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Krishan Chander (1914-1977) wrote early in Urdu, although later he wrote a number of stories in Hindi as well. He was born in the Pakistan protion of undivided India and spent his childhood in Poonch district of jammu and Kashmir. His experiences of the Kashmiri village life had a deep impact in his writings. His affinity with the peasants and labourers had a marked effect on his outlook. An atheist and a communist, he was deeply moved by the famine in Bengal and the Hindu-Muslim riot and the consequent partition of India in the forties. The central character of our story is a sightless orphan boy. Though he has lost his father in a factory accident and has to earn his bread selling booklets of film stories in front of the same factory gate, he refuses to beg when the workers go on strike. He learns the songs sung by the workers in their meeting. He dies during a shoot-out at the factory gate during the strike. His death  thwarts the owner's attempt to break the strike.

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This is a ghost story. A ghost appears at the end of the story. Yet this is a story on a simple desire of a villager. The pratiksha (waiting) of the ghost of BatukBhairab for Rajen comes to an end, although his last wish remains unfulfilled. Banaphool (1899-1979) , who saw and showed us characters like Arjun Mondal, Bishwasmashai and Alobabu, has introduced another memorable character, BatukBhairab within the small canvas of a short story.

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At times a creation becomes more popular than its creator. Manmayee Girls’ School achieved huge success on stage and screen. Its author, Rabindranath Maitra (1896-1933), is a forgotten name. In his promising career cut short by malignant malaria, he edited Shanibarer Chithi, contributed stories to Prabashi and wrote column for Anandabazar Patrika. His works include Parajay, Niranjan, Third Class and Mayabanshi. He worked for the welfare of the Santal and the Oraon communities. This story, Nidhiramer Besati, is the simple narrative of a hawker whose daily drudgery is sweetened by the petty prattle of a young rirl. This is another Bengali masterpiece on universal fatherhood that moves the reader’s heart.Listen and you will remember names of other stories on the theme.

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Trankarta is a bit different from what we see in the stories of Ashapoorna Debi (1909-1995). Her protagonists are mostly women. They are seen fighting against some social injustice or suffering from some problem exclusive to her community. In this tory we are brought face to face with the problem of faith and relationship. Kanai, the young orphan boy, puts the dilemma of faith or no faith in him. Kanais are seldom given this chance. We cannot risk our household really.

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We started this podcast site with Bibhutibhushan’s Budhir Bari Fera. But, in spite of its popularity, we had to remove it from our site for paucity of space. Thanks to our host, the Podbean team, for their gift of extra free space. This story was downloaded or played on line by 22 listeners before it was removed. We have uploaded it again for those who missed it.

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Chalo Michhile Jai has depicted the aftershocks of the illicit liquor tragedy in last December in South 24 Parganas. Though the incident is still fresh and vivid in our minds, we think, we should podcast this story on this real incident.  This very brief narrative has the potentials of a poem which stirs our imagination. Shri Arun Chattopadhyay has written this and some other stories on Facebook. He is already known to the internet community. This story has also been read out by Lisa from a Braille script.

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Shri Indranath Banerjee has read out Bibhutibhushan’s Bama from a Braille book. We pay our homage through this presentation to Monsieur Louis Braille on the occasion of his birthday on 4th January. It was on this day in 1809 Monsieur Braille was born in France. He lost his sight at the tender age of 3. His unquenchable thirst for knowledge urged him to inventing Braille, the tactile system of reading and writing used by the visually challenged. Then he was only a boy of fifteen. He died of consumption at the age of forty-three, unknown and unsung. Years later, the world discovered the true potentials of his invention. It opened up the world of knowledge before those exiled from the world of light and colour.

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Prabhat Kumar Mukhopadhyay (1873-1932) is one of the best short story writers in Bengali literature. His characters come from the middleclass families of Bengal. Their hopes and aspirations, joys and sorrows are woven fine in the pages of his stories. Translation of these stories cannot convey the feelings. They are too localized; they can be felt only by those who have lived in this society. No European will realize the wit and fun that are predominant in a Bengali marriage festival. His name should be in the luminous galaxy of world-famous short story writers like Maupassant and Chekhov. Balaban Jamata is one of his masterpieces. Its pure humour has only fun for us, a source of laughter without a tinge of satire or ridicule. You must have read it. Listen to it. You won’t regret it.

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Here is the second part of the story. We hope, you have enjoyed the first part.

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Trailokyanath Mukhopadhyay (1847-1919) nourished Bengali prose when it was still in its early stage of development. His opium-inspired stories and gossips earned him a distinct place in Bengali literature. Though his writings had a didactic tone, they are remembered for their pure humour. Lullu, in spite of its satirical and moralistic tone, is one of the best-known Bengali stories for the genuine reading pleasure it offers. A radio drama of this story by Akash Bani Kolkata attracted our attention to this story. You would enjoy it.

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Idgah is one of the masterpieces of Munsi Premchand. It should be heard by Bengali listeners. It has not appeared in any collections of this famous Hindi writer. This story is included in our collection "Chhotoder Galpa" available from the audio books section of our library. We are podcasting this story keeping in mind its popularity. For a list of audio books in our library visit our page www.bpa.org.in/audiolist.htm

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