Abhijit Sen is one of the prominent narrative writers in Contemporary Bengali literature. He is one who has stood ideologically against the inheritance of colonial model in the Bengali narrative world both in terms of form and content consciousness. Off and on, in his writings, Sen has criticized the trend of writing stories of love & sex only in Bengali fiction and pointed out that so called mainstream literature only depicts the life of growing middleclass and rich people, ignoring the (...) struggle for existence of the common mass, their livelihood. Like Debesh Roy, Abhijit maintains the European model of novel is not useful for depicting the heterogeneity of the reality of life of the larger section of people. He says, like the Third World literature, our narrative is to stand politically and ideologically against neo-colonial attack over the heterogeneous culture of marginalized mass and for this. The present day narrative should be emancipated from the domain of time-space contactless middleclass centric story writing, and it should take the way of re-evaluating & re-constructing of myth, folktales & traditions to represent the present day reality. Depiction of reality, in Sen’s idea is a protest against the traditional way of misrepresenting time & space. When we go through a narrative discourse of Abhijit Sen,we should be conscious about the narrative consciousness of the writer can be termed as post-colonial and post-modern in Indian and Bengalee sense, otherwise, the reader may fail to find the path of entry in the narrative world of Sen, and also will not be able to understand the ideological protest against all kind of hegemony, be it in federal productive relation or in the domain of politics & culture. We want to prepare a critical discourse on Abhijit Sen’s novel ‘Megher Nodi’ from post-colonial and post-modern viewpoint of literary criticism. (shrink)

The historical avant-gardes showed that it is in the syntactic space where the mutations of art occur, where the creative potentialities in contemporary art are played. Hence the need to accentuate the syntactic creation registers in the works of the Estridentistas. There is no creation of images, rhythms, words, atmospheres, sound orientations, planes or political-literary postures that are valid apart from the syntax effects in which the poems of Manuel Maples Arce, Germán List, Salvador Gallardo and Kyn-Taniya take place, (...) the paintings, engravings and sculptures by Fermín Revueltas, Ramón Alva de la Canal, Germán Cueto and Leopoldo Méndez, the novels and essays by Arqueles Vela, the pieces from the Estridentista period by Silvestre Revueltas, the plays by Salvador Gallardo and Germán Cueto. The syntax is the tracing of indirect paths created in each poem, installation, plastic or musical work, to show life in things; those forces, paths and paths that, when going from life to language, create a work. It is, therefore, a speed. I don't use "speed" as a metaphor. It is the speeds that interdigitate events, images, objects; those that relate and stress semantic, sound, semiotic and social forces, paths and trajectories. Velocity is the gradient of the syntax, the relationship between phenomena, the variation of the elements according to a certain direction, the trajectory medium, the semantic loads and the systems of signs: it is not necessary to think that the syntactic effects are something like general mechanisms that precede poems, plastic and musical works. A new syntactic speed detaches itself as much as it can from what is constituted and seeks to bring poetic, pictorial, musical language to its threshold of meaning, informational or communication, to its referential, rhythmic, constructive threshold. Therefore, it should not be confused with acceleration. Slowness is a speed, as in Handke's writing or in some sections of Tarr's films. (shrink)