Bengali postmodern literature

Postmodernism in Bengali literature, emerged prominently after the 1970s, reflecting skepticism towards grand narratives, fragmentation, irony, and self-referentiality. Rejecting modernism’s quest for meaning and progress, postmodern Bengali writers explored absurdity, marginal voices, and hybrid realities.

Post-1990, postmodern trends deepened in diaspora writings, feminist voices, and little magazines. Themes of identity crisis, cultural displacement, sexuality, and parody of nationalist and socialist ideals characterize this literary phase. It remains a dynamic force in contemporary Bengali literature.

History

The roots of postmodern tendencies in Bengali literature can be traced to the socio-political disillusionments following the Bangladesh Liberation War (1971), the Naxalite movement in West Bengal (late 1960s–70s), and the decline of grand Marxist and nationalist utopias. Writers began exploring absurdity, identity crises, post-colonial subjectivities, and urban alienation through innovative narrative forms.

Notable literary works

In West Bengal, notable postmodern writers include Nabarun Bhattacharya, whose works like Herbert (1993) embody magical realism, grotesque satire, and political commentary. Subimal Misra pioneered anti-novel and experimental prose. Krishanu Ray, Debesh Roy, and Tridib Kumar Chattopadhyay also contributed to destabilizing narrative conventions.

In Bangladesh, postmodern traits appear in the works of Humayun Azad, Syed Shamsul Haq, Rashid Haider, and Selina Hossain. Azad’s novels and essays employed irony and parody against authoritarian politics and religious orthodoxy. Syed Shamsul Haq’s Nishiddho Loban (1973) is considered an early marker of postmodern narrative play in Bangladesh.

Postmodern Bengali poetry, led by figures like Binoy Majumdar, Shakti Chattopadhyay, and Taslimah Nasrin, dismantled conventional metre and themes, focusing on subjectivity, absurdity, and social critique.

Magazines like Krittibas, Ekshan, and Desh popularized postmodern writing forms. The movement also influenced drama, cinema, and literary criticism, with increasing engagement in metafiction, pastiche, and intertextual dialogues.

Bangladesh

Shamsur Rahman — Deher Bhitor Deho, Nij Bashbhume Oporadhir Moto, Roudro Korotite

Hasan Azizul Huq — Atmaja O Ekti Korobi Gaachh, Namhin Gotrohin

Akhtaruzzaman Elias — Chilekothar Sepai, Khoabnama

Selina Hossain — Hangor Nodi Grenade, Poka Makorer Ghorbosoti

Syed Shamsul Haq — Nishiddho Loban, Payer Awaj Pawa Jay

Muhammed Zafar Iqbal — Kapotronic Shukh Dukkho, Deyal

Mahadev Saha — Andhokarer Meye, Uttoradhikar

Manzilur Rahman — Opera, Kosaikhana

Anisuzzaman — Alo Andhokare, Shomoy O Itihash

Selim Al Deen (Drama) — Sakina Sarisuri, Chaka, Joiboti Koinnar Mon

India

Nabarun Bhattacharya — Herbert, Kangal Malshat, Lubdhak

Subimal Mishra — Harmormochi, Gandhi Bazar er Jishu, Prem Korbo Prem Korbo Bole

Pradip Basu — Ajana Andhokare, Samay Samayer Raat

Binayak Bandopadhyay — Dwitiyo Purush, Chhayapath

Bani Basu — Mouchak, Sheet Ratirer Smriti

Anil Acharya — Janmantor, Smriti Bivrom

Shankar Lahiri — Bhanga Dewaler Shobdo

Deepak Majumdar — Roktakkto Kalpurush

Kripa Sinha — Jalpaiguri Library