Bengali theatre cannot afford to linger in its high-brow superlative state.

Uttam Kumar remains the biggest hero of Bengali cinema till date – a ‘Maha nayak’. 35 years after his death, his shadow still looms large on an industry which had a golden past but is now reeling under poverty – both intellectual and financial.

No longer active Yet never dead, she lies still. The winter afternoons short and crisp dry but smooth – I take her up and nurse in my palm.

There is boredom in the bordello filled with broken fragrances of waiting gun powder and desolate embers –

Three wistful poems about remembrance, forgetting and memory by Amitava Nag.

A poet reminisces about his mother, the sounds and images he would associate with her leaves him deeply nostalgic and lost.

It’s time to stop being a slave to a barrage of information of all kinds, writes Amitava Nag. Let scarcity rule for a while.

Poet Swadesh Sen passed away on March 6, 2014. Amitava Nag remembers him as one of those bridges between the fluidic ornamentation of the 70’s and the grounded post-modernist of the 90’s.

What is wrong, and what is right, with the industry.

Rita drapes herself with a shawl. There is a winter chill here. The shawl was a gift – from Arunesh. The thought of Arunesh lingered like the drone of a lonely bee.

The doctor pulls out a big syringe. He fills it with fluid. Ravi is nervous. Will this work? Is it a good decision to come here? His friend Samir suggested this place – cheap and effective.

References to Kurosawa’s Ikiru resurfaces in Amit Ranjan Biswas’s poignant Bengali film Bridge