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In other words, the settings are often set-piece, dramatized to illustrate a forgotten order, crying out for sympathy and hungry for the appreciative gaze of the young narrator Topshe. It is in this setting that the crime occurs; the object changes hand, is stolen, or is parted with. And that is how the case comes to Feluda.

Here, the custodianship of inheritance is the fraught question, thanks to a newer generation that is less appreciative of entitlements and hence likely to cause their misuse in a competitive climate of establishing relationship with the past. Together, they force us to identify a recurrent pattern of return of the lost familial sign, a member of family who returns after years, often in disguise, to claim or contradict normal channels of inheritance.

In the way that they have managed to survive outside the immediate depredations of the zeitgeist, the patriarch individually or the extended family belong to a closed order. It is only natural that they would be more at home with the private eye to whom they can disclose the ways of their world and find sympathy for it rather than the police, who are more likely to treat them as equal to other citizens, an equality they have long unendorsed.

Through the agency of the sleuth, Ray takes a severe stand against lost or wayward childhood. Many of the purveyors of crime are after all victims of bad upbringing, absent childhood, or difficult father-son relationships. The absence of the feminine This also brings us to a relatively less disguised cultural conditioning of the narrative—the deliberate abdication of the female subject.

It would be sweeping to claim that there are no women in Feluda. It is not so much about enumerating women in the stories as it is about the politics of configuring them in a certain way. There seems to be a customary, almost dogged insistence on a world under-populated by women as long as that world belongs to children and young boys. This question has troubled commentators, but the analysis hardly goes beyond a customary complaint of their absence.

Ray was not unaware of this tendency but seemed somewhat helpless to bring any closure to his own construction of a world without the female subject. In a letter to friend and critic Saroj Bandopadhya, Ray wrote: I want to end the letter on a personal note, I am in deep crisis with two of my favourite creations-Professor Sanku and Feluda.

I have already used up all the staple of science fiction or fantasy in the stories of Sanku.

So I have doubt about his future trajectory. The problem with Feluda is the same.

Detective fiction written for young adults does have its limitations. Most crime elements are adult in nature and hence have to be left out. Sharadindubabu did not have to face this problem. But these two are so close to me that I cannot think of abandoning them. In the Cineaste magazine interview quoted in this paper earlier, he refers to and plays down the possibility. I stopped going to Brahmo Semaj around the age of 14 or Religion can only be on a personal level.

I just find that the moral attitude I demonstrate is more interesting than any political attitude I could bring to my films. The prognosis perhaps lies in the possible reasons above and yet in something beyond them. It can be traced to the first hypothesis of the closed familial order in which women seem extraneous: women agency seen as unnecessary distraction.

So keen is Ray to foreground a very specific clientele looking for closure in a family crisis that he is attentive to not leave possibilities of dis-closure, a possibility that women are inevitably accused of engendering in adult fiction. The boy- subject must remain under-informed about female agency to help him to retain his boy-agency. And that would be only a normal course of things.

The problem is if there is a young woman there might be a clash with Topse. Or her relation with Topse might give rise to certain complications.

Sananda 27 The problem is indeed structural but not for Topshe. Just as Topshe is transfixed as an ageless, wide-eyed narrator of a closed set of gentrified clients, the female is equally transfixed in her absence.

If there is a structure at all,it is the structure of inheritance in which the women do not fit easily. Feluda draws his ability to commit himself to the dangers of the world of crime only because he is unattached sexually and emotionally.


His sexual potency finds release in his mobility. Psychoanalytically, his method of deep penetration into his work stands as the metaphor of his absent, actual libido.

Crime, as Ray himself admitted, has a notoriously adult quality about it.

In spite of being drawn into them, Topshe remains defiantly pre-Lapsarian, umbilically fastened to the wide-eyedness of adolescence rather than drawn into the natural pulls of puberty that his participation in the roster of crimes would otherwise entail.

If at all, Feluda ends up being the un-ageing, sexless role model for a permanent adolescence that is chained to forbearing, a-libidinal civility. Hidden under their normalism and affable, bhadrolok endearment, Feluda and Topshe are integral to a problematic construction of boyhood, part of a larger project of consolidation of the family that was ushered under colonial modernity and something that Ray himself confesses to having been a bequest.

So, while Ray abandons the institutionalization of the reformist faith, he is completely at home with its teleological purpose, which is to construct a virtuous normalism around the bhadrolok regimes of thought, action, and seeing. It is with this purpose that a reverse, almost puritanical ageism is factored into the stories in which Feluda and Topshe with conscience remain outside the disquiet of ageing while being confidently ensconced by it.

In other words, in a series—which is not observant of topographies, human frailties, the banter of everyday life and the unquestionable efficacy of rationality—the decidedly utopian ageism must be seen as a political interpolation. By reconstituting the young adult detective genre from a range of possible and imminent sources, Ray had set out to complete a project which was in earnest undertaken by his father and grandfather.

And this was to reinforce the bhadrolok aesthetic regime as obvious and hence desirable.

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Needless to say this program, in its own way, has remained unbeaten. Feluda has managed to regale young men and women with unfailing success from its first appearance, and generations have passed it down to their children to be read and savored. It is unlikely that the original, colonial ideation of manufacturing an ideal-child subject, who would grow up in an independent state as a sexless, incorruptible adolescent and remain forever chained to a nameless authoring agency,will be subverted any time soon.

Notes 1.

The Bengali meaning of Sandesh refers to both news derived from Hindustani sandesa and the local sweetmeat—a name both suitable and easily recognizable for a magazine for children. Beginningin the early-nineteenth century, there was a proliferation of periodicals and journals available to children, especially to those educated in the newly emerging modern modes of education. Titled Hojoborolo, this work remains hugely popular even today. One must note that the Alice-figure in the narrative is a young, pre-puberty boy.

Ray has written with delicious nuance about his childhood, his growing sphere of interests, the quirks of his extended family, and the sights and sounds of Calcutta that have remained ingrained in him to use extensively in a number of his stories.

He died soon after, on April 23, This includes first and subsequent editions of all the thirty-five novels and novellas published from to the s. Also a Feluda adaptation, the last one adapted for the screen by Ray himself.

One must also add Phatikchand and Goopy Bagha Phire Elo , both scripted by Ray and filmed by his son Sandip Ray and both with decisive parts for male children and young adults.

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The Byomkesh stories, apart from being very widely read, have had a long association with the screen. Incidentally, the first Byomkesh story to have been adapted for screen was by Ray himself, as The Zoo, with Uttam Kumar, the legendary star of Bengali cinema, as Byomkesh Bakshi.

There is more to Lecoq than one can hope to immediately understand. Vidocq also happened to be the inspiration for the first-ever Bengali detective. According to Sukumar Sen, a scholar of the genre, the formation of the police system in the first half of the nineteenth century, both in London and as its colonial headquarters in Calcutta, was to mark the real origins of modern detective writing. Incidentally, both Ramsay and Bose had served considerable years in the newly established police force in mid-nineteenth century Calcutta.

However, once the Bengali fictional detective moved away from real case histories, inspiration came largely from Europe.

Galpo 101 By Satyajit Ray

One can make a case for the propensity to adapt European fiction, because few people outside the educated class would read any language outside Bengali, but the appeal of the genre far outnumbered the middle classes. For a detailed understanding of the range of detective fiction in colonial Bengal and Bengali, see Sukumar Sen, Krime KahinirKalkranti It has to be clarified, however, that when Ray started writing his popular detective series, he was staying in Lake Temple Road, the same locality as the one the author mentions.

He moved to his Bishop Lefroy Road address in Calcutta, ABP Publications, Grenby, M.

Grenby and Andrea Immel. Cambridge: Cambridge UP, Gupta, Abhijit. Gupta, Udayan.

Heifetz, Hank. Mitra, Khagendranath. Calcutta: Paschimbongo Bangla Academy, Philips, Adam. On Balance. London: Penguin Hamish Hamilton, Ray, Satyajit, dir. Agantuk [The Stranger]. National Film Development Corporation, Calcutta: Ananda Publishers, Calcutta: Ananda Publishers. A Calcutta Cemetery. The Curse of the Goddess. The Elephant God. Gangtoke Gandogol [Scandal in Gangtok]. Purnima Pictures, Hirak Rajar Deshe [Kingdom of Diamonds].

Government of West Bengal, Bansal, Ananda Publishers, Murder at Kailash. Murder by the Sea. The Mystery of Royal Bengal.

Henri Fraise, Ananda Publishers, ShakhaProshakha[Branches of the Tree]. Satyajit Ray Productions, Sonar Kella[Golden Fortress].. The Suitcase. Triumph at Darjeeling. Esso World Theater, Ray Sandip. Ami arFeluda, [Feluda and Me]. Calcutta: Deep Prakashan, Raychowdhury, Upendrakishore. Essays on Halftone Photography. Calcutta: JadavpurUP, Rose, Jacqueline. Philadelphia: U of Pennsylvania P, Sen, Aparna.

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Ami Nakul Das. Bhotepatty ,Jalpaiguri. Ami chhoto belar theke Detective story pachhanda Kortam kintu oi sob boi kena amar pakhkhe possible chhilo na. Kintu ami ekhan theke anek boi porechhi tai ami ei website e onek thanks janai.

Your email address will not be published. Notify me of follow-up comments by email. Notify me of new posts by email. Bangla eBooks pdf Collect Bengali story books. February 2, Share this:I realized that I was in deep trouble. In the future I would certainly listen to whatever advice Bhola Babu would give me. Pointing to it I asked, Is that the Dak Bungalow? But who would keep hounds in this neighborhood?

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