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40th and 50th decade is an important time frame of 20th century.The political and social conditions of this period are turbulent. Two fiction writers of their time, Sushil Jana and Swarnakamal Bhattyacharya have highlighted the common, low-class life of the people in their short stories. 40th and 50th decade is an important time frame of 20th century. This time frame is not only important for political turbulence, but also for war, famine, riot, partition of nation and achievement of independence. From this period this social life of Bengal started flowing through a new channel owing to the infiltration of refugees. People dreamt of the post independence days. They had the hope that minimum requirements of life will be fulfilled. But that did not happen. Only transfer of power took place. ‘Crossing the boundary of life, livelihood and freedom fight, the communists, during this period, projected before the common people a new horizon- aim of social revolution.’ Literature also emerged with politics in a new way. New magazines came into existence. What is said about ‘Arani’ magazine is as follows- ‘this magazine played a pioneering role in spreading Marxist thought and opposing Fascism.’ As a writer Sushil Jana has played an active role in the progressive literature movement. He joined the ‘Arani’ magazine as a co-editor. From the very beginning Swarnakamal Bhattacharya was with Satyendranath Majumdar in the work of editing the magazine ‘Arani’. This discussion is on two same minded contemporary fiction writers. If their short stories are scanned, the picture of common and middle class life during 40th and 50th century will come out. Agony of their life can be seen. They never flinch back from the struggle of life. These two fiction writers have aptly depicted their effort to grad any support of life and continue their existence.

Sushil Jana came in contact with renowned poet Hem Bagchi, the then Bengali teacher of Padmapukur institution. From then he felt the urge to be a writer. He cleared B.A from Ashutosh College and M.A from Calcutta university and returned to the village. After returning to the village he worked as a temporary employee in the food distribution department. He was an eyewitness to the famine of 1943. This reflection can be seen in his writings too. In 1944 he became a member of communist party with Manik Bandhyapadhyay. In 1949, he jointly took the responsibility of editing the magazine ‘Parichay’ with Mangalacharan Chattapasdhyay. In 1951, he joined Murlidharn Girls College as a professor of Bengali language and literature.

As a novelist Sushil Jana has left a deep impression. He was proficient in composing poem and translating articles too. But his short stories will only be discussed here.

His first compilation of stories is ‘Padachinha’ (1944). Which were published later were ‘Sheola’ (1946), Gram nagar’ (1949), ‘Ghorer thikana’ (1953), ‘Dwitya Jiban’ (1957), ‘Chirodiner Kahini’ (1957), ‘Shrestha Galpo’ (1967) and ‘Nagare Prantore’ (1983). Some of his stories may be discussed in order to know the then life-struggle of oppressed and downtrodden people. Their struggle for existence is unfolded.

It has already been said Sushil Jana is an eyewitness to the famine of 1943. ‘Though various writers have seen the famine from various angles, none of them has consigned the famine-affected people and their thoughts to the destiny. All of them have made their protagonists struggle for existence.” In the story ‘Kukur’ by Sushil Jana, Madhab and his wife goes to the godown to steal rice. Though Mayna was abused and humitiated and her tender son were bitten by dogs there, they remained silent in the hope of getting some rice. Mother’s love and affection, as if, lost words here. Actually subtle human feelings have vanished into thin air owing to acute hunger. At last, when Madhab falls among snarling dogs and their sharp teeth, the guard of the godown stands still. He cannot decide ‘whom to shoot- the dog or the man.’ Time, situation, identity crisis- everything is projected through the story. Sumita Chakraborty has said- ‘The famine related stories are not only the tales of breadlessness or proverty. Actually they are history of oppression. It may be said that this feeling of general oppression of Bengali literature is the end product of anti-fascist exuberance. The well known story ‘Kukur’ by Sushil Jana was also written during that period.’

In the story of ‘Fasal’, it is seen that Laxman, a poor farmer goes to the blasckmith and orders a sickle so that he can harvest with it. All the farmers of the village orders sickles because the harvest time is nearing. But the influential ‘Choudhuries’ of the village orders the same blacksmith to make spear instead of sickle. Their aim is to loot paddy. When Lakshman goes to bring his sickle at dawn, he cuts his foot on the spear out of carelessness. The heap of paddy which was pilled on Girish’s yard and whose colour was like raw gold turned red by being wet with blood. Tyrany of upperclass people on lower class people has been tried to be depicted in the story.

Towards the end of 1946, Tebhaga Movement started from Dinajpur in north Bengal. ‘Hindus and Muslims unitedly demanded the right of crops.’ That was really a remarkable event. ‘Beti’ is a story by Sushil Jana. ‘It is related to Tebhaga Movement. By reading this story one can comprehend that every moment of the story associated to farmer’s life.’ It is a living deed of comtemporary reality. In this story, it is seen that Mathura has sold his daughter thrice out of proverty. Again, he has taken her back too when he earns some cash. Mathura along with other villages have looted landlord’s paddy. He says- ‘we have done the right thing. We produced the crop keeping ourselves half starved. It is our paddy and we have brought it.’ They produced crop by their blood and sweat and the landlord harvestd it. Mathura repents that, ‘he has a daughter- not a son. She is born to go to somebody else’s house. If she were a son he would appreciate the agony of his father and feel the attraction to the village soil.’ Once Panti was arrested and interrogated by the people of landlord. Getting no reply theyoppressed her too. But they could not extort anything from her. Then they tied her up with a bamboo just like a cow is taken to the carcass place and left her near a culvert. The picture of inhuman oppression on the poor people by the then landlord is depicted here. But at last, Panti, inspite of being a daughter, removes the repentation of her father of not having a son.

A grim picture of famine is seen in the story of ‘Saltamami’ by Sushil Jana. Mobarak, the son of Ismail. Is hopeful that there will be a good yield of crop this year, because soil has become fertile with human bone. Huge number of people died during famine. But it is seen that Mabarak and his wife die of starvation and without treatment just like his two young sons. His father Ismail wrapped the bodies with mat asnd disposed it in water because no man is available to dig grave. Most of the people have died during the famine. Old Ismails hands are not that strong now. Later it is seen that two bone collector come to Ismail and asks him where bone may be available. Ismail advises them to go to the swamp. ‘That is the place where Amina has gone, his two sons have gone, Mobarak has gone. There is the bone of his cow. There is the bone of his ox whose horns were broken. A lot of bone is there’. Famine and post famine life of the mass has been depicted in the story.

Another writer of 40^th decade is Swarnakamal Bhattacharya. What his short stories reflect are the riots after 2^nd world war’, partition of the nation, achievement of independence and post independence repentance, protest and despondence. With the pseudonym of ‘Anami’ Swarnakamal Bhattacharya would regularly features in the magazine of ‘Arani’ Through these writings, he would project before the readers the Marxist thought concerning the social, political and cultural field. Like Sushil Jana he was also associated with the movement against Fasism.

As far as number is concerned, Swanakamal Bhattacharya has not written to many short stories. So far two story books have been available. They are ‘Sabar Sathe’ and ‘Choto Baro Majhari.’ Besides these there are seven stories which were not published in books. His three novels are- ‘Tir O Taranga’ ‘Tathapi’ and ‘Antyesti’.

Some of his stories may be discussed to show he has projected the helpless condition of men and how they struggled through thick and thin. One of his stories is ‘Mantrashakti’. The protagonist Rasul was a thief at the early stage. But at the end of the story he also became a protester. They  toil in the houses of wealthy people, but do not get remuneration. Sometimes when get, it is not even half of the amount. So Rahamat Ali says to Rasul, ‘You are deprived and I am also deprived. Everything goes to the pocket of Rajab Ali Khan.’ They are able to apprehend who are depriving them. Somnath Hor opines as follows- ‘The fudals do more harm than the wild boars do. Due to their tyranny, most of the time the farmers have to starve. Hence (there is the) protest.’ The farmers restarted to vociferous movement on the demand of ‘Tebhaga’. Rasul voiced the key phrase- ‘Everyone will sacrifice life but not paddy.’

In the story ‘Itar’ what is depicted is the suffering of common people in the so called renowned hospitals. Ugliness and humiliation of city life is reflected in the story. Ramanath could wangle a bed for his wife in the hospital by bribery. But his qualm starts eating him when he sees another lower middle class woman Lakshmi. After hearing the quarrel between Lakshmi and Loknath, Shova, the wife of Ramnath considers Loknath to be a scoundrel. But here the question arises from somewhere- who is the real scoundrel? Financial degeneration has infected human mind with doubt and dejection.

 ‘The poem of 50^th decade are enriched with the theme of want and fulfillment of the middle class, loss of the acquired and love.’ Likewise, the Bengali short stories are not exception to that. In the story ‘Ekdin Sokabelay’, Sudhin, a mare clerk, wants to spend Rs 10 which was saved by his wife in his own way. But that RS 10 was his only saving.Sudhin thinks of buying Sari, ice-cream, lemoned and garland on account of there marriage anniversary. But he remembers that his wife Anima is pregnant. Anima is suffering from fatal desease, there is dearth of warm cloth in winter. So many hidden sighs move around in his mind. So Sudhir does not feel like expending the money. He decides to save the money in the post office. People even with limited resource search for peace. But in this life, too pain lurks somewhere.

‘The famine of Teroso Panchas (1943) pauperized Bengal. Though the food scarity reduced in next few years, Bengal did not get rid of the scarcity.’ So Bengali short stories have again and again told the tales of unemployed mass who were the product of strike, lockout and dismissal from job. Swrnakamal Bhattacharya’s story ‘Agun’ is a tale of a man who was once convicted.Sidhu has been released from jail after a long time. But he dose not get any job. Paws of famine asnd blackmasrketing has become the obstacle for livelihood. Sidhu remembers that though one is beaten in jail, he is given meal to his fill. He wants to steal again and go to jail in the hope of getting sufficient meal there. He breaks the glass of firebox near the letterbox by the footpath and revolves the handle inside. When everybody questions, he answers that there  is fire. Sidhu has to go to jail again to extinguish the fire of hunger.

40^th and 50^th decade of 20^th century is an important chapter of Bengali literature. Sushil Jana and Swarnakamal Bhattacharya were two little discussed or almost undiscussed fiction writers of this chapter. Both of these fiction writers were deeply associated with anti fascist movement and believers of Marxism. Contemporary social, political and economic situations are reflected in the writings of both of them. They have nicely drawn the picture of agony of common man in their writings. They had the opportunity to mix with poor and common people. So they have been able to flawlessly project these men in their stories. They have raised their voice against the then economic, political and social situation. But these stories of degeneration, tyranny and despondence are not merely some informations. Aesthetics of arts are lying in them. Above all, characters of their stories are trying to struggle and remain alive. In Sushil Janas story trying to struggle and remain alive. In Sushil Jana’s story ‘Bohin’, the labourers are trying to get united. The protagonist Bonwari says- ‘We went deal –we want answer- we do get it one day.’ Again in Swarnakamal Bhattacharya’s story ‘Ruti and Beti’ it is seen that a beggar who lives in footpath is accepting a handicapped youth as a son. The fiction writer has said, “Lotus blossoms in bog. Affection, care and love are not only the monopoly possession of the dry land – there is no dearth of seeds in the quag under water.’

1. Amalendu Sengupta, Uttal Challish Asamapta Biplab, Protivas, Kolkata, First edition August 2006, p.6. 2. Swapan Basu and Harsh Dutta edited, Bish sotoker Bangali Jiban O Sanskriti, Pustak Biponi, 27, Beniatola lane, Kolkata 700009, second edition, April 2010, p. 419. 3. Dr. Meera Ghosh, Dwitiya Visva-Yudha Somokalin Bangla Kothasahitya (1936-1945), Modern Book Egency Private Limited, 10 Bankim Chatterjee Street, Kolkata 700073, First Published 15 Sep. 1984, p.149. 4. Sumita Chakraborti edited,Sushil Jana Golpo Somogro, Ekus Sotok, 15 Shyamacharan Dey Street, Kolkata 700073, First published 2019, p.83. 5. Sumita Chakraborti,Chotogolper Bisai-Asoi, Pustak Biponi, 27, Beniatala lane, Kolkata-9, Fourth Printing, March 2021, p.60. 6. Sandip Bandopadhya, Itihaser Dike Fire Chechollisher Danga, Radical, Kolkata, Third Published Jan. 2015, p.83. 7. Suparna Patrika, Nilasha Das edited, Murlidhar Girls College, 2008, p.42. 8. Ibid, p.260. 9. Ibid, p. 264. 10. Ibid, p. 98. 11. Swanakamal Bhattacharya, Golposangroho, Kotharup, 59 Sreema Road, Kolkata 65, First published nov. 2016, 12. Somnath Hor, Trbhager Diary, Subarnarekha, 73 Mahatma Gandhi Road, Kolkata 700009, First Published 1991, p. 51. 13. Ibid, p. 258. 14. Himobonto Bandopadhya, Kobita nia, Bangiyo Sahitya Sansad, Bharati Book Egency, 66/3 Mahatma Gandhi Road, Kolkata 700009 First Published 1411 (Bengali year), p. 165. 15. Sandip Bandopadhay, Bikhuddho Bangia Paschimbonger Birodhi Rajniti (1947-2007), Radical impression, Kolkata First Published nov. 2014, p.27. 16. Ibid, p. 238. 17. Ibid, p. 28.