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Ashutosh Mukhopadhyaya (1920-1989 AD) is a prominent fiction writer who appeared in the forties. From 1940 onwards, his writings began to gain recognition among Bengali readers. His birth centenary has already been passed. After his death in 1989, another thirty-four years have passed almost. In newspapers and magazines like 'Anandbazar', 'Bartaman', 'Arupkathan', 'Barta Today', 'Yugashankha', 'Prothom Alo' etc., one can find reading-response criticism or a few memoirs about the literary Ashutosh Mukhopadhyaya and his literary works. But overall research on him has not been particularly noticed. The lifetime experience of the writer from birth to death generally takes shape in literature. There inevitably emerges the insightful truth of literary’s life itself and research is needed to find all those truths. There is plenty of scope for thinking about the whole creation of the literary Ashutosh Mukhopadhyaya to achieve such an aspiration.

Thirty-four years have passed since the death of the writer Ashutosh Mukhopadhyaya, who was at the centre of fame for four decades from the 40s to the 80s. In these thirty-four years, a huge history of ups and downs of new stars has been created in the sky of literature. But I feel it is not desirable to lose the documents of the past. It is in that question that there is a need for research on literary Ashutosh Mukhopadhyaya and his creations to preserve the precious art of creation and its proper evaluation.

Ashutosh Mukhopadhyaya and his literary works have been written in newspapers such as 'Anandabazar', 'Ei Samoy', 'Bhorer Alo', 'Yugsankha', 'Barta Today' etc., but little literary criticism or personal reminiscences with him have not been researched on his overall creation. But he was in the limelight as a writer from the 1940s to the 1980s. In the meantime, twenty-six volumes of Ashutosh Mukhopadhyay's works have been published in the joint initiative of the literary daughter Smt. Sarbani Mukhopadhyay and the famous 'Mitra and Ghosh' publishing house for a long period of twenty-eight years from 1994 AD (Magh, 1400 Bangabda) to 2022 AD (1 Baishakh, 1429 Bangabda). In the twenty-sixth volume, Sarbani Mukhapadhyaya has given 'final tribute' (‘sample tarpan’) to the Literary. So the end of this literary entity's vast career with readers can be assured in 2022. Each of the twenty-six volumes of Ashutosh Rachnavali presents a collection of novels, stories or collections of stories published in book form by 'Mitra and Ghosh' and other publications during his lifetime and after his death. However, not only previously published novels but also some unpublished new novels have been included in the anthology. Novels published continuously in various newspapers and magazines during his lifetime. Ashutosh Mukhopadhyaya's autobiography titled 'Sabinay Nibedan' in ‘Desh Sahitya Patrika, 1382’ also contains various informations about his creation. Novelist Ashutosh had written four novels in his very early life. Those were - 'Kalchakra', 'Artamanab', 'Jivantrishna' and 'Ulka'. But at a mature age, he did not agree to call them novels.  The publication dates of these novels are not found. Perhaps this is the reason why these early novels were not included in Rachnavali. The number of novels compiled in the twenty-two volumes of Rachnabali is eighty-nine and the number of stories in the twenty-five storybooks compiled in the 3rd, 4th, 7th and 8th volumes is one hundred and seventy-five. A search of his total oeuvre throughout his life yielded two features, ninety-five novels, one hundred and seventy-six short stories, and a total of ten essays.   

Ashutosh Mukhopadhyaya was born on September 7, 1920 (22 Bhadra, 1327) in Vikrampur, Dhaka. He is the fifth child of Paresh Chandra Mukhopadhyaya and Tarubala Devi. Ashutosh Mukhopadhyaya grew up among ten siblings in a joint Mukherjee (Mukhopadhyaya) family. But Ashutosh Mukhopadhyaya stands out from all others. Before him, it is not known that anyone in their family was particularly fond of literature, let alone literary creation - 'I heard from my father that no one in the Mukherjee family had ever scratched a scratch of a story or bothered with the rhythm of poetry'[1]. So it can be said that he did not have the family environment to become a creative writer or the son of the Mukhopadhyaya family Ashutosh Mukhopadhyaya did not become a writer genetically. So how did he enter the world of creation? I will talk about his becoming an artist of literary creation throughout his life.

The three phases of Ashutosh Mukhopadhyaya's life from birth to death that need special attention are – First, how the growth of Ashutosh Mukhopadhyaya, the fifth child of ten children of father Pareshchandra Mukhopadhyaya and mother Tarubala Devi, gave birth to a transparent personality. Secondly, the period in which he became truly literary in middle life, where we can see the history of his writing and the self-establishment of his literary being. In the third stage, I will talk about the context of his mature mind in the last part of his life. There we will notice the special position of three women and one boy throughout his life. These women were the writer's mother Tarubala Devi, wife Mamata Mukhopadhyaya and daughter Sarvani Mukhopadhyaya and the boy was his prematurely deceased son Jay Mukhopadhyaya. The simplicity of his personality and the firmness of his faith won him the struggle for literary establishment. It must be said how the insight into the whole of life continued to influence his creation. To facilitate the discussion of these three stages, I will present three sub-chapters. The subchapters are as follows –

A. First Stage: Adolescence and the formation of a transparent personality
B. Second stage: History of literary creation and self-establishment
C. Third stage: Life study and the whole creation 

A. First Stage: Adolescence and the formation of a transparent personality

The environment of childhood or adolescence builds the structure of each generation's future. Sometimes that environment is favourable and sometimes it is unfavourable. All people's life goes on in an easy rhythm due to environment and circumstances. But by fighting against the environment, the ‘Evolution of the fittest’ is observed. In the same way, Ashutosh Mukhopadhyaya has set an example of the development of the best in family and various adversities by developing his creative personality. Due to his father's job,  Ashutosh has travelled to many places in undivided Bangladesh. A strong right-hander by nature, Ashutosh  won cup medals in hockey-cricket-football. But that boy is secretly suffering from depression. Let's say his own words in this context –

‘But besides the unstable exterior of that age, I had a tight inner world. I don't know whether the reader will laugh when he hears all the strange news of that world or look for the future of the writer in that mirror. Even though I spent the day in so much sports and noise, my sleep was disturbed at night since childhood in an unhealthful way. ... In general, from the age of twelve or thirteen, I used to watch the nights with fear'[2].   

The childhood depression of the literary father is also known more strongly from Sarvani Mukhopadhyay's (Ashutosh's daughter) memoir titled ‘Lekhak-Manush? Na Manus-Lekhak?’- 

‘The fifth child out of ten siblings could not find a mother who was troubled by the troubles of one child after another, for a very natural reason. But the mind moaned, wanted to cling to the mother, wanted to bury the face in the warm warmth of the mother's chest. In fact, this boy suffered from a kind of 'fear complex' and 'insecurity' since childhood. Apparently, there was no reason for this. But what is the cause of everything? If that had been the case, Ashutosh could have slept peacefully next to his siblings at night. He was not afraid of the lonely night. Sleepless nights did not create all sorts of wild fantasies in the pursuit of conquest. And then the future 'writer' Ashutosh Mukherjee would not have been born.'[3]

But is this fear complex or is the thought of insecurity only a refuge of imagination or the first hand of creativity? It certainly isn't. Ashutosh kept this time of depression Secretary. Later, he found the meaning of the mental suffering of adolescence through the relationship between men and women. Finding the real cause of his suffering was the first step of his creative thinking. Then he understood the reason for the insecurity of youth. In fact, the child's mind is always dependent on the mother. But in the case of the male child, the first contact of the body with the opposite sex is his mother. Invisibly, the child touches the mother's breast, is satisfied with the mother's kiss, his crying stops, and he becomes sensitive to the mother. This is a primal biological tension, the blunt truth. Ordinary people can express anger at this fact. But one who deals with creativity with both psychological complexity and a simple sense of life cannot deny such a fact. He will always see and show with a clear perspective. So while writing about himself, he repeatedly spoke of the mirror – 

"The mirror is for looking at yourself and seeing yourself. Yet the wonder of this sight becomes a matter of sarcasm, irony, and pity in the eyes of others - this is also almost true. If someone orders on this, turn that mirror in your hand to thousands of people and reveal yourself - then?'[4]

Ashutosh Mukhopadhyay's personality at the juncture of adolescence and youth was made clearer by the book of adult stories. It was a domestic crime for a fourteen-year-old boy at that time to read adult romance novels. But Ashutosh broke the fort in the solitude of the night and committed the crime in Mahapul. The heroines of Saratchandra Chattopadhyaya's novels have robbed him of sleep. Questions have arisen about the chastity of widows. He was impressed by Kiranmoyi's mirror behaviour. He firmly understood that there is no way to deny the primal biological pull in the confines of conservative beliefs. His astonishment was gradually fading away. The heroines of Sarat Chandra's novel helped to overcome the curiosity of puberty in the construction of a transparent personality –

‘At that age Saratbabu's heroines teased and killed me. They are projecting from the screen of a half-known half-known world. A greedy son of Nivrit wants to see more of them, wants to know more, wants to understand more'[5]^.

After that, he penetrated the most primitive mystery of male-female relationship and reached the essence of sexual consciousness by reading the novels of Naresh Gupta, Saurin Mukhopadhyaya, Achinta Kumar Sengupta. From the time of adolescence to adulthood, the courage to establish one's will has entered into his personality in the face of adverse family life. His clear sense of his individuality was formed from early youth. First, by his father's will and his own reluctance, he became a science student at Hooghly Mohsin College and then directly declared conflict against his father's wishes - 'I will not study science, I will not become a doctor'[6]. Studying science, becoming a doctor did not happen. But again he had to go to Kolkata to study commerce as per my father's wish. But even there, his heart did not agree. In order not to take the test, he placed his right hand on the brick and injured his hand by throwing a stone with his left hand. He did a funny thing after playing football without sitting for the test. He collected a medical-certificate form a friend's gynecologist sister and even the serious principal had to control his laughter on this matter. He asked Ashutosh, 'What happened to you, Ashutosh, that you had to visit a gynecologist?' That too lady doctor!' [7]

After all, he never had any formal education, whether it was studying science, becoming a doctor or studying commerce because he didn't want it.   His concept got more clarity about his won willing & unwillingness. He understood gradually, he could be a writer, nothing else. He recognized himself in the mirror. This is how a transparent and strong personality was built.

B. Second stage:  History of literary creation and self-establishment

Ashutosh Mukhopadhyay's daughter Sarvani Mukhopadhyaya spoke about the sprouting of creativity of Ashutosh Mukhopadhyaya in a vlog entitled 'Kichu Katha' mentioned in the first volume of ‘Ashutosh Mukhopadhyaya Rachanavali’. His creativity sprouted since 1943. But doubts arose about this period. The reason for this is that according to the information obtained from the book introduction to the nineteenth volume of Ashutosh Mukhopadhyaya's works, there are two novel-like stories called 'Meena and Rakhi'. It was originally a collection of three 'novels' - 'Meena Rakhi and Sadhika'. The two novels 'Mina' and 'Rakhi' were published together as a book in the month of Agrahayan of Bengal 1338. This novel is dedicated to Mayuk Bose, publisher of the 'Granthaprakash' publication. But if the publication date of the novel is 1338 in Bengal, then the English year is 1931. According to this calculation, Ashutosh Mukherjee was only eleven years old when this novel was published. But given the subject matter, it is surprising for Ashutosh, an eleven-year-old child, to write a novel A Hen. After a conversation with Sarvani Mukhopadhyaya in an attempt to resolve the issue, it was revealed that the information obtained from the book introduction to the nineteenth volume of Ashutosh Mukhopadhyay's works is incorrect. In fact, the publication date of the novel 'Meena and Rakhi' was 1971 AD. However, this book is no longer printed in a single way. 

In 1943, as a young man, Ashutosh Mukhopadhyaya re-read the Charkhani novel he had read in his youth. They were - Sarat Chandra Chattopadhyaya's 'Pather Dabi', Tarashankar Bandyopadhyaya's 'Kalindi', Keane's 'Eternal City' and Wilfred Saint Mund's 'War Wine and Woman'. After reading these four books, Ashutosh Mukhopadhyaya felt the knocking of environment and circumstances at his door – 

‘As I read those books over and over again, a revolution took place inside me. I don't know what to call this revolution. It just seemed that the truth within me suddenly flared up. 

Our sky is also black with the poison of war. Among them, there is a severe famine. At that time I suddenly did a thing. I sat down to write with paper and pen. That's the first. Before this, no dream of becoming a writer came to mind. Even that day I did not think that any dormant writer had awakened in me. What an urge to write. Needless to say, the setting of that writing is our subjugated country, and the heroes and heroines of that writing are mantra-initiated revolutionaries. And the smell of gunpowder in that raw writing.'[8]

But Ashutosh tore it after writing it. Although the date is not mentioned, that day was the day of Ashutosh's first entry into the world of literature. Then  he read more carefully and wrote and tear and wrote and tear again and made piles of paper. At that time Ashutosh was just a beginner in the field of creativity. But age was increasing. There was also a sense of responsibility towards the world. The price of an unemployed youth was negligible in the family, he was a source of worry in the family. But the magic of dreams was also persistent. And he was drunk with the addiction of self-establishment in such a world with which the clan never had any relation. He was a child of a family that lived in a simple equation of life according to the job and rules of that time. The meaning of the happiness of the unemployed son was a joke there – 

‘Ausha naki lyakhe? Ki Lyakhe? Pram? Pramtam o Sikhlo Koththika?'[9] [Relatives made fun in their ‘Bangal dialects’* like this. It means- ‘Does Ausha (Ashutosh) write?...what does he write? Story or Novel? What type of story or novel? Is it like a love story? But from where does he learn these?] 

After sending the articles to various newspapers and magazines with return stamps, most of his articles were returned. He heard bad words from his father in silence - 'What will happen after writing these words? Will you ever be able to collect the price of the stamp that you are sending the writing with?'[10] Ashutosh Mukhopadhyay's own words recalling that brutal hardship - 'Why am I the only one who is so empty in the midst of all this abundance? It seems to be an uncertain future, there is no air to breathe.'[11] 

The struggle for self-establishment was miserable. In the beginning, his fate was also very cruel, and ironic. The first novel 'Kalachakra' was published in 1944. He was then twenty-four years old. However, the novel was first published by the publisher Hindustan Book Depot with the financial support of the novelist himself and his well-wisher Sorab Ali. Book of seven forms, price three rupees. Friend Sorab Ali invested 700/- rupees in this sector and the author gave 200/- rupees. The terms of profit and loss are equal. The novel also sold well in the market. Ashutosh was hoping to become an established writer - 'I first knew how it felt to swim in the air'[12]. But then again it was like the torment of fiery moths! He wrote four more novels - 'Artamanab', 'Jevantrishna', 'Ulka' and 'Chalalchal'. Although the movie contract was signed with the manuscript of 'Kalchakra', it was not finalized. 'Artamanav' was not printed. Although a few books of 'Jivantrishna' were printed, the publisher stopped the publication due to a loan in the market. Ashutosh Mukhopadhyaya himself helped in that publication by borrowing some money. So he also went bankrupt. After about seven years in 1951, 'Chalacal' (Novel) was published. But in the intervening seven years his life was like burning himself in search of light.

Among all the employed siblings Ashutosh was unemployed. Almost he was like poison in everyone's view. Compulsory he took the job. But he left seven jobs one after one and had debt in the market. However, you can't stop writing. Finally, Kabiraji took up the job of writing witty advertisements for drugstores to earn money. And sometimes he used to get feature writing work in the pages of 'Yugantar'. However, two of his writings should be noted at this time. One, 'Prasadpuri Kolkata'[13] on Yugantar's page and two, 'Achal Manab Series'[14] published on monthly Basumati's page edited by Prantosh Ghatak. After that, he wrote his first story in the monthly Basmati with the encouragement of Prantosh Ghatak. The name of the story is 'Nurse Mitra'. It was this 'Nurse Mitra' story that created a response in the form of the movie 'Deepa Jhale Jai'. Although Ashutosh Mukhopadhyay's literary personality was in the hands of writing novels, readers knew him by reading 'Nurse Mitra' (story) in the pages of the monthly Basumti and later by seeing Nurse Rekha Mitra in the movie 'Dweep Jhale Jai'. After writing 'Nurse Mitra', another story in the monthly Basumati marked him as a literary man. The name of that story is 'Kalankoboti'. Immediately after this, for some time he wrote only one story after another. Then in 1951, the Manuscript Publisher published a novel which was written long time ago. The name of the novel is 'Chalachal'. The novel 'Chalachal' was written only after the publication of 'Kalchakra' in the book form. But it was rejected by many publishers as 'too sentimental writing'. Although 'Chalachal' was published in 1951, Ashutosh Mukhopadhyaya was no longer writing novels. At the end of seven long years from 1951-1958, he once again wrote his novel 'Panchatpa' on the pages of the monthly Basumtiti at the request of editor Pranatosh Ghatak. Meanwhile, Ashutosh joined his tenth job at 'Yugantar Patrika'. In this situation, Gajendrakumar Mitra, the publisher of Mitra and Ghosh Publications, took over the publication of the novel before half of the novel 'Panchatpa' was printed in Basumathi's pages. Then he had to never look back to after that. The last step in obtaining the establishment was as follows –

‘On the day 'Panchatpa' appeared in the world in book form, the author went to the publishing house in the afternoon, the serious publisher handed him a 'cheque' and said - 'There is one condition. After that, you can't give it to anyone before you give us six novels in a row.' The new writer's own words were not believed that day - just listening! ... Gajendranath Mitra signed the contract of 'Panchatpa' on that day and said, "I have understood what I understand by pressing rice in the pot"[15].

But the best award he received for the novel Panchatapa was from the literary Tarashankar Banerjee. That is to embrace ancient literature. They have a sense of humour in that meeting. The novel was dedicated to writer Tarashankar Bandyopadhyaya on the advice of publisher Gajendrakumar Mitra when it was published as a book. After reading the novel, the ancient literary man himself went to see the new writer Ashutosh Mukhopadhyaya. In the meeting, he asked, 'Why did you go to make the rhymes of Panchatpa yourself?'[16] In response, the young writer desperately said, "There are many rhymes and rhymes in the novel 'Kabi', but why did the author of 'Kabi' write them himself?"[17]- There was no reply, there was an order to eat at the ancient writer's house and a sudden embrace on the open chest. In the context of self-establishment in the literary world, we have to talk about three things, without which it is not possible to show the history of his self-establishment in a complete form. These three things are- One. Speaking of publishers, Two. Reader's Word, and Three, About other contemporary writers' views on Ashutosh Mukhopadhyay's creation. The self-establishment of the artist is not a matter of fame or popularity because the seal of self-establishment does not come without the recognition of the majority. And in the field of literature, the way to read this seal is firstly when the work reaches the door of the printing press in the opinion of the publisher. Secondly, when it finds special acceptance among intellectuals and general readers. Thirdly, when the particularity of his creation is revealed even in the assessment of contemporary artists and fourthly, when the literary establishment spans several generations or some of his works are timeless. Ashutosh Mukhopadhyaya's timeless work has been duly recognized by renowned publisher Gajendrakumar Mitra's 'Mitra & Ghosh' publishing house. Five years after his death, from 1994 (Magh, 1400) to 2022 (Baishakh,1429), twenty-six volumes of Ashutosh Mukhopadhyay's works have been published by 'Mitra and Ghosh', each of which has on its cover the context of the timeless nature of his work from the publisher's point of view. is mentioned. According to the publication, Ashutosh Mukhopadhyay's work deserves to be immortalized in this comprehensive arrangement to record his work twenty-eight years after his death. Each cover of the first to twenty-sixth volumes of the anthology shows no change in the declaration based on the publisher's point of view. The announcement is notable –

‘Love and faith in all human beings, artistic dispassion in reflecting human life in literature and devotion to the truth of literature and life - if these conditions are strictly observed, literature deserves to be timeless.’ All the novels and stories that stand before us with unbroken reputations from the earliest days of literature to this day are all stories, people and people's life stories being the first and foremost thing in them. Ashutosh Mukhopadhyay's literature is rich in all the above rare qualities and undoubtedly deserves to belong to the category of timeless literature and this is the reason why we publish this comprehensive collection of Ashutosh Rachnavali'[18]. 

Without the expression of creation, the establishment of the literary is not possible in any way. Ashutosh Mukhopadhyaya said about his self-esteem as a writer- 

'I have noticed a kind of watchful curiosity of the mysterious reader about the motivation and feelings of the author's first entry into the literary era. I don't know about teammates, that first feeling of self is nothing like 'thor-thor first parash kumari' anyway; There was no plan, no preparation, and no great source of motivation behind entering this premises. It's a lot like breaking in without permission and becoming a snack'[19].

Since Ashutosh Mukhopadhyay was neither born nor brought up in any literary environment, so in his case, the handwritten account of the world of imagination or real experience and creativity from it can be said to be very accidental. Not writing just because I want to write, but writing suddenly. A strange attraction to writing was born. As a result, he was not being able to settle down in one job after another. But what is created by just writing? No, it doesn't. He who is the creator of creation needs to create himself. But Ashutosh Mukherjee didn't get the environment needed for the formation of an artistic mind in his early life. The adversities of the family environment were fatal. But some newspaper editors and a handful of publishers favoured the situation. Prominent among them were Pranatosh Ghatak, editor of the monthly Basumati magazine and writer Gajendrakumar Mitra, owner of 'Mitra O Ghosh' publication.

Ashutosh Mukhopadhyay worked for Yugantar Patrika for eighteen years (1954-1982 AD). He remained permanently in this job until the end of his life. Starting from the job of feature writing in Yugantara, he got special recognition by writing the two stories 'Nurse Mitra' and 'Kalankaboti' in the monthly Basmati at the call of Pranatosh Ghatak. It was then that Ashutosh Mukhopadhyaya was established in the middle of literature by the novel 'Chalachal' published in 1951 by Gajendra Kumar Mitra's 'Mitra O Ghosh' publication. But it is also wrong to say that Ashutosh Mukhopadhyaya became famous only by publishing stories or novels in books. His reputation and foundation were further strengthened by the spotlight or the world of movies. After the publication of the story 'Nurse Mitra' in Basumati, a movie called 'Dweep Jele Jai' was made from that story in 1956 under the direction of director Asit Sen. Ashutosh Mukhopadhyaya himself wrote the script of the movie. After that, under the direction of Asit Sen, the story of three more novels became a film. These were 'Chalachal', 'Panchatpa' and 'Jevantrishna'. From 1959 to 1992, films based on Ashutosh Mukhopadhyay's stories and novels were made in Bengali and Hindi. All those movies have popular actors and actresses. There are also timeless contributions of acclaimed musicians such as Debbrata Biswas, Hemant Mukhopadhyay, Kishore Kumar, Lata Mangeshkar, Pratima Banerjee etc. Ashutosh Mukhopadhyay's popularity with the public has grown significantly due to the continuous film adaptation of his novels for four decades. There are a total of seventeen films based on his novels and stories. Each of them gained special popularity. These are notable – 

1. 'Jiban Trishna', 1957 Asit Sen directed the Bengali film 'Jiban Trishna'[20] based on the story of this novel. The scriptwriter is a novelist himself. Uttam Kumar, Suchitra Sen, Pahari Sanyal and Vikas Roy played the lead roles.

2. Based on the novel 'Panchatpa' the name of the Bengali film is 'Panchatpa'[21] (1957 AD). Novelist Ashutosh Mukhopadhyay created the dialogue from the story. It was directed by Asit Sen. Arundhati Devi, Shukla Sen, Chandravati Devi, Padma Devi, Sita Sengupta, Pahari Sanyal, Kamal Mitra etc. played the lead roles.

3. Based on the story of 'Nurse Mitra', a socio-drama film named 'Dweep Jwele Jai'[22] was made. The scriptwriter of the movie is Ashutosh Mukherjee. It was produced by Badal Pictures. Released in 1959, this movie is directed by Asit Sen. Actress Suchitra Sen acted in the main role of the film i.e. 'Rekha Mitra'.

4. 'Satpake Bandha', based on the story of the novel, was made into a film in both Hindi and Bengali languages. In both cases, the author of the script is the novelist himself. In 1963, the movie 'Satpake Bandha^'[23] was directed by Ajay Kar in Bengali and in 1974 it was filmed in Hindi as 'Kora Kagaz'[24] under the direction of Anil Ganguly. The film reached peak popularity in both Hindi and Bengali. In Bengali, the two main characters of this movie are 'Archana' and 'Sukhendu'. 'Suchitra Sen' and 'Soumitra Chattopadhyay' played the roles of these two characters. Suchitra Sen won the 'Silver Prize for Best Actress' at the Moscow Film Festival for her performance in it. Jaya Bhaduri acted in the Hindi movie 'Kora Kagga'. The Hindi film won the 22nd National Film Award. It also won the Wholesome Entertainment Award for Best Popular Film Supplier.

5. Based on the story of 'Sandesh', a Bengali film was made in 1966 AD called 'Sankhabela'[25] by a pioneer. Uttam Kumar, Madhavi Mukhopadhyay, Vasant Chowdhury, Ira Banerjee and others acted in the lead role in the movie.

6. Based on the novel 'Kal, Tumi Aleya'[26], a Bengali film of the same name was made in 1966 and directed by Sachin Mukhopadhyay. Its dialogue writer was Ashutosh Mukhopadhyaya. Actor Uttam Kumar played the role of Dheerapada Chakraborty, Savitri Chattopadhyay played the role of Supriya Devi and Sona Boudi as Doctor Lavanya Sen.

7. Bengali film 'Sabarmati'[27] directed by Hiren Nag based on the novel 'Sabarmati'. The film was released in 1969 under the banner of Loknath Chitramandir. The Scriptwriter was Ashutosh Mukherjee. The film stars Uttam Kumar as the main character Shankar, Supriya Devi as the heroine Jashomati Pathak, Chaya Devi as Kamala Devi Pathak, Bhanu Banerjee as Behari, Pahari Sanyal as Mahadev and others.

8. Based on the novel 'Natun Tulir Taan' Bengali film 'Nabraag'[28] was released on February 4, 1971 under the banner of SM Films and directed by Vijay Bose. Novelist Ashutosh Mukherjee is the author of both the story and the dialogues. Uttam Kumar, Suchitra Sen, Bikash Roy, Zahar Roy etc. played the lead roles in the film.

9. Based on the novel 'Alor Thikana', the Bengali film 'Alor Thikana'[29] released on February 15, 1974, directed by Vijay Bose. The script is written by Ashutosh Mukherjee. Starring Uttam Kumar, Aparna Sen, Anil Chatterjee, and Chaya Devi in ​​lead roles.

10. Based on the novel 'Ami Se O Sakha', a film was made in both Bengali and Hindi languages. In both cases, the script writer of the story is Ashutosh Mukherjee. In Bengali in 1975 the film 'Ami Se O Sakha'[30] was directed by Mangal Chakraborty and in Hindi in 1982 it was made into a film called 'Bemisal'[31] directed by Rishikesh Mukherjee.

Based on the novel 'Nagar Darpane', a Bengali film titled 'Nagar Darpane'[32] was directed by Yatrik in 1975 (director trio Tarun Majumdar, Sachin Mukherjee and Dilip Mukherjee). Ashutosh Mukherjee produced the script. It was produced by SS Productions. Uttam Kumar played the role of the main character Anupam Chakraborty. Also present were Supriya Devi, Chaya Devi, and Haradhan Banerjee.

11. Based on the seriocomic novel named 'Chander Kachhakachhi', a Bengali film directed by Jatrik (director trio Tarun Majumder, Sachin Mukherjee and Dilip Mukherjee) was released in 1976 AD under the banner of Badal Pictures. The film is named after the novel 'Chander Kachhakachhi'[33]. Novelist Ashutosh Mukherjee is the author of Dialogues. Uttam Kumar played the role of the main character Dr Chandranath Mukherjee.

12. The novel 'Bakulbasar'[34] was serialized on Doordarshan.

13. The Bengali film based on the novel 'Aro Ekke' is also called 'Aro Ekke'[35]. Directed by Srijan, this film was released in 1980 under the banner of Baba Tarakanath Chitramandi. Uttam Kumar played the main character of the film, Major Dilip Das, and Sumitra Mukhopadhyay played the role of Sharmila, a young doctor by profession.

14. Bengali film 'Amar Kontak'[36]  directed by Sukhen Das and produced by Mala Gupta in 1986 based on the novel 'Amar Kontak'. The film was released under the banner Parnachitram. Ashutosh Mukhopadhyay created the film's dialogues from the story. Sukhen Das as the main character Devesh, Munmun Sen as Urmi, Chiranjit Chakraborty as Vinu, and Soma Mukherjee as Promi.

15. Based on the novel 'Sonar Kathi Roopor Kathi', a Hindi serial directed by Rishikesh Mukherjee was filmed in DD National in 1992, titled 'Talash'[37]. The dialogues were produced by Ashutosh Mukherjee, Anil Ghosh, Zaheer D. Larry and DN Mukherjee jointly. Moushumi Chatterjee, Alok Nath, Dina Pathak, Rajendra Gupta, Megha Chatterjee, Vijayendra Ghatge and others acted in the lead roles.

Ashutosh Mukhopadhyay's name has been especially known in the Bengali reading community since the 1940s. But since the end of the fifties, the relationship between Ashutosh Mukherjee and Bengali Pathak has become almost like that of a family member. Then he is not only the home of Bengali readers of Calcutta or West Bengal but also close to Bengali and non-Bengali readers abroad due to the translation of stories and novels in Hindi. By the end of the fifties, his fame had spread to such an extent that any letter from abroad sent under the name of the writer (as 'Sahithik Ashutosh Mukherjee') did not need to be addressed on the postcard but simply addressed to Kolkata as '28 Pratapaditya Road, Kolkata 26'[38], 'Lalbari' or 'Mukherjee House'. The 'Lalbari'[39]  bore the final testimony of Ashutosh Mukhopadhyay's self-establishment. Some called that house 'Red Fort'[40]. Writer Ashapurna Devi also named that house 'Red Fort'[41]. The house was aptly named as a joke; But the house can be said to be the fortress of Ashutosh Mukherjee's declaration of struggle with the complexities of various situations in life, starting from his self-establishment as a writer. The history of that house is known from Sarvani Mukhopadhyay's writing entitled 'Ashar Basa (Writer's House)'[42], which belongs to the 26th volume of Ashutosh Rachnavali. Spenting of so much mone Ashutosh restored the old-fashioned red painted house. On that time the established literary man was in the midst of fame. But he himself did not give any name of the house. To him his 'father's house' - 'hope and hope... home and hope... my father's house'[43]. The atmosphere of this house is present in his story 'Asha ar Basa'[44] compiled in 'Chalo Jangale Jai'[45] or 'Dujnar Ghar'[46] mentioned in the storybook 'Dujnar Ghar'[47]. The old-fashioned 'Lalbari' or 'Mukherjee Bari' at 28 Pratapaditya Road, Kolkata 26 was instrumental in the narrative of the hero's life of unemployment ('I' as the hero) and self-establishment as a writer. The 'I'[48] of the story 'Prathama['49] narrates the story of Ashutosh Mukhopadhyaya as himself, an unemployed writer in his forties. Ashutosh Mukhopadhyay's 'Ashar Basa'[50], which was at the peak of popularity since the fifties. The 'Lalbari' became almost a seat of art, literature and music. Famous literary figures like Samaresh Basu, Mahasweta Devi, Gajendrakumar Mitra, Tarashankar Bandyopadhyay, Annadashankar Roy, Buddhadev Guha, Amitabh Dasgupta, Kinnar Roy etc. were often seen in that house. Ashutosh Mukherjee and his Muscular Dystrophy son Joy had a special passion for music. Due to the special love and respect for the literary man, several artists from the world of music used to gather in Sebari. Prominent among them were Hemant Mukherjee, Aarti Mukherjee, Haimanti Shukla, Satinath Mukherjee, Shyamal Mitra, Rahul Devabarman, Lata Mangeshkar, Asha Bhosle, Kishore Kumar, Debvrata Biswas and others. 1977 AD (Ashadh, 1384 Bangla) Ashutosh Mukhopadhyay's novel 'Ragswar’[51]  was published by 'Sahitya Prakash publishing house, whose theme was the world of music. On May 4, 1989, he died of mental anguish and heart failure due to the demolition of this house. Today that house no longer exists. How much of the life of ordinary readers with whom the writer never had any direct contact can be estimated by reading the letters of the reader who came to 'Lalbari' during his lifetime and even after his death. Some of the letters are noteworthy in the context of how much he became a homebody to the reader-

‘(To Ashutosh Mukhopadhyay) This is probably the first letter I am writing to you Priyabareshu. You are much younger than me but you are someone whom I respect with all my heart and do not hesitate to bow down. .../Iti Shata' (Prafulla Kanti Ghosh) 1 La Baishakh 1396'.[52]

‘(To Mamata Mukhopadhyay) Sneher Bouma, what is this mother! I can't even imagine that Ashu left us. .../ 'Woe to you Bhushanda' 4.5.89 (Bhushanchandra Das)'.[53]

‘(To Sarvani Mukhopadhyay) Kalyaniyasu, / I saw your paternal worship on television. I bowed down to him again and again because I had a feeling that he was great. Death, be not proud'-his saying revealed the royal metaphor of his heart. I benefited from your words. .../ Subharthi/Tarapad Bhattacharya' (4.6.89)'[54]

Now in the context of Ashutosh Mukherjee's self-establishment as a writer, we have to talk about his contemporary writers. When Ashutosh Mukherjee began to gain recognition as a writer in the early forties, many other fiction writers were already known to the reader. He had earned a reputation as an established literary figure for several decades long before joining Ashutosh's Sahitya Asar. Notable among them were Tarashankar Banerjee, Banphool, Manik Banerjee, Ashapurna Devi, Annadashankar Roy, Gajendrakumar Mitra and others. At the threshold of their forties, they were veteran writers. After them, there were young literary friends of almost the same age who started writing from Ashutosh's contemporaries. They were Jyotirindra Nandy, Bimal Kar, Samaresh Basu, Narendranath Mitra, Narayan Gangopadhyay and others. In some cases, the works of these old and new writers have also influenced the works of Ashutosh Mukherjee. But in most creations, His creation is completely unique. For example, Tarashankar's novel 'Kabi' has an influence on rhymes and panchalis in his novel 'Panchatapa'. Ashutosh Mukhopadhyay's novel 'Manmadhuchandrika'[55] can be recalled in contrast to Samaresh Basu's 'Bibar' published in 1965 in relation to showing complete individuality in Ashutosh Mukhopadhyay's work. When Samaresh Basu asked his friend Ashutosh Mukhopadhyay for his reaction to his novel 'Bibar', he replied 'I can't even write like this.' I will not write'[56]. Samaresh Basu was not ready for such words. The controversy over the sexual content of the novel 'Bibar' was at its height. Unable to control his pride, he challenged his friend, Ashutosh, ‘Can you write a romantic text without sex, without the smell of sex without the body?"[57] And In this novel, sex is far away, the hero and heroine have never spoken to each other. After receiving such a reply, Samaresh Basu commented, 'Unthinkable! I also have only one thing to say... I can't either... but like you, I can't say 'don't write'[58]. But despite writing a sexless novel like 'Manmadhuchandrika' in response to literary Samaresh Basu's challenge, not all of Ashutosh Mukhopadhyay's stories and novels are sex-free. In the introduction to the fourth volume of Ashutosh Rachnavali, the critic Rudraprasad Chakraborty says that the main tone of his stories and novels is one - 'Health and happiness'. As a story writer, he was somewhat conservative or antiquarian. This is a difficult thing in the writing world. Because how many can swim against the current?'[59] But the words 'conservative or archaic' and 'swimming against the current' in this statement are objectionable because the stories and novels of the literary Ashutosh Mukhopadhyaya are not at all conservative with respect to the social and environmental conditions of the time. The expression or non-expression of sexuality in literature cannot be a criterion of conservatism and the idea that there was no expression of sexuality in Ashutosh literature is also completely wrong. Several of his stories and novels contain explicit expressions of sexuality. In this context, one can think of stories like 'Masti', 'Mahavihar', 'Youth' or one can think of 'Anandarup', 'Kaal tumi Aleya', 'Ragswar', 'Khonir Notun Moni', 'Doya noy Khoma koro’, Apart from 'Ek Ramanir Yuddha', 'Pakhir Basa', there are many other novels. Ashutosh Mukherjee rightly established his own identity by swimming against the workman mentality of his family. But it is completely absurd to say that she swam against the current by pretending to be a conservative thinker by writing a sex-free text. Rather, his stories like 'Nurse Mitra', 'Kalankaboti', 'Dweep' and his novels like 'Chalachal', 'Sey Ankhin Hoke', 'Chander Kachakachi' are examples of the multi-dimensional transition of modern consciousness of people. Later, when Ashutosh Mukhopadhyay fully established himself as a famous literary figure of the eighties at the last stage of his life, i.e. in his seventies, he has become an inspiration to young writers or has taken the duty of judging the creations of the new generation from the editor's seat.

c. Third stage: Life study and the whole creation

The period of the literary life of writer Ashutosh Mukhopadhyay can be arranged in three stages. The stages are – 1. His literary practice and creation of earlier life (1945 AD - 1951 AD), 2. The middle stage of his life when he was at the height of fame as a writer (1958 AD-1979 AD), 3. The last period of his writing with the final phase of his life (1961 AD-1989 AD). Searching for his overall creation across these three phases of life yielded two feature ninety-five novels, one hundred and seventy-five short stories and several essays. 

In the meantime, twenty-six volumes of Ashutosh Mukhopadhyay's works have been published in the joint initiative of the literary daughter Smt. Sarvani Mukhopadhyay and the famous 'Mitra and Ghosh' publishing house for a long period of twenty-eight years from 1994 AD (Magh, 1400) to 2022 AD(1^st Baishakh, 1429. It is in the twenty-sixth volume that Ashutosh Tanaya has given a 'Samapti tarpan’[60] (final tribute) to the novelist. So the end of this literary entity's vast career with readers can be assured in 2022. Each of the twenty-six volumes of Ashutosh's oeuvre presents a collection of novels, short stories or collections of stories published in book form by Mitra and Ghosh and other publications during his lifetime and posthumously. However, not only previously published novels but also some unpublished new novels have been included in the anthology. Novels published continuously in various newspapers and magazines during his lifetime have also been found there. Novelist Ashutosh had written four novels in his very early life - 'Kalchakra'[61], 'Artamanav'[62], 'Jivantrishna'[63] and 'Ulka'[64] - calling them 'raw handwriting' and rejecting them from the scope of novels. The publication date of these novels is not known. Perhaps this is the reason why this early novels were not included in 'Rachanavali'. The number of novels published in the twenty-two volumes of Rachanavali is ninety-five and the number of stories in the twenty-five story books published in the 3rd, 4th, 7th and 8th volumes is one hundred and seventy-six. The number of articles included in the collection of 'Nisiddho Boi' in volume-21 is ten. In addition to these works, his short story book 'Pindida Samagara'[65] has been published by Dej Publishing in 1999. Before the publication of 'Pindida Samagra' in the library, most of Pindida's stories were published in 'Shuktara' and 'Kishore Bharti' magazines. Another book of his stories published by Dej Publishing is called 'Ashutosh Mukhopadhyaya Kishore Omnivas'[66]. It contains fourteen stories and a juvenile novel called 'Faisala’[67]. Ashutosh Mukhopadhyay wrote an autobiographical essay titled 'Sabinay Nibedan' in Desh Sahitya No. 1382. He  named his autobiographical novel as 'Kirtinashar Kule’[68]. But the autobiographical novel was not finally written by him. I will list the entire works of Ashutosh Mukhopadhyaya chronologically and present various information about his works- 

Feature:
1. ‘Prasadpuri Kolkata’.
2. 'Achal Manab Series'.

Novel:

'Kalchakra', 'Artamanab', 'Jevantrishna' and 'Ulka' - these four novels were published between (probably) 1940-44 AD. Since then 'Kaal Jamuna Biye' (1945 AD), 'Chalachal' (1951 AD), 'Panchatpa' (1958 AD), 'Saat Pake Bandha' (1960 AD), 'Kal Tumi Aleya' (1962 AD), ' Tomar Jonyo' (1962 AD), 'Balakar Man' (1964 AD), 'Shilapate Lekha' (1965 AD), 'Nagarparare Rupnagar' (1967 AD), 'Jar Jetha Ghar' (1968 AD), 'Notun Tulir Tan' (1968 AD), 'Bakulbasar' (1968 AD), 'Swayangbritta' (1969 AD), 'Alor Thikana' (1969 AD), 'Suryasnan' (1969 AD), 'Anyo Nam Jiban' (1970 AD), 'Ami Se O Sakha' (1971 AD), 'Nagar Darpane' (1971 AD), 'Pranoypasha' (1971 AD), 'Malabi Malancha' (1971 AD), 'Aparichiter Mukh' (1971 AD), 'Meena O Rakhi' (1971 AD), 'Khonir Notun Moni' (1972 AD), 'Megher Minar' (1972 AD), 'Sari, Tumi Kaar' (1973 AD), 'Sonar Kathi Rupor Kathi' (1973 AD), 'Ekaki Zonaki' (1973 AD), 'Parinayamangal(2)' (1973 AD), 'Ruper Hate Bikikini' (1974 AD), 'Hothat Ekdin' (1974 AD), 'Anandrup' (1974 AD), 'Duti Protikkhar Karone' (1974 AD), 'Paye Paye Pratiddhoni' (1975 AD), 'Jhankar' (1975 AD), 'Chander Kachakachi' (1975 AD), 'Kone Mone Bane' (1975 AD), 'Karane Akarane' (1975 AD), 'Radhachurar Basi' (1975 AD), 'Lilaboti' (1976 AD), 'Hisab Milate' (1976 AD), 'Purushattam' (1976 AD), 'Abar Karnaphuli Abar Samudra' (1977 AD), 'Ragswar' (1977 AD), 'Ghor' (1977 AD), 'Ghore eka chilo' (1977 AD), 'Shotorupe Dekha' (1978 AD), 'Basakshayan' (1978 AD), 'Sonar Horin Nei' (1979 AD), 'Aro Ekjon' (1979 AD), 'Sei Abelaya' (1980 AD), 'Sursar' (1981 AD), 'Man Jai Jamunay' (1981 AD), 'Roop Nia Yash Nia' (1982 AD), 'Sabuj Taran Periye' (1982 AD), 'Hiramanjil' '(1982 AD),'Jokhon Dhal Name' (1983 AD), 'Tabu Kokil Dake' (1983 AD),'Hridoyer Pothe Khuje' (1983 AD),'Ar Ek Saje' (1984 AD), 'Abar Aami Asbo'(1984 AD), ‘Sei Ojanar Khoje’(1985 AD), 'Trishul' (1985 AD), 'Dorja Ekhono Khola’ (1985 AD), 'Manusher Bhire' (1986 AD), ‘Sei Ojanar Khoje’ (Last Part) (1986 AD), 'Rakta Agun Prem' (1986 AD), 'Sajani Raat Pohalo' (1986 AD), 'Ekti Biswaser Janmo' (1986 AD), 'Ek Ramani's Yuddha' (1987 AD), 'Baazikar' (1988 AD), 'Ekal Okal' (1988 AD), 'Tinpurush' (1988 AD), 'Pranoy Adim' (1988 AD), 'Daya Noy Bicher Koro' (1988 AD), 'Radhar Chokhe agun’ (1988 AD), 'Chena Mukher Michil’ (1988 AD), 'Jokhon Manush Holam' (1988 AD), 'Samudra Sofen' (1989 AD), 'Parakapale Rajarani' (1989 AD), 'Pakhir Basha' (1989 AD), 'Khudha' (1989 AD), 'Dinkal' (1990 AD), 'Ashray' (1991 AD), 'Manmadhuchandrika', 'Faisala' (A Juvenile Novel). Special mention, there is a novel, named ‘Sabarmati’ which was compiled in Ashutosh Mukhopadhyaya Rachanavali twenty-sixth volume (final volume) by Mitra and Ghosh Publication on April 1, 2022 (Baishakh 1429). It’s original publication date is not found. After inquiring into the matter from the writer's daughter Sarvani Mukhopadhyay and the publishing authority, it is known that the manuscript of this novel was collected from the personal account of the novelist. But probably in the sixties this novel was printed in the autumn issue of a magazine. Like that the publication dates of the novels like 'Jabar Bade' compiled in the eleventh volume, 'Parinayamangal' compiled in the twenty-first volume, 'Dakte Janle' compiled in the twenty-third volume, 'Kachcher Sajghar', 'Biplob', 'Ishwarer Adresha' compiled in the twenty-fourth volume are also not known. 

The novel 'Kal Yamuna Biye' was first published in ‘Sharadia Anandloke’, in 1945 AD. It should be noted that 'Jabar Bade' and 'Kal Yamunar Biye' - these two short 'novelettes' - were published in the form of a book by 'Mitra and Ghosh Publishers (Ratha Yatra, 1393 AD). Then the novel 'Chalachal' was published by Manuscript Prakashani (1951 AD). A later edition of the novel was published by Bengal Publishers (1955 AD). It was published for the third time by Mitra and Ghosh Publications (March 21, 1946 AD). The novel 'Panchatpa' was first published in the monthly Basumti, in 1958 AD. Then it was published as a book by Mitra and Ghosh (Magh 1393 Bengali /January 1987). The novel 'Satpake Bandha' was published in book form by Prakash Mitra and Ghosh Prakashani (March 14, 1960 AD). The eleventh edition belongs to Ashutosh Mukhopadhyay. The seed story of the novel was 'Selimchistir Kabar' (Shardia Dainik Basumti, 1958 AD). In the early sixties, the novel 'Kal, Tumi Aleya' was serially published in the monthly Basumti. Then published in book form by 'Mitra and Ghosh' (Shravan, 1369). Part 10 of the original novel up to chapter 13 is in Ashutosh Mukhopadhyaya Rachnavali. The publisher of the novel 'Tomar Jonyo’ was Prabir Mitra from ‘Sahitya Prakash Prakashan’. It was published in Jaishtya, 1369 Bengal. The price of the book was 22 rupees then, dedicated to 'Dulal and Jhinuk'. The novel 'Bolakar Mon' was first published by Prakash Bhavan (March 1964 AD). Then it was published for the second time in 'Shardia Betar Jagat' (1963 AD). The seventh edition of the novel for the third time belongs to the works. Then its Publisher was ‘Mitra & Ghosh’. The novel 'Shilapate Lekha' was first published under the name 'Prastar Swakkhar'[69] in a popular Pujavarshiki (Sambhavya PrasadPatrika). Later, the novelist changed the name of the novel to 'Shilapate Lekha'. It was published in book form by Mitra and Ghosh Publications in Baishakh 1372 Bengal. Presently 'New Bengal Press Pvt' is the publisher of the book. The novelist dedicated the novel to sister-in-law Sri Purnendu Chattopadhyay. From the beginning of the sixties to the seventies, the novel 'Nagarpare Rupnagar' was first serially published in the weekly ‘Amrita’ magazine. Published in book form from 'Mitra and Ghosh' (Chaitra, 1373). The first part of the original novel is compiled in Ashutosh Mukherjee Rachnaboli No.10 and the second part is in Rachnaboli No.11. The novel 'Jar Jetha Ghar' was first published in 'Shardiya Betar Jagat'. Published in book form by Aruna Prakashani, Paush, 1375 Bengal. The novel 'Natun Tulir Taan' was first published in Sahitya Patrika as 'Jakkhapuri'. Ashutosh Mukhopadhyay named it 'Natun Tulir Tan' when it was published in 1375 Bangabd (1969 AD) by 'Bak Sahitya Private Limited'. The novel was dedicated to Sri Prafullakanti Ghosh. The novel 'Autobiography' was first published in a prominent autumn magazine. Later the book was published by Mitra and Ghosh Publishers, Baishakh 1376. It was published for the third time by Sahitya Prakash Publishing House, Paush 1399 (English December 1992). The novel 'Alor Thikana' was first published in the autumn issue of the literature and film magazine 'Ultorath'. It was published by DM Library Publishing House, 1376 Bangabd (1969, April). The novelist dedicated it to poet Srimanindra Roy. After the popular novel named 'Navasringar'[70] was published by 'Ruprekha' publishing house in Baishakh, in 1376, the novelist renamed it 'Suryasnan'. The novel was republished on January 24, 1989, by Supreme Publishers with the title 'Suryasnan'. Through both of the publications 'Navasringar' or 'Suryasnan', the novel is dedicated to Sri Sunil Chowdhury. In Bhadra, 1377 Karuna Prakashani first published the novel 'Anya Naam Jiban' in book form. The novel 'Ami Se O Sakha' was first published in ‘Sharidiya Sankhya’ in the seventies. Then it was published by Aruna Prakashani as a book, 1st Baishakh, 1378 Bangabd. In 1378 Bengal, the novel 'Nagar Darpane' was first published in 'Prasad Patrika’. 'Sahitya Prakash' was published as a book from Prakash, Shravan, 1803 Bangabde (August 1996). 'Pranoy Pasha' was published in Sharidiya Ultorath magazine. Then it was published in book form by Bak ‘Sahitya’ Publication, 1378 Bangabd (1971 AD), 1st Baisakh, dedicated to 'Sachindranath Mukhopadhyaya'. Later this novel was published sometime in Bhairav ​​Pustakalaya and after that, this novel was published as one of the first and one of the collection books named 'Akash Mati Jal'[71] by ‘Sahityamala’ Publications. The novel 'Malbi Malancha' was first published as a Bengali pocket book in 1378 Bangabd, 1st Baishakh. It was dedicated to Shriman Nripendranath Chakraborty and Shriman Dibyendukumar Mitra. The novel ‘Aparichiter Mukh’ was published by Dej Publishing, 1 La Baisakh 1971. The cover of the book was drawn by Rabin Dutta and the book was dedicated to Shri Shubhabrata Ray Chowdhury. The price was 35 rupees. The novel 'Khanir Natun Moni' was first published in a ‘Pjavarsiki’ and then published as a book by Dej Publishing, Shravan, 1379, (1972 AD). The novel 'Megher Minar' was first published in 1379, in the ‘Sharidiya Prasad Patrika’. In 1382 AD, it was Published as a book by ‘Dey’s Publishing’. The first publication of the novel 'Sari, Tumi Kar' is probably in the pages of Pujavarshiki Jugantar. First published by ‘Mitra and Ghosh Publishing House (Magh, 1379 Bengal) and it was dedicated to Shri Amal Ghoshal Mahasaya. It was Published as a book by Mandal Book House, Paush 1394 Bangabd (January 1988), dedicated to Sri Pradyota and Smt Preeti Banerjee. Prabir Mitra's Sahitya Prakash Prakashan published the novel 'Sonar Kathi Rupor Kathi' as a book. The cover artist of the book was Gautam Roy, dedicated to Srimati Srilekha Bose. 'Ekaki Jonaki' is a novel published in 1973. It was later compiled into the 26th volume (concluding volume) of Ashutosh Mukhopadhyaya Rachanavali. It was dedicated to Sri Dwarashechandra Sharmacharya Mahasaya. 'Parinay Mangal 2' is a novel published in 1973. It was later compiled into the 26th volume (concluding volume) of Ashutosh Mukhopadhyay's works in Baishakh, 1429 (Eng 2023), dedicated to Amal Mitra. The novel 'Ruper Hatte Bikikini' is published by ‘Dey’s Publishing’, 1381 Bengal, dedicated to Parimal Goswami Mahasaya. The price of this book of 158 pages was 40 taka. About the novel, the author wrote, 'Amar Agnimita' has appeared in a new edition under the new name of Novelkhani, with the interest of the publisher Shriman Sudhanshu. …hence the weakness of this name change'[72]. The novel 'Anandrup' was published by Dey’s Publishing, Baishakh 1381 (April 1974). It was republished in 'Ultorath' in 1395 AD. Ashutosh Mukhopadhyay wrote in the dedication section, 'Babinke jara valobase'[73]. The novel 'Duti Protikkhar Karone' is published by Dey’s Publishing, 13th Jaishtha 1380 (27th May 1973). The cover artist of the book was Gautam Roy, dedicated to Dr Vishwanath Roy. The novel 'Paye Paye Pratidhwani' was published by Mitra and Ghosh as a book, Shravan, 1382 Bengal. The novel 'Jhankar' was first published in 1975 AD in 'Prasad Pujasankhya’. It was published as a book by Mandal Book House in April 1976 (Bengali 1383, Shubo 1st Baishakh). The novel together with the 1st and 2nd volumes won the ‘Gauri Bhattacharya Sahitya Smriti Award’. The serial comic novel named 'Chander Kachakachi' was first published in the Autumn issue of a magazine. Published as a book by Rabindra Library, Baishakh, 1382 Bengal. The novel 'Kone Mone Bane' from Shaivya Pustakalaya’ was published in the book, Rath Yatra Ashar,1382 in Bengal. The cover artist of the book is Gautam Roy. The price of the book was Rs.6/-. It was dedicated to Shri Rabin Bal Mahashay. The novel 'Karane Akarane' was published in pocket book series by Mitra & Ghosh Publications, in 1975 AD. The number of pages was 93, dedicated to Mr Manish Chakraborty and Chandra Chakraborty couple. The novel ‘Radhachurar Basi’ was published by Bishwani Prakashani in 1975 AD (Baishakh 1382). Dedicated to Shri Krishna Dhar the cover artist was Gautam Roy. The novel 'Lilavati' was first published in 'Prasad magazine, Sharad issue, 1383 AD. It was published by Samakal Prakashani as a book in Falgun, 1386 Bangabd (March 1980 AD). The first novel 'Hisab Milate' was published in Sharidiya Sahitya magazine. It was first published as a book by the Nath Publishing House in the month of Ashada 1383. Later, Bhairav​​Pustakalaya published Sahityamala as the third novel in a collection of three novels titled 'Akash Mati Jal'. The novel 'Purushottam' was published in book form by Dej Publishing (Magh 1382). The novelist dedicated this novel to his brotherly friend famous Singer Shri Hemant Mukhopadhyay. The price of the book of 127 pages was Rs30/- rupees. Gautam Roy drew the cover of the book. The novel 'Abar Karnaphuli Abar Samudra' is published by Mitra and Ghosh Publishers Pvt. Dedicated to Sriniranjan Sengupta Mahasaya. The book of 141 pages was priced at Rs.8/-. The cover artist was Shri Ajit Gupta. Sahitya Prakash Prakashan published the novel 'Ragswar' in the form of a book in Asad, 1384 Bengal. The novel 'Ghar' was published as a book by Bishwani Prakashani, in April 1977 AD, dedicated to Sridwareshchandra Sharmacharya Mahasaya. The cover artist of the book was Gautam Roy. The novel 'Ghore Ekai Chilo' was published by Aruna Prakashani, New Year 1384, dedicated to Srihiren Mitra Mahashay. Subodh Dasgupta was the cover artist of the book. The novel 'Shatrupe Dekha' was serially published in the monthly 'Katha Sahitya' magazine in the sixties. It was published as a book by Mitra & Ghosh Publishing House, 1378, Bhadra. The novel 'Basakshayan' was first published in the autumn issue of a magazine. As a book, it was published by Dey’s Publishing, 1384, Magh. The novel 'Sonar Harin Nei' was first published in the popular literary magazine Amrita. Both volumes of the novel were published in book form by Mitra and Ghosh Publishers in Kartik, 1386 Bengal. The novel 'Aro Ekjon' was published by Dej Publishing, 1st Baishakh, 1386 Bengal. The cover artist of the book is Gautam Roy, dedicated to Sushil Ghosh and Leela Ghosh. The price of the book was Rs. In 1387 Bengali, the novel ‘Sei Abelaya’ was first published in Sharadiya Prasad Pattrika. It was published in 1390 in Bengali by the publishing company. On July 6, 1981, the novel 'Sursar' was published in book form by Navapatra Publications, dedicated to Prasuna Vasuke. The cover artist of the book is Gautam Roy. The novel 'Mon Jai Jamunay' is a novel published in 1981. It was later compiled into the 26th volume (concluding volume) of Ashutosh Mukhopadhyay's works in Baishakh, 1429 (Eng 2023), dedicated to Sri Shyamal Gangopadhyay Mahasaya. In 1982 AD, the novel 'Roop Nee Yash Nee' was published by 'Cosmos' publishing house, dedicated to writer Kinnar Roy. The novel 'Sabuj Taran Periye' was first published in 1389 Bangabd in the Sharad Yugantar issue. Then in 1984, it was published as a book by Day's Publishing at the Calcutta Book Fair in February. Dedicated to Dr Subrata Sen and Smt. Rini Sen. The novel 'Hiramanjil' was published in book form by Dej Publishing, 1st Baisakh, 1389 Bengal. The cover is drawn by Gautam Roy. The price of the book was Rs. Dedicated to Ajay Bose and Smt. Anjali Bose. In 1983, a novel named 'Vudu’[74]  by Ashutosh Mukhopadhyay was published in the autumn magazine 'Anandlok'. Later the novelist named this novel 'Jakhan Dhal Name'. The novel was published in 1985 by ‘Ananda Publishers’. The novel 'Tabu Kokil Dake' was published as a book by Samakal Prakashani, 1st Baishakh of Bengal 1390, dedicated to Lobkumar Bose. The novel 'Hridaye Pathe Khojo' is a compilation book of two novels. It was first published in 1983 and dedicated to Ajitkrishna Bose. The novel 'Ar Ek Saje' was published as a book by Sahityam Prakashani, Raspurnima 1391 Bengal. The novel 'Abar Aami Asab' was published in book form by Day’s Publishing, in August 1984 AD. The price of the book was Rs.25/-. It was dedicated to Achintakumar Sengupta Mahasaya. ‘Sei Akhyaner Khonhe (Part One)’ was first published in the Autumn Issue, 1945 in ‘Prasad Magazine’. Writer Ashutosh Mukherjee was forced to write the second part of this novel due to the huge demand of the readers. A year after the first publication, in April 1986 (1 La Baishakh, 1393), the second volume was published in book form by Mangal Book House. Both the 1st and 2nd volumes of the novel won the ‘Gauri Bhattacharya Sahitya Smriti Award’. The novel 'Trishul' was first published in 'Shardiya Prasad Patrika'. Then it was published as a book by Mitra and Ghosh, Magh, 1391. It was published as a book by 'Mitra and Ghosh' (Shravan, 1369 Bengali). Parts up to the 13th chapter of the original novel are in the 10th volume. On 1^st Baishakh, 1392 Bangabd (April 1985) the novel 'Darja Ekhono Khola' was first published in book form by 'Prakashak Publishing House’. In 1986, the novel 'Manusher Darbare' was first published in 'Anandalok Puja Sankhya’, (Bengali 1393). It was then published as a book by Mitra and Ghosh in April 1987 (Bengali New Year 1398) with many enhancements to the story. The novel 'Rakta Agun Prem' was first published in the Autumn Issue of 'Prasad' magazine. Then on 1 Baisakh, 1393 Bangabd (Eng 1986 AD, April) 'Sahitya Prakash' was published as a book, dedicated to Mrs. Parul and Sudhir Bose. The novel 'Sajani Raat Pohalo' was published in 1986. It was later compiled into the 26th volume (concluding volume). The novel was dedicated to Dr Samarendranath Moyar and Smt. Anjali Moyar. In 1986, the novel 'Ekta Biswaser Janmo' was published as an anthology by Anand Publishers. The cover art of the book is Nirmalendu Mandal. The price was Rs.25/-. It was dedicated to Dr Gauranga Banerjee and Mrs Vani Banerjee. The novel 'Ek Ramanir Yuddha' was published in the (probably) autumn issue of 'Prasad Patrika'. Published in Calcutta Book Fair, Eng 1987, by Dey’s Publishing. The first edition of the novel 'Bajikar' was published by Amar Sahitya Prakashan (1988 AD). Second edition published by Mitra and Ghosh Press, Ashad, 1401 in Bengal. At the time of the second publication, the text of the sixth edition (Bhadra, 1395) published by Amar Sahitya Prakashan was adopted. The novel 'Ekal Okal' was originally titled 'Ekal Okal: Majhkhane Ratane Kali'[75]. The novel was first published in ‘Navakallol Shardia Sangkhya’, 1395 Bangabd. Published in book form by 'Mitra and Ghosh' Publishers, Ashad, 1398 in Bengali. When published in book form, the name was shortened to 'Ekal Okal'. The novel 'Tin Purush' was first published in one of the Sharad Sahitya issues. Later, a revised and expanded version of the novel was published as a book by Amar Sahitya Prakashan (December 1988). The book was published for the second time by Mitra and Ghosh Publishers. The novel 'Pranoy Adim' was first published in Jugantar Patrika, 1396 Bengal. Then in April 1990 (Baisakh, 1397 Banga) the book was published by Aparna Book Distributors, dedicated to Srisudhanshusekhar De Mahasaya. The novel 'Daya Noy, Bicher Karo' was first published in the autumn issue of 'Prasad' in 1395 Bangabd (1988 AD). In Baisakh 1396, the novel was published as a book by Supreme Publishers. It was dedicated to Shrimati Shishirkana and sister-in-law Shri Kalipada Gangopadhyay. 'Radhar Chokhe Agun' is a novel published in 1988. It was later compiled into the 26th volume (concluding volume) of Ashutosh Mukhopadhyay's works in Baishakh, 1429 (Eng 2023). The novelist dedicated the novel to his grandmother, Mrs Niharkana Bandyopadhyay. Paush 1394 Bangabde (1988 AD) the novel 'Chena Mukher Michil' was published by Mandal Book House in January, dedicated to Sri Pradyota and Smt Preeti Banerjee. On 1st Baishakh, 1395, the novel 'Jakhan Mnush Holam' was published by Mandal Book House. On 1st Baishakh, 1395 (Bengali New Year), the novel 'Jakhan Manush Holam’ was published by Mandal Book House. Ganesh Bose drew the cover of the book. The price of the book was Rs. Dedicated to Sri Dilip Sen and Smt. Ruby Sen. The novel 'Samudra Sofen' was first published by 'Mitra and Ghosh' Publishers (Shravan, 1396, Bengali). This novel was named after the writer Premendra Mitra. The novel was published for the second time by Mitra and Ghosh Publishers. Then the novel 'Samudra Sofen' was placed in the second part of the collection of three stories called 'Tin Bhaag Jal'. The novel 'Parakpale Rajarani' was first published serially in College Street Sahitya Patrika a long time. The first volume was published in book form by Day’s Publishing at the Calcutta Book Fair (January 1989 AD). The novel 'Pakhir Basa' was published in book form by Mitra and Ghosh Publishing Private Limited, Shravan in 1396 Bengal. The cover artist of the book was Parthapratim Biswas. The price of the book was Rs.60/-. At the Kolkata Book Fair in 1989, the novel 'Khudha' was published as a book by Rama Bandyopadhyay from his Shasadhar Publishing House. Cover artist – Gautam Roy. The price of the book was Rs. Dedicated to Shri Amiyakumar Banerjee. The novel 'Dinkal' was first published (probably) in the Prasad Sharad issue. It was published in Granthakare by Day Publishing in Baishakh, 1387 Bengal. The novel 'Ashray' was first published on 1st Baishakh, 1398 Bengal by Mitra and Ghosh Publications. It is a novel published after the death of the novelist. Daughter Sarvani Mukhopadhyay wrote in the dedication section ‘Amar Babake jara valobase' (‘My father's writings who love'). 

Story:

Storybook – 

1. ‘Naba Nayika’[76]. It was first published in storybook form, on October 25, 1957 AD. 9 stories included in this book of stories were published in 9 different magazines under different names. Although the names of the newspapers are not listed, the stories published in them are listed with their first names. Namely – ‘Chokher Bali’ (First), 'Kalankavati' (second), 'Kaloda' (third), 'Hat' (fourth), 'Kamalini' (fifth), 'Jabab' (sixth), 'Ashmita' (seventh), 'Lilavati' (eighth), 'Sudarshana Soma' (ninth).

2. ‘Alakatilaka’[77]. It was first published in storybook form on 31st December 1960 AD. The main story of the book is called 'Alakatilaka'. The main story is divided into four parts - the first chapter, the second chapter, the third chapter and the fourth chapter. 

3. ‘Mahua Katha’[78], published in storybook form in January, 1960 AD. It contains eight stories in total. Namely – 'Kumarasambhava', 'Mashul', 'Tile Tile Tilottama', 'Bhul Bhulaiya', 'Shikar', 'Madanabhasma', 'Mahua Katha', 'Selim Chistir Kabar'.

4. ‘Raptir Dak’[79]. First published on Bangabd January, 1962 AD (Magh,1368). 9 stories have been compiled. Namely - 'Raptir Dak', 'Dracera', 'Bashikaran', 'Masti', 'Mala', 'Sandesh', 'Bat Jungler Bake', 'Sambhashon'. 

5. ‘Roshnai’[80]. Publisher-‘Bak Sahitya’. Published on August, 1962 AD (Bhadra, 1369). It was a collection of 9 stories. Namely – 'Roshnai', 'Model', 'Yayati', 'Song', 'Raavan', 'Ekti Koner Ghar', 'Kannar Swad’, 'Raktambari' and 'Thakumar Jhuli'.

6. 'Uttarabasante'[81], Publisher-‘Karuna Prakashani’, Second Printing 1372 Bangabd (1965 AD). It was a collection of 10 stories. Namely - 'Kanna', 'Parbotyo', ‘Uttor Basante', 'Purushkara', 'Chaya', 'Kalnemi', 'Khatipuran', 'Uttaradhikar' and 'Spannothita'. 

7. 'Pratibimbita'[82], Publisher-‘Aruna Prakashani’, It was published in 1968 AD (1375 Bangabd). It was a collection of 11 stories. Namely – 'Personality', 'Pratibimbita', 'Monsoon', 'Janak', 'Shikar', 'Nirbachan', 'Shrimati Rupavati', 'Bikal Sare Chartar Potovumi’, 'Adhar', 'Shubchakra' and 'Morudyan'.

8. ‘Dujonar Ghar’’[83], Publisher- ‘Ruprekha’, published on January, 1968 AD. It was a Collection of eight stories in total. Namely – 'Tap’, 'Soinik', 'Trisna', 'Major Sevakram', 'Tile Tile Tilottama', 'Bibechana Sapekkhe', 'Akangkha', 'Dujonar Ghar'.

9. ‘Cholo Jungale Jai’ [84] Publisher-‘Bengal Publishers’, Jaishtha, 1375 Bangabd (1968 AD). It was a Collection of 10 stories. Namely- ‘Cholo Jungale Jai', 'Rama Mitra', Malvi Mitra', 'Jouban', 'Prane Dhakai Saree', 'Ahuti', 'Tanmoghna', 'Smriti Je Phare', 'Ghrina', 'Poritap', ‘Asha ar Basha’.

10. 'Manmadhuchandrika'[85]. Publisher- ‘Prakash Bhavan, It was published in 1969 AD(Baishakh, 1376 Bengali). It was a collection of 11 stories. Namely - 'Barnantar', 'Sneha', 'Bhishma', 'Jivotsa', 'Bulbhulaiya', 'Mithye', 'Ekti Ovishap', 'Vishaya', 'Batase Mishe Thak' and 'Madhuchandrika'.

11. 'Meena Rakhi Sadhika'[86]. Publisher-‘Granthprakash’, published in 1971 AD (Agrahayana, 1378 Bengali). 'Meena Rakhi O Sadhika' is a complete story with a total of three stories.

12. 'Pickpoint'[87], Publisher-Vishwavani Prakashani, Falgun, 1379 (1973 AD). It was a collection with a total of 11 stories. Namely- 'Ek Bhairavi', 'Pickpoint', 'Kone', 'Mrityu’, 'Atmanigad', 'Rupoli Sankat', 'Jal', 'Mithya', 'Madhu Ustader Chuti', 'Samantral'. 

13. 'Ferrari Atit'[88. Publisher – Sahitya Sanstha, published in 1974 AD (Shravan, 1381 Bengali). It was a Collection of 5 short stories in total. Namely- 'Ferrari Atit', 'Baghinir Nishabda Garjan', 'Madhuranga', 'Khudha', and 'Rup'.

14. 'Model'[89]. Publisher- Jyoti Prakashan, It was published on April 14, 1974 AD (Bengali new year, 1383). It was a Collection of 6 stories in total. Namely - 'Acharan’, ‘Ma', 'Dinbadal', 'Pathachitra', 'Borkha', 'Arogya'.

15. 'Kumari Mata'[90]. First published in 1976 AD (Agrahayana, 1383 Bengali). 8 stories have been compiled here. Namely - 'Kumari Mata', 'Saday Sanhar', 'Bhader Ravi', 'Jyotirmoy', 'Rogcharcha', 'Atmanigarh', 'Protinidhi', ‘Shesh Porjonto’. 

16. 'Sonali Rekha'[91]. Publisher- ‘Nath Brothers’, published in 1978 AD(Bengali new year, 1385 Bengali). Collection of 2 stories only. Namely - 'Sonali Rekha' and 'Sulakshana'.

17. 'Kathamala'[92]. Publisher- ‘Nath Brothers’, published in 1980 AD (1980 AD). It was a complete storybook with a total of four stories. Namely –‘Ranidin’, 'Fall', 'Apos' and 'Hisaber Baire'.

18. 'Tribarna'[93]. Publisher – ‘Cosmo Script’, January 1981 AD. Initially, 3 stories were collected in 'Tribarna' but later two stories were included, namely – 'Dwitiyo Basar Ganjakhuri', 'Bermuda Lily' and 'Ekaki Jonaki'. When the publication of the book stopped, the story 'Bermuda Lily' was compiled into the poetry book 'Rupsi Banglar Mukh'. 

19. ‘Mukhomukhi’[94]. Publisher-‘Sahitya Prakash’, Bhadra, 1389 Bangabd (1982 AD). It was a collection of 3 stories in total, namely – ‘Mukhomukhi’, 'Sohabosthan' and 'Dampotyo'.
20. ‘Rupsi Benglar Mukh’[95]. Publisher – ‘Supreme Publishers’, 4th February, 1991 AD. It was a collection of four stories. Namely - 'Rupsi Banglar Mukh', 'Atasi', 'Dwip Jhale Jai', 'Bermuda Lily'. 'Bermuda Lily' was originally compiled in the 'Trivarna', by ‘storybook’. Later it was compiled in the book 'Rupsi Banglar Mukh'.
21. ‘Sanjher Mallika’[96]. There are a total of seven stories in this story collection. 'Mallika', 'Bharati', 'Tan', 'Pranatibhasma', 'Aro Ek Brityo’, 'Puraskar', 'Adarsha'. 
22. ‘Bideshini’[97]. There are 2 major stories in this storybook. Namely –‘Bideshini’, and 'Sanchari'.
23. ‘Janalar Dhare’[98]. A total of thirteen stories are compiled in it. Namely – 'Shar', 'Ekti Prachirchitra', 'Boudhar', 'Rishti', 'Natun Nayika', 'Khandita', 'Bhagfal', 'Sari', 'Protyakkhyan', 'Aswabarna', ‘Janalar Dhare, 'Nimontron', 'Pancham Anker Por'. The Rishti story was acted out on the radio and broadcast.
24. 'Pratiharini'[99]. It is a collection of ten short stories. 'Mitha Bill', 'Chokh', 'Borkha', 'Arogya', 'Siddhipokhri', 'Karta', 'Ekti Nepathye Natak', 'Shok', 'Dweep', and 'Pratiharini'.
25. 'Ekojon Mrs Nandi'[100], Publisher- ‘Mukunda Publishers’. It was a Collection of 9 stories in total. Namely - 'Mahabihar', 'Avirati', 'Man', 'Sampadak', 'Nagri', 'Jhar', 'Mahapavaner Nao', 'Beetshok and Ekojon Mrs Nandi'. 
Essay:
A collection of essays:
Literary Ashutosh Mukherjee wrote a total of ten articles. Essays are –‘Gorar Kotha’, ‘Surya Ghore Na Prithibi Ghore’, ‘Tarun Vertorer Shok’, 'Faust', ‘Rushor Jabanbandi’, ‘Rushor Jabanbandi Dui', 'Cadid', 'The Kreutzer Sonata', 'Ulysses' and 'Lady Chatterley's Lover'. The book 'Nishiddha Boi'[101]  published by Mitralaya Prakashani is actually a collection of these 10 articles. Later Dej Publishing took over the responsibility of publishing the book. The author dedicates the book to Sri Pramathanath Bishi Mahasaya.

There were so many creations of Ashutosh Mukhopadhyaya. But he was never satisfied with his creations. He won ‘Bangiya Sahitya Parisad Award’ and after his death ‘Subodh Ghosh Smriti Puraskar’ was announced on his honour. Although he won the ‘Gauri Bhattacharya Sahitya Smriti Puraskar’ for the novel 'Jhankar' (1st and 2nd volume combined) or the ‘Matilal Sahitya Puraskar’ for the combined novel 'Sei Ajanar Khoje' (1st and 2nd volume), he was reluctant to call any of them his 'best writing'. According to him, his best writings were not written until the last phase of his life. Every time someone asked him about this, 'Which is your best writing?', his answer was - 'The best writing has not been written yet, it will never be, even if you write it for eternity, it will seem like it is yet to come'[102]. Such was the intoxication of his creation. He is always tireless and insatiable in creativity. Here he is a successful artist.

1. Eastern Bangali dialect: Bangali dialect is the most widely spoken dialect of Bengali language. It is spoken across the Khulna, Barisal, Dhaka, Mymensingh, Sylhet and Comilla Divisions of Bangladesh and the State of Tripura in India .

2. Rarhi dialect: Rarhi dialect is spoken across much of Southern West Bengal, India.https://en.wikipedia.org/wiki/Bengali_dialects/

1. Mukhopadhyaya Ashutosh, Gajendrakumar Mitra, 'Ashutosh Mukhopadhyaya Rachnavali-1', Mitra & Ghosh Publishers, Kol-73, p.4.
2. Desh Sahitya No.1382, Ashutosh Mukhopadhyay, 'Sabinay Nivedan', Kolkata-01, p.133-34.
3. Mukhopadhyaya Ashutosh, Gajendrakumar Mitra, 'Ashutosh Mukhopadhyaya Rachnavali-1', Mitra & Ghosh Publishers, Kol-73, p.4.
4. Country Literature Number 1382, Ashutosh Mukhopadhyay, 'Sabinay Nivedan', Kolkata-01, p.133.
5. Ibid,p.135.
6. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, Ashutosh Mukhopadhyaya Rachnavali-1, Mitra & Ghosh Publishers, Kol-73, p.7.
7. Ibid.
8. Desha Sahitya No. 1382, Ashutosh Mukhopadhyaya, 'Sabinay Nivedan', Kolkata-01, p.136.
9. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-1', Mitra & Ghosh Publishers, Kol-73, p.7.
10. Ibid, p.8.
11. Ibid.
12. Desha Sahitya Number 1382, Ashutosh Mukherjee, 'Sabinay Nivedan', Kolkata-01, p.38.
13. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-1', Mitra & Ghosh Publishers, Kol-73. p.9.
14. Ibid.
15. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-1', Mitra & Ghosh Publishers, Kol-73, p.12.
16. Ibid.
17. Ibid,p.9.
18. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-1-26 (cited on the cover of each volume), Mitra & Ghosh Publishers, Col-73.
19. Desh Sahitya No. 1382, Ashutosh Mukherjee, 'Sabinay Nivedan', Kolkata-01, p.133.
20. https://en.wikipedia.org/wiki/Jiban_Trishna
21. https://youtu.be/AdwIpkxjySU
22. Deep Jwele Jaai https://g.co/kgs/HnaNXp
23. https://m.imdb.com/title/tt0232563/
24. https://bn.m.wikipedia.org/wiki/%E0%A6%95%E0%A7%8B%E0%A6%B0%E0%A6%BE_%E0%A6%95%E0%A6%BE%E0%A6%97%E0%A6%9C
or https://en.m.wikipedia.org/wiki/Kora_Kagaz
25. https://m.imdb.com/title/tt0152284/
26. https://bn.m.wikipedia.org/wiki/%E0%A6%95%E0%A6%BE%E0%A6%B2_%E0%A6%A4%E0%A7%81%E0%A6%AE%E0%A6%BF_%E0%A6%86%E0%A6%B2%E0%A7%87%E0%A6%AF%E0%A6%BC%E0%A6%BE_(%E0%A6%9A%E0%A6%B2%E0%A6%9A%E0%A7%8D%E0%A6%9A%E0%A6%BF%E0%A6%A4%E0%A7%8D%E0%A6%B0)
27. https://bn.m.wikipedia.org/wiki/%E0%A6%B8%E0%A6%AC%E0%A6%B0%E0%A6%AE%E0%A6%A4%E0%A780%
28. https://bn.m.wikipedia.org/wiki/%E0%A6%A8%E0%A6%AC%E0%A6%B0%E0%A6%BE%E0%A6%97
29. https://bn.m.wikipedia.org/wiki/%E0%A6%86%E0%A6%B2%E0%A7%8B%E0%A6%B0_%E0%A6%A0%E0%A6%BF%E0%A6%95%E0%A6%BE%E0%A6%A8%E0%A6%BE
30. https://g.co/kgs/ASxLZV
31. https://g.co/kgs/8AUAH2
32. https://bn.m.wikipedia.org/wiki/%E0%A6%A8%E0%A6%97%E0%A6%B0_%E0%A6%A6%E0%A6%B0%E0%A7%8D%E0%A6%AA%E0%A6%A8%E0%A7%87
33. https://youtu.be/Kg5VRHTZKaU
or
https://bn.m.wikipedia.org/wiki/%E0%A6%9A%E0%A6%BE%E0%A6%81%E0%A6%A6%E0%A7%87%E0%A6%B0_%E0%A6%95%E0%A6%BE%E0%A6%9B%E0%A6%BE%E0%A6%95%E0%A6%BE%E0%A6%9B%E0%A6%BF
34. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, Ashutosh Mukhopadhyaya Rachnavali-2', (Information from Bibliography Section), Mitra & Ghosh Publishers, Kol-73, p.529.
35. https://g.co/kgs/CCYUix
36. https://en.m.wikipedia.org/wiki/Amar_Kantak
37. https://en.m.wikipedia.org/wiki/Talaash_(Indian_TV_series)
38. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-26', Mitra & Ghosh Publishers, Kol-73, p.21.
39. Ibid.
40. Ibid.
41. Ibid.
42. Ibid.
43. Ibid.
44. Ibid. p.22.
45. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-8' (Index), Mitra & Ghosh Publishers, Kol-73.
46. Ibid, p. 247.
47. Ibid,(Index)
48. Mukhopadhyaya Ashutosh, Ghosh Prakash, 'The Best Stories of Ashutosh Mukhopadhyaya', Prama Publications, Calcutta-73, p.7.
49. Ibid,p.7.
50. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-26', Mitra & Ghosh Publishers, Kol-73, p.23.
51. Mukhopadhyay Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-5', Mitra & Ghosh Publishers, Kol-73. (table of contents)
52. Ashutosh Mukhopadhyay, Gajendrakumar Mitra, 'Ashutosh Mukhopadhyaya Rachnavali-1', Mitra & Ghosh Publishers, Kol-73. p.28.
53. Ibid, p. 27.
54. Ibid, p.28.
55. https://archives.anandabazar.com/archive/1140111/11smaran.html
56. Ibid.
57. Ibid.
58. Ibid.
59. Mukhopadhyay Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-4', Mitra & Ghosh Publishers, Kol-73. (First Page of Introduction)
60. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-1', Mitra & Ghosh Publishers, Kol-73. p.8.
61. Ibid.
62. Ibid.
63. Ibid.
64. Derived from an interview with Ashutosh Mukhopadhyaya's daughter Sarvani Mukhopadhyay.
65. Mukhopadhyaya Ashutosh, 'Pindida Samagra', Days Publishing, 2019, Kolkata-73.
66. Mukhopadhyaya Ashutosh, 'Ashutosh Mukhopadhyay Kishore Omnibus', 2021, Kolkata-73.
67. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-1', Mitra & Ghosh Publishers, Kol-73. p.11.
68. Ibid.
69. Mukhopadhyaysa Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali- 17', Mitra & Ghosh Publishers, Kol-73. (bibliography)
70. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali- 18', Mitra & Ghosh Publishers, Kol-73. (bibliography)
71. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-20', Mitra & Ghosh Publishers, Kol-73. (bibliography)
72. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali- 22', Mitra & Ghosh Publishers, Kol-73. (bibliography)
73. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali- 16', Mitra & Ghosh Publishers, Koli-73. (bibliography)
74. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-9', Mitra & Ghosh Publishers, Kol-73. (bibliography)
75. Ashutosh Mukhopadhyaya, Gajendrakumar Mitra, 'Ashutosh Mukhopadhyaya Rachnavali-13', Mitra & Ghosh Publishers, Kol-73. (bibliography)
76. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-3', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
77. Ibid.
78. Ibid.
79. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-4', Mitra & Ghosh Publishers, Col-73. (Index and Bibliography)
80. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-7', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
81. Ibid.
82. Ibid.
83. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-8', Mitra & Ghosh Publishers, kol-73. (Index and Bibliography)
84. Ibid.
85. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-7', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
86. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-8', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
87. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-7', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
88. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-8', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
89. Ibid.
90. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-4', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
91. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-8', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
92. Ibid.
93. Ibid.
94. Ibid.
95. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-8', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
96. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-3', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
97. Ibid.
98. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-4', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
99. Ibid.
100. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-8', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
101. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali- 21', Mitra & Ghosh Publishers, Kol-73. (Index and Bibliography)
102. Mukhopadhyaya Ashutosh, Mitra Gajendrakumar, 'Ashutosh Mukhopadhyaya Rachnavali-1', Mitra & Ghosh Publishers, Kol-73. p.10.
[Notable: All the necessary quotations which are adopted from mentioned data sources are translated from Bengali to English, also note that this is the reprinted version after few minor corrections.]