the author, such as the poetry of Malay Roy Chowdhury, Padip Chowdhury and Shaileshwar Ghosh. For example, Malay Roy Choudhury’s poem ‘Prachanda Elektrisha Chutar’ and novel ‘Arup Tomar Entokanta’. For example Subimal Basak’s poetry in Bengali language which is now being imitated by Bratya Raisu of Bangladesh. The impact of their contributions to the Hungry Generation was seen in the decades that followed, and in little magazines all over West Bengal and Bangladesh. 21) The Hungry Generation was preceded by literary works on the establishment of hegemony. Novels have only one hero. The poets and writers of the Hungry Generation started opposing the hegemony in their works. Although there was a left-wing government, they were not afraid. Before the Hungry Generation, therefore, reductionism was important. Poets and writers of the Hungry Generation gave importance to complexity, complexity, moving towards continuity. Which we find in the stories and novels of Vasudev Dasgupta, Subimal Basak, Malay Roy Chowdhury, Subhash Ghosh etc. Its influence was observed in two Bengals in the following decades. 22) Grand narrative was emphasized before Hungry Generation. Poets and writers of the Hungry Generation gave importance to the micro-narrative, like Subimal Basak’s Swarnakar Parivar in Durukshi Goli, or Avni Dahar’s Khalasi Jeeban or the episodic stories of hard living. The following decades saw the importance of micronarratives, such as in group theater plays. 23) Poets and writers of the Hungry Generation brought logical cracks, especially in Devi Ray’s every poem. In the works of writers and poets of the next decade, logical cracks have become inevitable. For example, in recent times, Agni Roy, Ratnadeepa De Ghosh, Vidisha Sarkar, Apoorba Saha, Seema Ghosh De, Sonali Chakraborty, Asma Adhara, Salim Mandal, Jyotirmoy Mukhopadhyay, Papia Zerin, etc. 24) The importance of the title in writings before the Hungry Generation Movement, especially in poetry. was It was customary to mark the subject of the poem by the title. Usually the topic is predetermined and the poet writes the poem according to that topic. The title had an ideological or philosophical relationship with the composition. As a result, they used to brag about originality, talk about talent, talk about masterpieces. The Hungry Generation activists removed the title from that importance. There is no title or title holder. The title became ‘Rubrik’. They have written a series of poems under many titles. The poets of the next decade agreed with this poetic view of the Hungry Generation and made the title of the poem unimportant; He published a complete collection of poems, none of which had a title. 25) The Hungry Generation struck a chord with the traditional morals and spirit of the society at that time. They also had to be affected by the counterattack. Hungry bulletins published in the form of handbills spread rapidly but could not be preserved. Although the writers who gave birth to the ‘Hungry Generation’ were unsuccessful in a sense in their personal lives, their movement later turned the tide of Bengali literature. No other literary movement could have plagued the disharmony of civic life and state machinery, with the stroke of a pen, in so short a time.২৬ ) The Hungry movement has supported Bengali literature, the foundation of post-modern literature has been laid under the influence of this movement. Such a precedent exists in very few languages ​​of the world. Hungry movement has made Bengali prose and poetry unique, the desire to create is the creator of the hunger movement of Bengali poetry. 27) Poet-professor Deviprasad Bandyopadhyay said in an interview with Alok Biswas in Kavita Campus newspaper, “After Hungry, there were more movements, none of them got the quality of Hungry.”

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