Sunil Gangopadhyay
Indian poet and author (1934–2012) / From Wikipedia, the free encyclopedia
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Sunil Gangopadhyay or Sunil Ganguly (7 September 1934 – 23 October 2012)[1] was an Indian poet, novelist, short story writer, historian, and critic in the Bengali language.[3][4] He was one of the foremost poets experimenting with new forms, themes, rhythms, and words in Bengali poetry in the 1950s and 1960s. In 1953, along with Deepak Majumder and Ananda Bagchi, he founded the Bengali poetry magazine, Krittibas.[3] He is regarded as one of the most prolific and popular writers in Bengali since Rabindranath Tagore.[5][6][7]
Sunil Gangopadhyay | |
---|---|
Born | (1934-09-07)7 September 1934 Faridpur, Bengal Presidency, British India (now in Bangladesh) |
Died | 23 October 2012(2012-10-23) (aged 78) Kolkata, West Bengal, India |
Pen name | Nil Lohit, Sanatan Pathak, and Nil Upadhyay[1] |
Occupation |
|
Language | Bengali |
Nationality | Indian |
Alma mater | University of Calcutta |
Period | 1953–2012 |
Literary movement | Krittibas Confessional poetry |
Notable works |
|
Notable awards | Ananda Puraskar (1972, 1989) Sahitya Akademi Award (1985) |
Spouse |
Swati Bandopadhyay (m. 1967) |
Children | Souvik Gangopadhyay (b. 1967)[2] |
Signature | |
He is best known for his novels Atmaprakash (1964), Aranyer Din Ratri, Sei Somoy, Pratham Alo (1996), and Purba Paschim; travelogues Payer Tolay Sorshe (Vol. 1 and 2); the poetry collections Eka ebong Koekjon (1958), Ami Ki Rokom Vabe Beche Achi (1966), and Hathat Nirar Janya.[8] Sunil Gangopadhyay introduced the fictional character Kakababu, writing 36 novels in the series that became influential in Bengali children's literature. In 1985, he received the prestigious Sahitya Akademi award for his historical fiction Those Days (Sei Somoy).[9][10]
His prose style, conversational and colloquial, simple and lucid yet deeply penetrating with often a thin layer of dry humor, has by now created a niche of its own which have influenced many later writers, not only in Bengal but elsewhere too.[11] Sunil, according to Shankha Ghosh, "used to narrate the story using contemporary language, which often allows readers to find aspects of themselves they may have not seen, perhaps did not want to see. In doing so, Sunil skillfully turned his personal confession into a shared experience for a wide readership."[12] Sitanshu Yashaschandra observed that in his works "the personal is never sacrificed in favor of the 'regional,' nor is 'Bengaliness' ever given up to aspire for any larger status. He is a writer of international stature, simply because he is a writer, such a good writer."[13]