• QUESTION TREASURE HUNT

    03
    • Author: Bhaskar Chakraborty
    • Cover Designer: Liza Mirza
    550.00
  • CHARLS SOBHRAJ āϚāĻžāĻ°ā§āϞāϏ āĻļā§‹āĻ­āϰāĻžāϜ

    Charles Sobhraj- True story of a killer – āĻāĻ• āĻ…āĻĒāϰāĻžāϧ⧀āϰ āĻĻā§€āĻ°ā§āϘ āĻ…āĻĒāϰāĻžāϧāϝāĻžāĻ¤ā§āϰāĻžāϰ āĻĻāϞāĻŋāϞāĨ¤ āĻāχ āĻŦāĻ‡ā§Ÿā§‡ āĻ…āĻĒāϰāĻžāϧāϕ⧇ āϕ⧋āύ⧋āĻ­āĻžāĻŦ⧇āχ āĻŽāĻšāĻŋāĻŽāĻžāĻ¨ā§āĻŦāĻŋāϤ āĻ•āϰāĻž āĻšā§ŸāύāĻŋ āĻŦāϰāĻ‚ āĻĻ⧇āĻ–āĻžāύ⧋ āĻšā§Ÿā§‡āϛ⧇ āĻ…āĻĒāϰāĻžāϧ⧇āϰ āĻĒāϰāĻŋāĻŖāϤāĻŋāĨ¤ āĻĒāĻžāĻ āĻ• āĻāχ āĻŦāχ āĻĒā§œā§‡ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰāĻŦ⧇āύ āĻ…āĻĒāϰāĻžāϧ⧇āϰ āĻŽāύāĻ¸ā§āϤāĻ¤ā§āĻ¤ā§āĻŦāĨ¤ āĻāĻ•āϜāύ āĻŽāĻžāύ⧁āώ āϕ⧀āĻ­āĻžāĻŦ⧇ āύāĻŋāĻœā§‡āϕ⧇ āĻŽāĻŋāĻĨ⧇ āϰ⧂āĻĒāĻžāĻ¨ā§āϤāϰāĻŋāϤ āĻ•āϰ⧇ āĻĢ⧇āϞ⧇āĻ›āĻŋāϞ āĻāχ āĻŦāχ āϤāĻžāϰ āĻĻāϞāĻŋāϞāĨ¤ āĻāχ āĻŦāχ āϏāĻ‚āĻŦāĻžāĻĻ āĻļāĻŋāϰ⧋āύāĻžāĻŽā§‡āϰ āĻŦāĻžāχāϰ⧇āϰ āĻāĻ• āĻ…āĻ¨ā§āϝ āĻļā§‹āĻ­āϰāĻžāϜāϕ⧇ āϚāĻŋāύāϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰ⧇āĨ¤ āĻāĻ• āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻ…āĻĒāϰāĻžāϧ⧀āϰ āĻ…āĻ¨ā§āϝ āĻœā§€āĻŦāύ⧇āϰ āχāϤāĻŋāĻšāĻžāϏ āĻāĻ–āĻžāύ⧇ āĻĒā§āϰāĻžāϧāĻžāĻ¨ā§āϝ āĻĒā§‡ā§Ÿā§‡āϛ⧇āĨ¤ āĻŦāĻžāĻ¸ā§āϤāĻŦ āĻ•āĻ–āύāĻ“ āĻ•āĻ–āύāĻ“ āϝ⧇ āĻ•āĻ˛ā§āĻĒāύāĻžāϰ āĻĨ⧇āϕ⧇āĻ“ āϝ⧇ āϭ⧟āĻ‚āĻ•āϰ āĻšā§Ÿ āĻļā§‹āĻ­āϰāĻžāϜ āϤāĻžāϰ āĻĒā§āϰāĻŽāĻžāĻŖāĨ¤āĻĒāĻžāĻ āĻ• āĻāĻ–āĻžāύ⧇ āĻŦāĻŋāϚāĻžāϰāĻ• āύ⧟, āϏāĻžāĻ•ā§āώ⧀

    488.00610.00
  • MEGHER PANDULIPI āĻŽā§‡āĻ˜ā§‡āϰ āĻĒāĻžāĻŖā§āĻĄā§āϞāĻŋāĻĒāĻŋ

    āĻ¸ā§āĻŦāĻžāĻ—āϤ āĻšā§‡ āĻ…āĻ­āĻŋ-āφāĻ—āϤ āĻĻāϞ,

    āϏ⧁āϰ āϏ⧁āĻ›āĻ¨ā§āĻĻ⧇ āĻ•āϰ āϏāĻžāϧāύāĻž āϏāĻĢāϞ;

    āϗ⧁āύ⧀āϜāύ āĻļā§āϰ⧀āϚāϰāĻŖ āĻĒāϰāĻļāύ āϞāĻžāĻ—āĻŋ⧟āĻž,

    āϜāĻžāĻ—āĻŋāϞ āϰ⧇ āĻŽāĻ¨ā§āĻĻāĻŋāϰ āϰāĻžāĻ™ā§āĻ—āĻž āĻĢāĻžāϗ⧇ āϰāĻžāĻ™āĻŋ⧟āĻž,-

    āĻŽā§Œāύ āĻŽā§āϕ⧇āϰ āĻŽā§āϖ⧇ āϜāĻžāĻ—āĻžāϤ⧇ āĻŦāĻžāύ⧀āĨ¤āĨ¤

    440.00550.00
  • DHARA 2

    • Author : Manasi Datta
    • Cover Designer: Ananya Chakrabortty
    416.00520.00

    DHARA 2

    416.00520.00
  • GOYENDA: DIFFERENT ASPECTS OF BENGALI DETECTIVE LITERATURE (VOLUME 1)

    01

    The body of Bengali detective fiction, or Goyenda Sahitya, occupies a unique yet underexplored space in the larger landscape of global literary traditions, especially within genre fiction. This genre started in the late nineteenth century and grew throughout the twentieth century, reflecting a mix of cultural, historical, and intellectual influences that have shaped modern Bengali identity. Despite its significant output, ongoing popularity, and deep impact on Bengal’s socio-cultural imagination, Goyenda Sahitya remains largely overlooked in academic discussions.

    344.00430.00
  • KALCHAKRA

    • Author : Arunasish Som
    • Cover Designer : Abhibrata Sarkar
    344.00430.00

    KALCHAKRA

    344.00430.00
  • āϏāĻŦ āϚāϰāĻŋāĻ¤ā§āϰ āĻŦ⧈āĻŦāĻžāĻšāĻŋāĻ• SOB CHORITRO BOIBAHIK

    āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻĒāϰ āĻŦāĻŋā§Ÿā§‡ āĻšā§‹āĻ• āĻŦāĻž āĻŦāĻŋā§Ÿā§‡āϰ āĻĒāϰ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž…āĻĻ⧁āχāϰāĻ•āĻŽ āĻ•ā§āώ⧇āĻ¤ā§āϰ⧇āχ āĻ­āĻžāϞāĻŦāĻžāϏāĻž āĻ“ āĻŦāĻŋā§Ÿā§‡ āĻĒāϰāĻ¸ā§āĻĒāϰ⧇āϰ āĻĒāϰāĻŋāĻĒā§‚āϰāĻ• āĻšāĻŋāϏ⧇āĻŦ⧇āχ āĻŽāĻžāύ⧁āώ āϭ⧇āĻŦ⧇ āĻ¨ā§‡ā§ŸāĨ¤ āĻ…āĻĨāϚ āĻ…āϏāĻ‚āĻ–ā§āϝ āĻŦāĻŋā§Ÿā§‡ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻŽā§āĻ– āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžā§Ÿ āύāĻžāĨ¤ āφāĻŦāĻžāϰ āĻŦāĻšā§ āĻŽāĻžāύ⧁āώ⧇āϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāĻ“ āĻŦāĻŋā§Ÿā§‡āϤ⧇ āϰ⧂āĻĒāĻžāĻ¨ā§āϤāϰāĻŋāϤ āĻšāϤ⧇ āĻĒāĻžāϰ⧇ āύāĻžāĨ¤

    āĻŦāĻšā§ āĻ•ā§āώ⧇āĻ¤ā§āϰ⧇ āĻĻ⧁āχ āĻĒāϰāĻŋāĻŦāĻžāϰ, āĻĻ⧁āϜāύ āĻŽāĻžāύ⧁āώ āĻŦāĻŋā§Ÿā§‡āϤ⧇ āϏāĻŽā§āĻŽāϤāĻŋ āĻĻāĻŋāϞ⧇āĻ“ āĻ āĻŋāĻ• āϕ⧋āύāĻ“āĻ­āĻžāĻŦ⧇ āĻļ⧇āώ āĻ…āĻŦāϧāĻŋ āϏ⧇āχ āĻŦāĻŋā§Ÿā§‡ āφāϰ āĻšâ€‹ā§Ÿā§‡ āĻ“āϠ⧇ āύāĻžāĨ¤ āĻāϤ⧇ āĻ•āĻžāϰ āĻĻā§‹āώ? āĻ•āĻ–āύāĻ“ āϛ⧇āϞ⧇āϰ āĻĻā§‹āώ, āĻ•āĻ–āύāĻ“ āĻŽā§‡ā§Ÿā§‡āϰ, āĻ•āĻ–āύāĻ“ āϤāĻžāĻĻ⧇āϰ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ, āĻ•āĻ–āύāĻ“-āĻŦāĻž āϏāĻŽāĻžāĻœā§‡āϰ, āĻ•āĻ–āύāĻ“ āĻŦāĻž āϘāϟāύāĻžāĻĒā§āϰāĻŦāĻžāĻš āĻāĻŦāĻ‚ āϏāĻŽā§Ÿā§‡āϰāĨ¤

    āĻāĻŽāύāχ āĻŦāĻŋā§Ÿā§‡ āĻ āĻŋāĻ• āĻšāĻ“ā§ŸāĻžāϰ āĻĒāϰ⧇āĻ“ āĻļ⧇āώ āĻ…āĻŦāϧāĻŋ āĻŦāĻŋā§Ÿā§‡ āĻšâ€‹ā§Ÿā§‡ āĻ“āϠ⧇āύāĻŋ–āĻāĻŽāύ āĻ­āĻŋāĻ¨ā§āύāĻ¸ā§āĻŦāĻžāĻĻ⧇āϰ āĻŦ⧇āĻļ āĻ•āĻŋāϛ⧁ āϛ⧋āϟāĻ—āĻ˛ā§āĻĒ āĻāχ āĻŦāχāϤ⧇ āĻāĻ•āĻ¤ā§āϰāĻŋāϤ āĻ•āϰāĻž āĻšâ€‹ā§Ÿā§‡āϛ⧇āĨ¤

    336.00420.00
  • MOHABBAT CAFE

    There’s a cafÊ in the hills where people come when love feels unfinished.
    They arrive with unread messages, old playlists, and the memory of someone who left without closure. Tea gets cold. Rain keeps falling. And somewhere between shared silences and soft conversations, two people begin to feel less alone.
    Mohabbat CafÊ is a modern love story about slow connections, gentle healing, and the kind of romance that doesn’t shout—it stays.

    320.00400.00

    MOHABBAT CAFE

    320.00400.00
  • ECHOES OF THE PAST- A JOURNEY THROUGH THE SHADOWS OF THE HOLOCAUST

    The Christmas fair in the city square featured charming stalls and horse-drawn carriages. Tanima indulged in steaming roast meat and potatoes in gravy—I joined her eagerly. She blissfully followed this with waffles and cream, leaving a delightful mess on her face as she savored each bite. After three hours of exploring, we returned to our room.

    320.00400.00
  • BRITTYO āĻŦ⧃āĻ¤ā§āϤ

    05
    ‘āĻŦ⧃āĻ¤ā§āĻ¤â€™ āωāĻĒāĻ¨ā§āϝāĻžāϏāϟāĻŋ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āϜāϝāĻŧāĻ—āĻžāĻĨāĻžāĨ¤ āϤāĻžāχ āĻļ⧁āϰ⧁ āĻĨ⧇āϕ⧇ āĻļ⧇āώ, āĻœā§€āĻŦāύāϰāϏ⧇āχ āϜāĻžāϰāĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇ āωāĻĒāĻ¨ā§āϝāĻžāϏāϟāĻŋāϰ āĻāĻ• āĻāĻ•āϟāĻŋ āϚāϰāĻŋāĻ¤ā§āϰāĨ¤ āĻŽā§‚āϞāϤ āϤāĻŋāύ āĻĒā§āϰāϜāĻ¨ā§āĻŽā§‡āϰ āĻœā§€āĻŦāύ āύāĻžāĻŽā§‡āϰ āĻŦā§āϝāĻžāϞāĻžāĻ¨ā§āϏ āĻļāĻŋāϟ-āϟāĻžāϕ⧇ āĻŽā§‡āϞāĻžāύ⧋āϰ āĻ–āϤāĻŋāϝāĻŧāĻžāύāχ āĻāχ ‘āĻŦ⧃āĻ¤ā§āĻ¤â€™ āωāĻĒāĻ¨ā§āϝāĻžāϏāĨ¤ āĻļ⧁āϧ⧁ āĻ•āĻžāĻšāĻŋāύāĻŋāϰ āĻĒāϟāĻŦāĻŋāĻ¨ā§āϝāĻžāϏ⧇ āωāĻĒāĻ¨ā§āϝāĻžāϏāϟāĻŋāϰ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋ āĻ•āĻ–āύāĻ“ āφāĻŦāĻ°ā§āϤāĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇ āχāĻ‚āĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡, āĻ•āĻ–āύāĻ“ āĻ•āϞāĻ•āĻžāϤāĻžāϝāĻŧ, āĻ•āĻ–āύāĻ“-āĻŦāĻž āϘāĻžāϟāĻļāĻŋāϞāĻžāϝāĻŧāĨ¤
    ‘āĻœā§€āĻŦāĻ¨â€™ āĻŦāϞāϤ⧇ āϏāĻŦ āĻ¸ā§āϤāϰ⧇āϰ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻ•āĻĨāĻžāχ āĻŦ⧁āύ⧇āϛ⧇ ‘āĻŦ⧃āĻ¤ā§āĻ¤â€™āĨ¤ āϏ⧇āχ āĻœā§€āĻŦāύ⧇ āĻāĻ•āĻĻāĻŋāϕ⧇ āϝ⧇āĻŽāύ āϰāϝāĻŧ⧇āϛ⧇ āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ⧇āϰ āϚāĻžāĻ“āϝāĻŧāĻž-āĻĒāĻžāĻ“āϝāĻŧāĻž, āϞ⧋āĻ­, āύ⧀āϚāϤāĻž; āφāĻŦāĻžāϰ āϤāĻžāϰ āĻ āĻŋāĻ• āωāϞāĻŸā§‹ āĻĒāĻŋāϠ⧇ āϏ⧇āχ āĻœā§€āĻŦāύ⧇āχ āĻāϏ⧇ āĻŽāĻŋāĻļ⧇āϛ⧇ āύāĻŋāĻ–āĻžāĻĻ āĻĒā§āϰ⧇āĻŽāĨ¤
    āϚāĻŋāϰāĻžāϝāĻŧāϤ āϏ⧇āχ āĻĒā§āϰ⧇āĻŽāϕ⧇ āϜāĻŋāϤāĻŋāϝāĻŧ⧇ āĻĻāĻŋāϤ⧇ āωāĻĒāĻ¨ā§āϝāĻžāϏ⧇āϰ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋ āϤāĻžāχ āĻ•āĻ–āύāĻ“ āĻŦā§āϝāĻ•ā§āϤāĻŋāĻ¸ā§āĻŦāĻžāĻ°ā§āĻĨ⧇, āĻ•āĻ–āύāĻ“-āĻŦāĻž āĻ¤ā§āϝāĻžāϗ⧇, āϤāĻŋāϤāĻŋāĻ•ā§āώāĻžāϝāĻŧ āύāĻŋāĻœā§‡āĻĻ⧇āϰ āĻŦāĻžāϰāĻ‚āĻŦāĻžāϰ āϭ⧇āϙ⧇āϛ⧇; āφāĻŦāĻžāϰ āĻ­āĻžāĻ™āύ⧇āϰ āĻŽā§āϖ⧇ āĻ…āĻ¸ā§āϤāĻŋāĻ¤ā§āĻŦ⧇āϰ āĻļ⧇āώāϤāĻŽ āĻ–āĻĄāĻŧāϕ⧁āĻŸā§‹āϕ⧇ āφāρāĻ•āĻĄāĻŧ⧇ āύāĻŋāĻœā§‡āĻĻ⧇āϰ āφāĻ—āϞ⧇āϛ⧇, āĻ­āĻžāĻ™āĻž āĻœā§€āĻŦāύāϟāĻžāϕ⧇ āφāĻŦāĻžāϰ āĻ—āĻĄāĻŧ⧇ āύāĻŋāϝāĻŧ⧇āϛ⧇ āĻĒāϰāĻŽ āĻŽāĻŽāϤāĻžāϝāĻŧāĨ¤ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋāϰ āύāĻžāύāĻžāύ āϰāĻ‚āĻŽāĻŋāϞāĻžāĻ¨ā§āϤāĻŋ āϖ⧇āϞāĻžāϝāĻŧ āĻœā§€āĻŦāύ⧇āϰ āϏāĻžāĻŽāύ⧇ āĻ…āύāĻžāĻŦāĻŋāϞāĻ­āĻžāĻŦ⧇ āĻļ⧁āϧ⧁ āĻœā§€āĻŦāύ-āχ āĻāϏ⧇ āĻĻāĻžāρāĻĄāĻŧāĻŋāϝāĻŧ⧇āϛ⧇ āĻāχ ‘āĻŦ⧃āĻ¤ā§āĻ¤â€™ āωāĻĒāĻ¨ā§āϝāĻžāϏ⧇āĨ¤ āϤāĻžāχ āĻŽāύ⧇āϰ āĻāχ āϏ⧂āĻ•ā§āĻˇā§āĻŽāĻžāϤāĻŋāϏ⧂āĻ•ā§āĻˇā§āĻŽ āĻ–āĻŖā§āĻĄāĻŋāϤ āĻŽā§āĻ–āϗ⧁āϞ⧋āχ āωāĻĒāĻ¨ā§āϝāĻžāϏāϟāĻŋāϰ āĻāĻ• āĻāĻ•āϟāĻž āĻ…āĻ•ā§āώāϰ, āĻāĻ• āĻāĻ•āϟāĻž āĻļāĻŦā§āĻĻāĨ¤ āĻāχ āĻļāĻŦā§āĻĻāϗ⧁āϞ⧋āχ āωāĻĒāĻ¨ā§āϝāĻžāϏāϟāĻŋāϰ āĻĒāĻžāϤāĻžāϝāĻŧ āĻĒāĻžāϤāĻžāϝāĻŧ āĻāϕ⧇ āĻāϕ⧇ āĻšāϝāĻŧ⧇ āωāϠ⧇āϛ⧇ āύāĻžāύāĻž āϰāĻ‚-āĻāϰ āϏ⧁āϤ⧋āĨ¤ āφāϰ, āϏ⧇āχ āϏ⧁āϤ⧋ āĻĻāĻŋāϝāĻŧ⧇āχ āύāĻŋāĻĒ⧁āĻŖāĻ­āĻžāĻŦ⧇ āĻŦā§‹āύāĻž āĻšāϝāĻŧ⧇āϛ⧇ ‘āĻœā§€āĻŦāĻ¨â€™ āύāĻžāĻŽā§‡āϰ āωāĻˇā§āĻŖ āϚāĻžāĻĻāϰāϟāĻŋ— āϝāĻž āĻĒāĻžāĻ āĻ•āϕ⧇ ‘āĻ“āĻŽâ€™ āĻĻ⧇āϝāĻŧ; ‘āĻœā§€āĻŦāĻ¨â€™ āĻļāĻŦā§āĻĻāϟāĻŋāϰ āĻĒā§āϰāϤāĻŋ āĻ•āĻŋāϛ⧁āϤ⧇āχ āĻšāϤāĻžāĻļ āĻšāϤ⧇ āĻĻ⧇āϝāĻŧ āύāĻžāĨ¤
    312.00390.00
  • SHUNYE SHUNYO MILAILO… āĻļā§‚āĻ¨ā§āϝ⧇ āĻļā§‚āĻ¨ā§āϝ āĻŽāĻŋāϞāĻžāχāϞ…

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    āϏ⧇ āϧāĻžāϰāĻžāĻ“ āĻŦāĻĻā§āϧ āĻšāϞ,
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    āϤāĻŋāύāĻŋāχ āĻŦā§āϰāĻšā§āĻŽāĻŦāĻžāĻĻā§€āϰ āĻŦā§āϰāĻšā§āĻŽāĨ¤
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