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The struggle of man against power is the struggle of memory
against forgetting.
~Milan Kundera, The Book of Laughter and Forgetting
Dr. Khan Touseef Osman
Assistant Professor
Department of English
Daffodil International University
Bangladesh
[The] …cultural (re)production of
traumatic memory is tending to
congeal into predictability, primarily
because of its overwhelming reliance
on narrative forms of memory: oral
history on the one hand, and…
novels, short stories, and films… on
the other. (16)
 Narrative:
a. A singular perspective;
b. The linear logic of cause and effect; and
c. A closure. (16-17)
 [The]…epistemological burdens of narrative lead to the mutual entanglement
of nation and narration, as postulated by Benedict Anderson and elaborated
upon by Homi Bhabha. The problematic relationship of narrative and
nationalism has been noted particularly in regions characterized by multiple
identity claims on shared histories and geographies. (17)
 If by ‘narrative’ we understand the telling of a story which is bound together
with a certain phenomenology of linear temporality, how do we distinguish
‘narrative’ from other modes of representing experience, such as lyric poetry,
which are by no means necessarily non-linear? (19)
 I would argue… for the coexistence, and dialectic relationship, between two
basic impulses: one … the ‘narrative impulse’ …, and the other … the ‘lyric
impulse’. (19)
 By considering creative media which invite interpretative paradigms responsive
to these non-narrative logics, and by foregrounding non-narrative modes of
remembering Partition within creativity, activism, and scholarship alike, we
can engender new approaches to making peace with the past and present. (21)
হবিগঞ্জের জালালী কইতর সুনামগঞ্জের কুড়া
সুরমা নদীর গাাংবিল আবম শূঞ্জনে বদলাম উড়া
শূঞ্জনে বদলাম উড়াঞ্জর ভাই যাইঞ্জত িাঞ্জের ির
ডানা ভাইঙ্গা পড়লাম আবম কইলকাত্তার উপর,
ততামরা আমায় বিনবন… ততামরা আমায় বিনবন…
ততামরা আমায় বিনবন?
ডানা ভাইঙ্গা পড়লাম আবম কইলকাত্তার উপর।
হাওঞ্জরর পাবন নাইঞ্জর তহথায় নাইঞ্জর তাজা মাছ
বিঞ্জলর িুঞ্জক ডালা তমলা নাইঞ্জর বহজল গাছ
িন্ধু নাইঞ্জর তাজা মাছ।
তিু বনদ হারাঞ্জনা ঘঞ্জরর পঞ্জথ রাইঞ্জতর দুপুঞ্জর
মরমীয়া ভাটিয়াবল আমার গালায় জুঞ্জড়।
ততামরা আমায় বিনবন… ততামরা আমায় বিনবন…
ততামরা আমায় বিনবন?
ডানা ভাইঙ্গা পড়লাম আবম কইলকাত্তার উপর।
এই সুঞ্জর আঞ্জছঞ্জর িন্ধু অশথ িঞ্জের ছায়া
এই সুঞ্জর বিছাইয়া তদঞ্জর শীতল পাটির মায়া
িন্ধু অশথ িঞ্জের ছায়া।
এইনা সুঞ্জরর পাঞ্জলর তদালায় খুবশর হাওয়া িয়
এই সুঞ্জরর তদৌলঞ্জত আবম জগৎ করলাম জয়।
ততামরা আমায় বিনবন… ততামরা আমায় বিনবন…
ততামরা আমায় বিনবন?
ডানা ভাইঙ্গা পড়লাম আবম কইলকাত্তার উপর।
হবিগঞ্জের জালালী কইতর সুনামগঞ্জের কুড়া
সুরমা নদীর গাাংবিল আবম শূঞ্জনে বদলাম উড়া।
Thank You!
Email: touseef.eng@diu.edu.bd
Cell: 01884368142

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The Bird with Broken Wings: Traumatic Memory and Identity Crisis in Hemanga Biswas' "Shunye Dilam Ura"

  • 1. The struggle of man against power is the struggle of memory against forgetting. ~Milan Kundera, The Book of Laughter and Forgetting Dr. Khan Touseef Osman Assistant Professor Department of English Daffodil International University Bangladesh
  • 2. [The] …cultural (re)production of traumatic memory is tending to congeal into predictability, primarily because of its overwhelming reliance on narrative forms of memory: oral history on the one hand, and… novels, short stories, and films… on the other. (16)
  • 3.  Narrative: a. A singular perspective; b. The linear logic of cause and effect; and c. A closure. (16-17)  [The]…epistemological burdens of narrative lead to the mutual entanglement of nation and narration, as postulated by Benedict Anderson and elaborated upon by Homi Bhabha. The problematic relationship of narrative and nationalism has been noted particularly in regions characterized by multiple identity claims on shared histories and geographies. (17)
  • 4.  If by ‘narrative’ we understand the telling of a story which is bound together with a certain phenomenology of linear temporality, how do we distinguish ‘narrative’ from other modes of representing experience, such as lyric poetry, which are by no means necessarily non-linear? (19)  I would argue… for the coexistence, and dialectic relationship, between two basic impulses: one … the ‘narrative impulse’ …, and the other … the ‘lyric impulse’. (19)  By considering creative media which invite interpretative paradigms responsive to these non-narrative logics, and by foregrounding non-narrative modes of remembering Partition within creativity, activism, and scholarship alike, we can engender new approaches to making peace with the past and present. (21)
  • 5. হবিগঞ্জের জালালী কইতর সুনামগঞ্জের কুড়া সুরমা নদীর গাাংবিল আবম শূঞ্জনে বদলাম উড়া শূঞ্জনে বদলাম উড়াঞ্জর ভাই যাইঞ্জত িাঞ্জের ির ডানা ভাইঙ্গা পড়লাম আবম কইলকাত্তার উপর, ততামরা আমায় বিনবন… ততামরা আমায় বিনবন… ততামরা আমায় বিনবন? ডানা ভাইঙ্গা পড়লাম আবম কইলকাত্তার উপর। হাওঞ্জরর পাবন নাইঞ্জর তহথায় নাইঞ্জর তাজা মাছ বিঞ্জলর িুঞ্জক ডালা তমলা নাইঞ্জর বহজল গাছ িন্ধু নাইঞ্জর তাজা মাছ। তিু বনদ হারাঞ্জনা ঘঞ্জরর পঞ্জথ রাইঞ্জতর দুপুঞ্জর মরমীয়া ভাটিয়াবল আমার গালায় জুঞ্জড়। ততামরা আমায় বিনবন… ততামরা আমায় বিনবন… ততামরা আমায় বিনবন? ডানা ভাইঙ্গা পড়লাম আবম কইলকাত্তার উপর।
  • 6. এই সুঞ্জর আঞ্জছঞ্জর িন্ধু অশথ িঞ্জের ছায়া এই সুঞ্জর বিছাইয়া তদঞ্জর শীতল পাটির মায়া িন্ধু অশথ িঞ্জের ছায়া। এইনা সুঞ্জরর পাঞ্জলর তদালায় খুবশর হাওয়া িয় এই সুঞ্জরর তদৌলঞ্জত আবম জগৎ করলাম জয়। ততামরা আমায় বিনবন… ততামরা আমায় বিনবন… ততামরা আমায় বিনবন? ডানা ভাইঙ্গা পড়লাম আবম কইলকাত্তার উপর। হবিগঞ্জের জালালী কইতর সুনামগঞ্জের কুড়া সুরমা নদীর গাাংবিল আবম শূঞ্জনে বদলাম উড়া।