ABOUT THE STORY As arguably the twentieth-century Indian writer with the imagination and technical gifts most suited to the creation of great fiction, Bibhutibhushan Bandyopadhyay continues to enjoy renown across India—though unfortunately not elsewhere—for his stories and novels, written in his native Bengali.
Every reader finds some new way to describe the legerdemain of Bibhutibhushan (as he is commonly known in Bengal). One interpretation holds that here is a narrative artist who seems to drop into the world of his characters and then become invisible, producing the illusion that the story is telling itself. His sympathy is so vast that each person touched by the roving lens of his fictional narration seems momentarily to turn into the protagonist of the story. The work of many great fiction writers seems somehow self-consciously literary, but not so with Bibhutibhushan, who prizes—and produces—narrativeness (a term used in literary theory), that mysterious quality of constant motion and confident verisimilitude that makes a reader forget he or she is reading a story.
Here are the opening pages of one of Bibhutibhushan’s best novels, Adorsho Hindu Hotel. For a while, the narration holds the daily life of the hotel in focus. Then, from out of the picture, emerges the unforgettable figure of the cook Hajari, a middle-aged toiler and dreamer. “Why then did he weave these dreams every day here by the Churni?” the narrator asks. “Because it was pleasant, that was why.” No greater insight is required—and Hajari’s reasons are also the reasons why we read fiction.
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