• JE JEKHANE DANRIYE āϝ⧇ āϝ⧇āĻ–āĻžāύ⧇ āĻĻāĻžāρāĻĄāĻŧāĻŋāϝāĻŧ⧇

    ‘āĻļ⧇āώ⧇āϰāĻ•āĻŦāĻŋāϤāĻž ‘ āĻĒāĻĄāĻŧ⧇āϛ⧇ āύāĻžāĻ•āĻŋ āĻŦāĻ™ā§āĻ•āĻŋāĻŽ āĻŦāĻžāĻŦ⧁āϰ” āϰāϜāύ⧀”, ‘āĻŦāĻŋāώ āĻŦ⧃āĻ•ā§āώ ‘ āĻĒāĻĄāĻŧ⧇āϛ⧇? āφāĻŦāĻžāϰ āĻŦāĻŋāĻĻā§āϝāĻžāϏāĻžāĻ—āϰ āĻŽāĻļāĻžāϝāĻŧ⧇āϰ’ āĻ­ā§āϰāĻžāĻ¨ā§āϤāĻŋ āĻŦāĻŋāϞāĻžāϏ’! āĻāχ āĻŽā§‹āĻ˛ā§āϞāĻžāϰ āĻĻ⧌āĻĄāĻŧ āĻ›āĻŋāϞ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāĻžāϰ āϏāĻžāĻšā§‡āĻŦ⧇āϰ ‘āĻ•āĻŽā§‡āĻĄāĻŋ āĻ…āĻĢ āĻāϰāϰāϏ’ āĻ…āĻŦā§āĻĻāĻŋāĻāχ āϤ⧋ āϏāĻžāĻ°ā§āϜāĻžāϰ⧀āϰ āϏāĻŽāϝāĻŧ āĻ•āĻžāϞ⧇ āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻžāϰ āĻŦāĻŋāĻŦāĻ°ā§āϤāύ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰāϞāĻžāĻŽ āĨ¤āϏ⧇āχ āĻŦāĻŋāĻĻā§āϝāĻžāϏāĻžāĻ—āϰ āĻŽāĻļāĻžāχ āĻĨ⧇āϕ⧇ āϧāĻžāĻĒ⧇āϧāĻžāĻĒ⧇ āĻŦāĻ™ā§āĻ•āĻŋāĻŽ āĻŦāĻžāĻŦ⧁ āĻšāϝāĻŧ⧇ āϰāĻŦāĻŋ āĻŦāĻžāĻŦ⧁āĨ¤āύāχāϞ⧇ āĻĒāĻĄāĻŧ⧇āĻ›āĻŋ āϤ⧋ āĻļ⧁āϧ⧁ āĻ¸ā§āĻŽāϰāĻŖ āĻĻāĻžāĻĻāĻžāϰ āĻ¸ā§āĻŽāĻžāĻ°ā§āϟ āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻžāĨ¤āφāĻšāĻž! āĻšā§‹āϝāĻŧāĻžāϟ āφ āϞāĻžāχāύ ! āϏāĻžāĻĻāĻžāĻŽāĻžāϟāĻž āϞāĻžāχāύ āϗ⧁āϞāĻŋāϤ⧇āχ āĻ•āĻŋ āĻŦā§āϝāĻžā§āϜāύāĻž ! āĻ“āχ āϝ⧇ “āĻŦā§‹āϤāĻžāĻŽ āϘāϰ ” āωāĻĒāĻ¨ā§āϝāĻžāϏ⧇.. ” āĻāĻ•āĻĻāĻŋāύ āĻ āĻŋāĻ• āĻāχ āĻŦā§‹āϤāĻžāĻŽ āϘāϰ⧇āϰ āϏāĻ™ā§āϗ⧇ āĻŦā§‹āϤāĻžāĻŽā§‡āϰ āĻŽāϤ āφāĻŽāĻŋ āϜ⧁āĻĄāĻŧ⧇ āĻĻ⧇āĻŦā§‹ āϤ⧋āĻŽāĻžāϰ āϏāĻŽāĻ¸ā§āϤ āĻ…āĻ¸ā§āϤāĻŋāĻ¤ā§āĻŦ āϕ⧇ ,āĻŽāĻŋāϞāĻŋāϝāĻŧ⧇ āĻĻ⧇āĻŦā§‹ āφāĻŽāĻžāϰ āφāĻĒāĻžāϤ āϤ⧁āĻšā§āĻ› āĻœā§€āĻŦāύ⧇āϰ āϏāĻžāĻĨ⧇ āϏāĻžāϰāĻžāĻœā§€āĻŦāύ⧇āϰ āĻŽāϤ⧋! ” āφāĻšāĻž! āϜāϝāĻŧ āĻšā§‹āĻ• āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻžāϰ,āĻŦāĻžāĻ‚āϞāĻž āϏāĻžāĻšāĻŋāĻ¤ā§āϝ⧇āϰāĨ¤

    ā§§ā§ŽāϟāĻŋ āĻ—āĻ˛ā§āĻĒ āύāĻŋā§Ÿā§‡ āĻāĻ•āϟāĻŋ āĻ…āύāĻŦāĻĻā§āϝ āϏāĻ‚āĻ•āϞāύāĨ¤

     

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  • 2nd. Print NIGHAAT-NINAAD āύāĻŋāϘāĻžāϤ-āύāĻŋāύāĻžāĻĻ (⧍⧟ āĻŽā§āĻĻā§āϰāĻŖ)

    01

    āϤāĻŋāĻŦā§āĻŦāϤāĻŋ āĻ­āĻžāώāĻžā§Ÿ ‘āϏ⧁ āĻ–āĻŋāĻŽ’ āĻļāĻŦā§āĻĻ⧇āϰ āĻ…āĻ°ā§āĻĨ āϝāĻž āĻĻāĻžāρ⧜āĻžā§Ÿ, āϤāĻž āĻšāϞ āϏ⧁āĻ–ā§€ āĻĻ⧇āĻļāĨ¤ āĻŦā§āϰāĻŋāϟāĻŋāĻļāĻĻ⧇āϰ āωāĻšā§āϚāĻžāϰāϪ⧇ āϝāĻž āϏāϰāĻ•āĻžāϰāĻŋ āĻ•āĻžāĻ—āϜāĻĒāĻ¤ā§āϰ⧇ āĻšā§Ÿā§‡ āĻ—āĻŋ⧟āĻ›āĻŋāϞ ‘āϏāĻŋāĻ•āĻŋāĻŽ’āĨ¤ āĻŦāĻžāĻ‚āϞāĻž āĻ•āĻĨāĻžāϏāĻžāĻšāĻŋāĻ¤ā§āϝ⧇ āĻāχ āĻĒā§āϰāĻĻ⧇āĻļ⧇āϰ āχāϤāĻŋāĻšāĻžāϏ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻŦāĻŋāĻļ⧇āώ āφāϞ⧋āĻ•āĻĒāĻžāϤ āĻ•āϰāĻž āĻšā§ŸāύāĻŋāĨ¤ āĻāχ āĻŦāĻ›āϰ āϏāĻŋāĻ•āĻŋāĻŽā§‡āϰ āĻ­āĻžāϰāϤāϭ⧁āĻ•ā§āϤāĻŋāϰ āϏ⧁āĻŦāĻ°ā§āĻŖ āϜ⧟āĻ¨ā§āϤ⧀ āωāĻĻā§â€ŒāϝāĻžāĻĒāύ āĻšāĻšā§āϛ⧇āĨ¤ āĻ…āϤāĻāĻŦ, āĻāχ āĻŦāĻ›āϰāχ āϭ⧁āϞ⧇ āϝāĻžāĻ“ā§ŸāĻž āϏ⧇ āϏāĻŋāĻ•āĻŋāĻŽā§‡āϰ āϞ⧜āĻžāĻ‡ā§Ÿā§‡āϰ āĻ—āĻ˛ā§āĻĒ āϞāĻŋāĻ–āϤ⧇āχ āĻšāϤāĨ¤ āύāĻžāĻŽā§‡āϰ āϏāĻ™ā§āϗ⧇ ‘āϏ⧁āĻ–’ āύāĻžāĻŽāĻ• āĻ…āύ⧁āĻ­ā§‚āϤāĻŋāĻ“ āĻšāĻžāϰāĻŋā§Ÿā§‡ āĻĢ⧇āϞāϤ⧇ āĻšā§Ÿā§‡āĻ›āĻŋāϞ āĻāχ āĻĒā§āϰāĻĻ⧇āĻļāϕ⧇āĨ¤ āϞ⧜āĻžāĻ‡ā§Ÿā§‡āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āύāĻŋāĻœā§‡āĻĻ⧇āϰ āĻ…āϧāĻŋāĻ•āĻžāϰ āĻ›āĻŋāύāĻŋā§Ÿā§‡ āύāĻŋā§Ÿā§‡ āĻĢ⧇āϰ āφāϰ āĻāĻ•āĻŦāĻžāϰ āĻĻ⧇āĻļāϟāĻŋāϕ⧇ āĻ—ā§œā§‡ āϤ⧋āϞāĻžāϰ āφāĻ–ā§āϝāĻžāύāχ āϰāϚāĻŋāϤ āĻšā§Ÿā§‡āϛ⧇ āĻāχ āĻŦāĻ‡ā§Ÿā§‡āĨ¤

     

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  • AAPON MONER CHHAYA TOLE O ANYANYA āφāĻĒāύ āĻŽāύ⧇āϰ āĻ›āĻžā§ŸāĻžāϤāϞ⧇ āĻ“ āĻ…āĻ¨ā§āϝāĻžāĻ¨ā§āϝ

    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.

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  • 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
  • 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.

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  • LOUISE GLUKER KOBITA āϞ⧁āχ āĻ—ā§āϞ⧁āϕ⧇āϰ āĻ•āĻŦāĻŋāϤāĻž

    āĻ¸ā§āĻĒā§āϝāĻžāύāĻŋāĻļ āĻŦāĻž āĻĢāϰāĻžāϏāĻŋ āĻ•āĻŦāĻŋāϤāĻž āĻŦāĻžāĻ‚āϞāĻžā§Ÿ āĻ…āύ⧁āĻŦāĻžāĻĻ⧇āϰ āϝ⧇ āϤāĻžāĻ—āĻŋāĻĻ, āχāĻ‚āϰ⧇āϜāĻŋ āĻ•āĻŦāĻŋāϤāĻžāϰ āϤāϤāϟāĻž āύ⧟, āϤāĻžāϰ āĻ•āĻžāϰāĻŖ āĻ…āύ⧇āĻ• āϏāĻŽā§Ÿ āϧāϰ⧇āχ āύ⧇āĻ“ā§ŸāĻž āĻšā§Ÿ āϝ⧇ āĻŦāĻžāĻ™āĻžāϞāĻŋ āĻĒāĻžāĻ āϕ⧇āϰāĻž āϤ⧋ āχāĻ‚āϰ⧇āϜāĻŋ āĻĒ⧜āϤ⧇ āĻĒāĻžāϰ⧇āύ⧎ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻ•āĻĨāĻžāϟāĻž āϏāĻ°ā§āĻŦ⧈āĻŦ āϏāĻ¤ā§āϝāĻŋ āύ⧟⧎ āĻ•āϞāĻ•āĻžāϤāĻž āĻļāĻšāϰ⧇āϰ āĻŦāĻžāχāϰ⧇, āĻāĻŽāύāĻ•āĻŋ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āĻ“ āĻ…āύ⧇āĻ• āĻĒāĻžāĻ āĻ• āφāϛ⧇āύ āϝāĻžāρāϰāĻž āχāĻ‚āϰ⧇āϜāĻŋ āĻĒ⧜āϤ⧇ āĻāĻ–āύāĻ“ āϏ⧇āĻ­āĻžāĻŦ⧇ āĻ¸ā§āĻŦāĻšā§āĻ›āĻ¨ā§āĻĻ āύāύ⧎ āϞ⧁āχ āĻ—ā§āϞ⧁āϕ⧇āϰ āϏāĻžāĻŽāĻ—ā§āϰāĻŋāĻ• āϞ⧇āĻ–āĻžāϞāĻŋāĻ–āĻŋ āĻĨ⧇āϕ⧇ āϏāĻžāρāχāĻ¤ā§āϰāĻŋāĻļāϟāĻŋ āĻ•āĻŦāĻŋāϤāĻž āĻŦ⧇āϛ⧇ āĻ…āύ⧁āĻŦāĻžāĻĻ āĻ•āϰ⧇āϛ⧇āύ āĻāχ āϏāĻŽā§Ÿā§‡āϰ āĻŦāĻžāĻ‚āϞāĻž āĻ•āĻŦāĻŋāϤāĻžāϰ āϤāϰ⧁āĻŖāϤāĻŽ āĻĒā§āϰāϤāĻŋāύāĻŋāϧāĻŋāĻĻ⧇āϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āĻŽā§āĻ– āĻĻā§€āĻĒāĻļ⧇āĻ–āϰ āϚāĻ•ā§āϰāĻŦāĻ°ā§āϤ⧀⧎ āϝ⧇-āĻ•āĻŦāĻŋāϤāĻž āϤāĻžāρāϰ āĻ­āĻžāϞ⧋ āϞ⧇āϗ⧇āϛ⧇, āϏ⧇āϗ⧁āϞ⧋āχ āύāĻŋāĻ°ā§āĻŦāĻžāϚāύ āĻ•āϰ⧇āϛ⧇āύ āĻ…āύ⧁āĻŦāĻžāĻĻ⧇āϰ āϜāĻ¨ā§āϝ⧎

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  • 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¤

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  • SANGSAR JIBANE NARIR BHUMIKA āϏāĻ‚āϏāĻžāϰ āĻœā§€āĻŦāύ⧇ āύāĻžāϰ⧀āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž

    āϜ⧟āĻĻ⧇āĻŦ āĻāĻŦāĻžāϰ āĻ•ā§āϞāĻžāϏ āϏ⧇āϭ⧇āύ⧇ āωāĻ āϞāĨ¤ āĻāϤ āϏāĻŦ āĻĻ⧁āσāĻ–-āĻ•āĻˇā§āϟ-āĻ—āϰāĻŋāĻŦāĻŋ⧟āĻžāύāĻž, āĻŦāχāĻĒāĻ¤ā§āϰ āϏāĻŦ āĻŦāĻ›āϰ āĻĒ⧁āϰ⧋āύ⧋ āĻ•āĻŋāύāϤ⧇ āĻĒāĻžāϰāϞ⧇āĻ“ āϰ⧇āϜāĻžāĻ˛ā§āϟ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āĻĄāĻŋāĻ­āĻŋāĻļāύ⧇āϰ āύ⧀āĻšā§‡ āĻ•āĻ–āύāĻ“ āϝāĻžā§Ÿ āύāĻžāĨ¤ āϜ⧟āĻĻ⧇āĻŦ āύāĻŋ⧟āĻŽāĻŋāϤ āĻ•ā§āϞāĻžāϏ āĻ•āϰ⧇āĨ¤ āϝāϤāĻ•ā§āώāĻŖ āĻ•ā§āϞāĻžāϏ⧇ āĻĨāĻžāϕ⧇, āϤāϤāĻ•ā§āώāĻŖ āϏāĻŽā§Ÿ āĻļāĻŋāĻ•ā§āώāϕ⧇āϰ āĻĒ⧜āĻžāύ⧋ āĻĒāĻĄāĻŧāĻž āĻŽāύ⧋āϝ⧋āĻ— āĻĻāĻŋā§Ÿā§‡ āĻļā§‹āύ⧇ āĻāĻŦāĻ‚ āϤāĻžāϰ āĻ–āĻžāϤāĻžā§Ÿ āϞāĻŋāϖ⧇ āĻ¨ā§‡ā§ŸāĨ¤ āĻ¸ā§āϕ⧁āϞ⧇ āϏ⧇āĻĻāĻŋāύ āĻāĻ•āϟāĻž āϘāϟāύāĻž āϘāĻŸā§‡ āϗ⧇āϞāĨ¤ āĻĒāϰ⧇āĻļ āĻ­āĻĻā§āϰ āĻŦāϞ⧇ āĻāĻ•āϟāĻž āϛ⧇āϞ⧇ āϟāĻŋāĻĢāĻŋāύ⧇āϰ āϏāĻŽā§Ÿā§‡ āϜ⧟āĻĻ⧇āĻŦ⧇āϰ āĻ•āĻžāϛ⧇ āĻ—āĻŋā§Ÿā§‡ āϤāĻžāϕ⧇ āĻŦāϞāĻ˛â€” āĻšāĻžāχ!

    āϜ⧟āĻĻ⧇āĻŦ āĻšāĻ āĻžā§Ž āĻāχāϰāĻ•āĻŽ āĻļāĻŦā§āĻĻ āĻļ⧁āύ⧇ āĻĻāĻžāρ⧜āĻŋā§Ÿā§‡ āĻĒā§œā§‡ āϜāĻŋāĻœā§āĻžā§‡āϏ āĻ•āϰāĻ˛â€” āĻ­āĻžāχ, āφāĻŽāĻžāϕ⧇ āĻ•āĻŋāϛ⧁ āĻŦāϞāĻ› āĻ•āĻŋ?

    āϛ⧇āϞ⧇āϟāĻŋ āĻŦāϞāĻ˛â€” āĻāĻ–āĻžāύ⧇ āφāϰ āϕ⧇āω āφāϛ⧇ āϤ⧁āĻŽāĻŋ āĻ›āĻžā§œāĻž?

    āϜ⧟āĻĻ⧇āĻŦ āĻāĻĻāĻŋāĻ•-āĻ“āĻĻāĻŋāĻ• āϤāĻžāĻ•āĻŋā§Ÿā§‡ āĻĻ⧇āĻ–āϞ, ‘āϤāĻžāχ āϤ⧋, āφāĻŽāĻŋ āĻ›āĻžāĻĄāĻŧāĻž āφāϰ āϕ⧇āω āϤ⧋ āύ⧇āχāĨ¤â€™

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  • KNASAIPARER EKBOCHHOR āĻ•āĻžāρāϏāĻžāχāĻĒāĻžāϰ⧇āϰ āĻāĻ•āĻŦāĻ›āϰ

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