শীর্ষেন্দু মুখোপাধ্যায় দ্বারা উপন্যাস সমগ্র 11

A prominent contemporary critic has aptly written: “The river has no pretense—there is no pretense in Shirshendu Mukhopadhyay’s novelist persona either. A vivid childhood memory, a painful existential crisis, and a serene, detached observation—above all, a profound sense of faith has shaped his writer's life.” Among the rare writers of Bengali literature, Shirshendu's primary strength lies in this sense of faith. Amidst all of life's uncertainties, he boldly speaks of “an unwavering redemption.” Even while standing in the midst of endless aimlessness, he is courageous. Here, he is a unique creator. In any of Shirshendu's stories, despite the surrounding adversities, we see an indomitable human concern for humanity.

At this moment, through a condensed time, he navigates life’s transitions. Yet, within this, he seeks the sacred essence of humanity with utmost tenderness. He believes that somewhere, there is a refuge, a place to return to. This “lover yet ascetic” writer’s entire creation is imbued with “an intense yearning for a profound love.” In his own words, “I have tried to express this yearning in various ways in my writing. Yet, it seems that due to the inadequacy of my expression, perhaps I have failed to convey the essence of my love to everyone... Does this world, this Kolkata, this country understand my unspoken love? Can everything be expressed through language?”

Despite the author’s own doubts, his created characters carry “the wave of that love.” Shirshendu’s self-absorbed yet detached style and scrutiny have added a new dimension to Bengali literature. All his novels are being published in separate volumes. This eleventh volume contains five memorable novels: Chakra (Parts 36-75), Tirondaj, Naronari Katha, Parihati’r Horin, Banshiwala, and Dhonnobad Mastermoshai.

Other volumes of the complete works of his novels include:

First Volume: Ghurnapoka, Parapar, Ujaan, Rongin Saako, Phera, Brishti’r Ghraan, Baasstop-e Keu Nei, Din Jaay.

Second Volume: Noyonshyama, Ferighaat, Aashchorjo Bhramon, Jao Pakhi, Jibonpotro, Shyaula.

Third Volume: Rokter Bish, Kagojer Bou, Shunno’r Udyan, Laal Neel Manush, Fazal Ali Ashche, Kshoy, Nilu Hajrar Khunorohosyo, Phulchor, Shiulir Gondho, Bhul Shotti, Chhayamayee.

Fourth Volume: Akkroto, Jaal, Durbin, Adam Eve O Ondhokar.

Fifth Volume: Sataru O Jolkonya, Madhab O Tar Pariparshwik, Kancher Manush, Bikal-er Mrityu, Manab Jamir.

Sixth Volume: Golaper Kanta, Nana Rong-er Alo, Chokh, Drishyabali, Tana-Porana, Harie Jaowaa, Churi, Keet, Warish, Goti, Poymont, Baghu Mannar Borat, Deshantar.

Seventh Volume: Hridayabrithanta, Tithi, Kapoorush, Chena-Ochena, Jor-Bijor, Parthib.

Eighth Volume: Harano Moni, Podokhep, Marich, Goynar Baksho, Peepul, Ghorjamai, Haatbar, Parthib (Final part).

Ninth Volume: Dwitiyo Sottar Shondhane, Shampatti, Rin, Osukher Pore, Nicher Lok Uporer Lok, Aloy Chhayay, Siri Bhengo Bhengo, Ekadashir Bhoot, Alor Golpo Chhayar Golpo, Projapoti’r Mrityu O Punarjanm, Pidimer Alo, Janmantor.

Tenth Volume: Guhamanab, Kalo Beral Shada Beral, Dwicharini, Jhampi, Chakra (Parts 1-35).