When Anowara, the most significant one among the earlier novels written in Bangladesh, was published in 1914, it was simply an insignificant effort in comparison to the whole domain of Bangla novels. In those decades glorification of the religious beliefs and lives was the theme of most of the novels. Later on picturization of real Bangali life became a common topic. In the last years of the fifties our novelists gradually turned to human mind and its analysis. After the liberation war novels about the same began to come forth. Even after twenty-nine years of our liberation it has not ceased to be an interesting topic yet. Throughout this century we observed much novelties. Various changes regarding content as well as form of the novels of the last half-century overwhelmed our readership. From ordinary narration we have now reached to magic realistic presentation through stream of consciousness, realism, surrealism etc. Everyone will agree that by the turn of the twentieth century, our novels have achieved at least a recognition.
The history of Bangla novels started its journey with Durgeshnondini in 1865 written by Bankimchandra Chattopadhyay (1838-1894). We cannot deny that there had been some worthwhile efforts before. It is true 'when the novel was introduced in Bangla in the middle of the 19th century, the form itself was new, the prose in which it was written was new, the secular tone was new in a country hitherto wholly dominated by religion, and the society in which and for which it was written was new.’ (Annada Sankar & Lila Roy: 168) But the mighty pen of Bankimchandra and his descendants like Rabindranath Tagore (1861-1941) and Saratchandra Chattopadhyay (1876-1938) developed the newly introduced genre in such a way that ‘new’ changed into ‘matured’ soon after the turning of the nineteenth century. It may be observed that all these literary activities went on in full swing in Kolkata and surrounding area. Dhaka, which became the provincial capital after the partition in 1947 and the capital city after the great liberation war in 1971, could not share necessarily although literature created by and of the people of Bangladesh area later on flourished with greater success. Everyone will agree that Syed Waliullah’s (1922-1971) Lalshalu (1948) is the milestone in the modern novels of Bangladesh, but there had been enough attempts worthy to mention before that.

Pre- 1947

Before 1947 the novelists who tried to enrich the novels of the then East Pakistan i.e. present Bangladesh are Mohammad Najibar Rahman (1860-1923), Kazi Imdadul Huq (1882-1926), Kazi Abdul Wadud (1894-1970), Sheikh Idrish Ali (1895-1945), Akbaruddin (1895-1978), Abul Fazal(1903-1983), Humayun Kabir (1906-1969) et.al. Events like Separation of Bangla (1905), Foundation of Muslim League (1906), and Unification of Bangla (1911) inspired the Muslim community of Dhaka to establish a new identity in the horizon of literature also. Mohammad Najibar Rahman’s above mentioned Anowara (1914) is the first instance where the socio-familial milieu of them was portrayed. This novel moved the whole Bangla Muslim community after the first publication. The novel could not create any novelty from artistic point of view, but it carried great importance for its picturization of socio-economic and political culture and ideals of the uprising populace (Rafiqullah Khan: 25, Translation). Most of the novels of the era centred on Muslim society and belief and orthodoxy. Najibar Rahman’s Premer Somadhi (1919) and Goriber Meye (1923), Sheikh Idris Ali’s Premer Pothe (1926) are a few examples of this trend though Kazi Abdul Wadud’s Nodibakshe (1919) manipulated a different theme. In Nodibakshe for the first time the life of the agrarian Bangali farmers took an artistic delineation.
Then came Kazi Imdadul Huq who sprinkled a new wave. His Abdullah (published in periodicals in 1920 and in book form in 1933) is a ‘bourgeois and humanitarian revolt against devotion to Peers, religious dogmas, purdah-system and disparity between Ashraf and Atraf (Biswajit Ghosh: 134, Translation). Kazi Abdul Wadud and Humayun Kabir extended this attitude (Syed Akram Hussain: 97). Before the appearance of Humayun Kabir’s Nodi O Nari (1952. The original English Novel Rivers and Women got published earlier in 1945) another progressive novelist Abul Fazal declared his distinct viewpoint. Beginning with Chouchir (1927) he afterwards wrote Prodip O Patongo (1940) and Shahoshika (1946) where he exposed human psychological analyses, though not for the first time in Bangla novels, it was a first attempt in novels of Bangladesh at least.

East-Pakistan Era

The time before and after the separation of India was of much significance. The incident bore more importance for the people of our region because since then the Bangla speaking community were divided into two parts – the East and the West Bengal. The millennium old culture and unity of Bangali nation were smashed. Moreover just after the creation of Pakistan, the existence of language became a great question. The West-Pakistan ruling government tried to impose Urdu as the principal language on the Bangali people. As a result the whole society reacted strongly, which took permanent impression on literature also.

In this tumultuous era the foremost successful, both from art and reality points of view, is Syed Waliullah’s Lalshalu (1948). Herewith less mention but worth mentioning another novel is Mofijon (1948) by Mahbub-ul Alam (1898-1981). Then writers from middle class background began to contribute more and more. From various professions they began to come with multifarious contents. In the first years of Pakistan regime our authors mostly took village life as their contents, but they gradually diversified their interests. Newly born urban society began to establish itself as worthy to be literary contents. Along with them political developments also took place in fiction.

In the first decade after 1947 the most prominent novelists of our country are Abul Fazal, Akbar Hossain (1917-1981), Shaukat Osman (1917-1998), Abu Rushd (1919-), Kazi Afsaruddin (1921-1975), Daulatunnessa Khatun (1922-1997), Syed Waliullah, Sarder Jayenuddin (1923-1986), Abu Ishaque (1926-2003), Shamsuddin Abul Kalam (1926-1997) et. al. In the next decade a good number of writers joined the previous group. Among the new faces Chowdhury Shamsur Rahman (1902-1977), Satyen Sen (1907-1981), Abujafar Shamsuddin (1911-1989), Ahsan Habib (1917-1985), Nilima Ibrahim (1921-2002), Abdur Razzak (1924-1981), Khondkar Md. Eliash (1924-1995), Rashid Karim (1925-), Shahidulla Kaisar (1927-1971), Anwar Pasha (1928-1971), Abdar Rashid (b 1930), Alauddin Al-Azad (b 1931), Abdul Gaffar Choudhury (b 1931), Zahir Raihan (1933-1972), Syed Shamsul Haq (b 1935), Humayun Kadir (1935-1977), Shahid Akhand (b 1935), Razia Khan (b 1936), Shawkat Ali (b 1936), Dilara Hashim (b 1936), Indu Saha (b 1940), Ahmad Sofa (1943-2001) are the most prominent ones.

Depiction of village life was the core theme of a huge number of novels. Sometimes it centered the superstitious village mind or the oppression by the influential groups on the common people, some other times depressed womanhood took this place. Love between men and women in pastoral context were also a subject of many novels. Lalshalu by Syed Waliullah, Kashboner Konya (1954), by Shamsuddin Abul Kalam, Surya-Dighal Bari (1955) by Abu Ishaque, Meghabaran Kesh (1956) by Ishaq Chakhari, Adiganta (1956) by Sardar Jayenunddin, Mohuar Desh (1959) by Tasadduk Hossain, Janani (1961) by Shaukat Osman, Jhar (1962) by Syed Sahadat Hossain, Karnafully (1962) by Alauddin Al-Azad, Sareng Bou (1962) and Sangsaptak (1965) by Shahidulla Kaisar, Aranya Mithun (1963) by Badruddin Ahmad, Modhumoti (1963) by Rabeya Khatun, Hazar Bachhar Dhore (1964) by Zahir Raihan, Bobakahini (1964) by Jasimuddin, Pannamoti (1965) by Sardar Jayenuddin are the significant examples in this regard.

Urban life, its problems and complexities are also the contents of a good number of novels in this era. Uprising middle class people, their social context and love in their life are portrayed in the novels of this trend. Significant novels of this stream are Jibon Pother Jatri (1948) by Abul Fazal, Pother Porosh (1957) by Daulatunnessa Khatun, Bhorer Bihongi (1958) by Satyen Sen, Suryer Niche (1958) by Atahar Ahmad, Pathasranta (1959) by Nilima Ibrahim, Shesh Bikeler Meye (1960) by Zahir Raihan, Kanyakumari (1960) by Abdur Razzak, Uttam Purush (1961) by Rashid Karim, Ek Path Dui Bank (1962) by Nilima Ibrahim, Akash Jodi Nil Hoi (1962) and Ihai To Prem (1963) by Syed Sahadat Hossain, Prasanno Pashan (1963) by Rashid Karim, Pingal Aakash (1963) by Shawkat Ali, Akasher Rong (1964) by Zobeda Khanam, Panna Holo Sobuz (1964) by Shahid Akhand, Nirjan Megh (1965) by Humayun Kadir, Ghar Mon Janala (1965) by Dilara Hashim, Aronyo Nilima (1965) by Ahsan Habib, Antahshila (1967) by Kazi Md. Idris, Digonter Swapno (1967) by Razia Majid, Mon Ek Shet Kapoti (1967), Shaheb Bazar (1967) and Ananto Aneysha (1967) by Rabeya Khatun, Bipani Mon (1968) by Mir Abul Hossain, Saurav (1968) by Anis Chowdhury, Anishchita Ragini (1969) by Abu Rushd, Borof Gola Nodi (1969) by Zahir Raihan, Rajabagh Shahimar Bagh (1969) by Rabeya Khatun etc.

Meanwhile the whole Bangali nation began to experience a new turmoil, first regarding their language and then regarding their national identity. In the meantime the flow of progressive politics overshadowed the young generation across the country. Novels like Jibon Khuda (1955) by Abul Monsoor Ahmed exposed the context of Pakistan Movement. At the same time communal picture out of this movement took the upper-hand in a formidable number of novels like: Ranga Probhat (1957) by Abul Fazal, Khuda O Asha (1964) by Alauddin Al-Azad, Neer Sandhani (1968) and Nishuti Rater Gatha (1968) by Anwar Pasha etc. In some of them writers yearned for the restoration of Hindu-Muslim amity. Political crisis of the newly born country Pakistan was also dealt as a burning issue in novels like Nongor (1967) by Abu Rushd and Mon Na Moti (1968) by Anis Siddique. By then the people of East Pakistan i.e. of present Bangladesh viewed the language movement and its consequences. This tremendous incident did not miss the keen eyes of our novelists. The most significant effort in this context is Jahir Raihan’s Aarek Falgoon (1968). Other political incidents like the class conflict, socialism, and movement in the cultivators was depicted in the novels like Dui Mahol (later on renamed as Alamnagorer Upokatha 1955) by Shamsuddin Abul Kalam, Surya Tumi Sathi (1967) by Ahmad Sofa etc. Shaukat Osman’s Kritodasher Hashi (1962) and Raja Upakhyan (1970) are also recognized as political novels, but they were distinct in being symbolic. Abdul Gaffar Chowdhury’s Chandradwiper Upakhyan (1960) and Nam Na Jana Bhore (1962) portrayed the uprising agrarian society and its conflicts.

In this period the world of our novels became enriched with some accomplished participation that embodied historical aspects in their novels. Abujafar Shamsuddin’s Bhaowal Gorer Upakhayan (1963) about the Faraizi Movement, Sardar Jayenuddin’s Nil Rong Rokta (1965) about the Indigo crisis, Satyen Sen’s Kumarajiva (1969) about the spread of Buddhism, and Oporajeyo (1970) about the Sepoy Mutiny etc. are a few examples among them. Psychological complexities were very much favoured by some novelists in this decade. Syed Waliullah’s Chander Amabashya (1964) and Kando Nodi Kando (1968) are the most successful and worthwhile endeavours. In his unique language and presentation Waliullah dived into the super-ego of human mind, which placed him on the highest rank of the novelists of Bangladesh till date. Immediately before the sixties there emerged another trend where novelists emphasized the sexual behaviours and deviations of the characters. Razia Khan began this with her Bot-tolar Uponyas, and Anucalpa, both published in 1959. Alauddin Al-Azad and Syed Shamsul Haq are the prominent names in this trend. Teish Nambor Toilochitro (1960), Shiter Sheshrat Boshonter Prothomdin (1962) by Alauddin Al-Azad and Ek Mohilar Chhobi (1959), Anupama Din (1962), Simana Chhariye (1964) by Syed Shamsul Haq are laudable mentions in this regard.

Afterwards came the most memorable days of Bangali nation. They demanded for an independent nation, revolted for it and at last after ten month long war they became able to identify their motherland as an independent nation in the map of the world. Breaking the shackles of two hundred years’ domination by the British and the Pakistani, our red sun arose in the east. After the massacre of three million people and huge violation and harassment of womenfolk and loss of property Bangladesh emerged as a secular and democratic nation on December 16,1971.

Bangladesh Era

Since 1971 Bangladesh has come across through different political phases. The country became free, but in no sphere it could behave like a free country after the independence. Everywhere there were hopelessness and frustration. All the utopian dreams became shattered. On August 15, 1975 some indisciplined military officers assassinated the father of the nation and a black sheet encircled the whole nation. For long fourteen years there came, to speak true, little change. After nine years’ demand for democracy the nation got the taste of it in 1990.

After the liberation war the trend which mostly grasp the novels of Bangladesh was to take the freedom fight as a unique subject. The first of this discipline is Anwar Pasha’s Rifle Roti Awrat (1973) that he wrote during the war. The novels which directly deal freedom fight as their subject are Shaukat Osman’s Jahannam Hoite Bidai (1971), Nekre Aranyo (1973) Dui Soinik (1973), Rashid Haider’s Khanchai (1975), and Andha Kathamala (1982), Shawkat Ali’s Jatraa (1976), Selina Hossain’s Hangor Nodi Granade (1976), Mahmudul Huq’s Jiban Aamar Bone (1976), Syed Shamsul Haq’s Nil Dangshon (1981) and Nishiddho Loban (1981), Harun Habib’s Priyo Joddha Priyotoma (1982) etc. Novels like Amar Jato Glani (1973) by Rashid Karim, Ferari Surya (1974) by Rabeya Khatun, Abelay Ashamoy (1975) by Amjad Hossain also portray the different facets of our liberation war. Some writers have also handled the hopeless picture of Bangladesh in their novels. Rashid Karim’s Prem Ekti Lal Golap (1978), Ekaler Rupkatha (1980) or Sadharon Loker Kahini (1982) are better presentation of this milieu. Critics say that though after the liberation huge number of novels was written about our war, none of them could depict the historic incident in necessary epic form.

Most of the writers who were contributing in the pre-liberation period were also very creative in this period. Among them Rashid Karim is the most prolific one. In his novels middle-class society and their societal and psychological analysis are mostly focused. Another prolific one is Alauddin Al-Azad whose first novel after the independence came out in 1986 and within some ten years he wrote about sixteen novels, though in none of them he could penetrate his readership as he could by his earlier novels. Syed Shamsul Haq is also a prolific and noteworthy writer. Along with a huge number of books of other genres he wrote a good number of novels also. He is always very experimental in both technique and form. Khelaram Khele Ja (1973) placed him in great controversy for his open delineation of human sexual behaviour. Liberation war, its consequences, hopeless human existence and analysis of human mind and society take sharp pen-picture in his novels. Duratwa (1981), Mahashunye Paran Master (1982),Ek Juboker Chhayapath (1987) etc. are his praiseworthy works. Another powerful writer Shawkat Ali wrote Prodoshe Praakritajon (1984), which is a real representation of the twelve century Bangla during King Laksman Sen. His trilogy Dakshinayaner Din (1985), Kulaya Kalasrot (1986) and Purbaratri Purbadin (1986) also deserve much compliment. Razia Khan and Dilara Hashim are also by now very popular novelists. Another major novelist who wrote Anur Pathshala before liberation war in 1967 is Mahmudul Haque. As an introvert one, he is always less productive. Excluding Nirapad Tandra (1974), he wrote Khelaghar (written 1978, published 1988), Kalo Baraf (written in 1977, published in 1992), and Matir Jahaj (written in 1977, published in 1996). Ahmad Sofa, the junior most among this group has been writing novels with different tone. In Onkar (1975) he delineated the suppressed Bangali mind of the pre-liberation period in a very artistic and symbolic description, whereas in Gaavi Brityanto (1994) he presents the contemporary picture in a meticulous allegory. His Ardhek Nari Ardhek Ishwari (1996) is a novel of romantic love and Pushpa Briksha Ebong Bihanga Puran (1996) is a narration of true human affinity to nature i.e. to birds, trees etc.

In the first decade after the liberation a few new faces appeared in the domain of our novels among which Selina Hossain (b 1947) is the most prominent one. She started with Jalochchhwas (1972) and till now she has authored more than twenty-one novels most of which may demand our attention. Her Hangor Nodi Granade (1976) is a success written on our liberation war. She has written novels like Taanaporen (1994) on coastal life and natural disaster. In the historical novels she also roams very aptly from recent present to remote past. Gayatree Sondhya (3 volumes: published in, 1994, 1995, 1996), Kalketu O Fullora (1992), or Chandbene (1984) are a few to cite here. On the other hand when the popular novelist Humayun Ahmed (b 1948) wrote Nondito Naroke (1972) and Shankhaneel Karagar (1973), it sounded very novel to Bangali readership. Though gradually he turned to less serious things, his popular titles are Eka Eka (1984), 1971 (1985), Brihonnola (1989), Joyjoyonti (1994), Kobi (1996), Shuvro (2000) etc. A serious poet, essayist and literary researcher Abdul Mannan Syed (b 1943) published his first novel Pariprekshter Dasdashi in 1974 which was later on followed by Kolkata (1980), Poramatir Kaaj (1982), O Te Ojogor (1982), Hei Songsar Hei Lota (1982), Kshuda, Prem, Aagun (1994), Shyamoli Tomar Mukh (1997) etc. In the later years of the seventies we got Hasnat Abdul Hye (b 1939), though senior but arrived later. Suprabhat Bhalobasa (1977) was his first novel, which has reached twenty in number by now. Along with his other novels he has introduced a different form of novels called biographical. In this class his novels are Sultan (1991) Ekjon Aaroj Ali (1995) and Novera (1995) - all of which are based on the biographical sketches of giant Bangali characters. Rizia Rahman (b 1939) is also a favourite name. Starting with Uttar Purush which came in black and white in 1977, she wrote some fifteen novels in the eighties. Her voluminous Bong Theke Bangla (1987) is an epic composition about the past culture and heritage of our nation. Her other major novels are Rokter Okshor (1978), Alikhito Upakhyan (1980), Ekal Chirokal (1984), Prem Aamar Prem (1985), Ekti Phuler Jonyo (1986), Harun Phereni (1994) etc. Another senior writer who began his novelist career in this decade is Bashir al-Helal (b 1936). Only one novel by him Kalo Elish was published in 1979. His other novels include Gritokumari (1984), Shesh Panpatro (1986), Nurjahander Modhumas (1988) etc.

In the eighties we have got some senior writers also who wrote novels for the first time along with the promising young ones. Among the earlier writers Abubakar Siddique’s (b 1936), Jalarakshas (1985) and Kharadaha (1987) appeared with much novelty especially regarding their contents. In these two novels he has exposed the rude but true realities of our people during flood in Bagerhat-Khulna area (Jalarakshas) and during drought in northern districts (Kharadaha). His important later novel is Ekatturer Hridoybhashma (1997). Although Makbula Manjoor (b 1938) started in the late years of the sixties, most of her novels came out in the eighties and nineties. Kaler Mondira (1997) gave her many introductions to a great readership. Middle class city people, their joys and sorrows, love and separation are the core ideas of Rahat Khan’s (b 1940) novels. His significant works include Omol Dhabol Chakri (1982), Ek Priyodorshini (1983), Chhayadampoti (1984), Hae Shunyota (1984), Sangharsho (1984), Shahar (1984), Hae Anonter Pakhi (1989), Madhyamather Khelowar (1991) etc. Akhtaruzzaman Elias (1943-1997), one of the most artistic but least productive writers, launched his journey with Chilekothar Sepai (1987). His most prestigious work Khoabnama, which came out in 1996, is a milestone in the history of Bangla novels. In this decade another senior novelist Abu Ishaque’s second novel Padmar Palidwip (1986) was published after thirty-one years of his debut novel Surya-Dighal Bari. In this second one, as he did in his first novel, Abu Ishaque again proved his honesty and nearness to true literature. Appearance and disappearance of Chars (strip of sandy land), their effect on nearby humanity etc. have taken a keen narration in Padmar Palidwip. Haripada Datta (b 1947) is also a worthy name whose Ojogor (Vol. I -1989, Vol. II-1991) chronicles the recent past history very remarkably. His previous novels are Eshane Ognidaho (1986) and Ondhokupe Janmothsob (1987). In 2000 he has written an epic volume titled Jonmo Jonmantor.

From the early years of this decade we felt the arrival of some young novelists who, later on, obtained enough popularity. Monju Sarkar (b 1953), Imdadul Haq Milon (b 1955) and Moinul Ahsan Saber (b 1958) are the few but most common names in this regard. Monju Sarkar’s Tamosh (1984), Nagno Agontuk (1986), Protima Upakhyan (1992) and Abashbhumi (1994), Imdadul Haq Milon’s Jabojjibon (written in 1976, published in 1900), Nodi Upakhyan (1985), Bhumiputro (1985), Kalakal (1985), Poradhinota (1985), Rupnagor (1988) Rajakartontro (1990), Moinul Ahsan Saber’s Adomer Jonye Opeksha (1986), Pathor Somoy (1989), Char Torun Toruni (1990), Manush Jekhane Jai Na (1990), Dharabahik Kahini (1992), Opeksha (1992), Kobej Lethel (1992), Tumi Amake Niye Jabe (1993) Prem O Protishodh (1993), Songsher Japon (1997) got much recognition from the literati. Meanwhile we got another powerful writer Shahidul Zahir (b 1953) although he never chased for trivial popularity. His first novel Jibon O Rajnoitic Bastobota was published in 1988 while his second, till now the last, She Rate Purnima Chhilo came out in 1995. Magic realism, which is a recent trend of the Latin American novels, takes place in Shahidul Zahir’s narration. His language and presentation are very similar to that of the novels of Marquez and other Latin American writers.

The last decade of twentieth century is comparatively fruitful for Bangladeshi novels. To mention a few, we have got Al Mahmud’s (b 1936) novelistic exposition, Bipradas Barua’s (b 1940) Buddhist life, Humayun Azad’s (b 1947) brave creations, Akimun Rahman’s (b 1959) novels about womanhood, as well as Nasreen Jahan’s (b 1964) novels of magic realism. Shamsuddin Abul Kalam’s historic work Kanchongram was also published in 1997 in this decade. Syed Shamsul Haq’s masterpiece Bristi O Bidrohigon, published in 1998, is a milestone on our past heritage and liberation war.

Senior poet Al Mahmud’s debut novel Dahuki came out in 1992 which was followed by Kobi O Kolahol (1993), Upamohadesh (1993), Kabiler Bone (1993), Purush Sundor (1994), Nishinda Nari (1994) etc. Though Bipradas Barua began his novelist career in 1975 with his debut novel Ochena, his formidable novels were published during this decade. His major novels are Somudrochar O Bidrohira (1990), Muktijoddhara (1991), Shramon Goutam (1996) etc. Humayun Azad commenced his novelist carrier with Chhappanno Hajar Bargamile in 1994, which was a courageous slap on martial law and dictatorship. In no time the novel brought its writer much name and popularity. Humayun Azad’s creativity was reproved in his following novels like Sab Kichhu Bhenge Pare (1995), Subhabrata, Tar Samparkita Susamachar (1997), Rajnitibidgon (1998) etc. Mohammad Nurul Huda (b 1949), mostly acclaimed as a poet, had also two attempts in this period. Excepting Janmajati (1994) and Moinpahar (1995) he did not make any third attempt. Another less productive writer ventilated her capacity in writing novels, is Akimun Rahman. She has by now written only two novels: Purusher Prithibite Ek Meye (1997) and Raktapunje Genthe Jawya Machhi (1999). She is the first novelist ever in Bangla language in whose writing the untold and unknown secrets of womanhood are getting tongue. The other significant writer of the decade is Nasreen Jahan. Her first novel Urukku (1993) arrived with much appreciation. She manipulated the elements of magic realism in her novels. In this regard her well-known novels are Chandrer Prothom Kola (1994), Chandralekhar Jaadubistar (1995), Sonali Mukhosh (1996), Ure Jai Nishipakshi (1999) etc. Meanwhile Anisul Huq (b 1965) has established himself as a popular writer. His Andhokarer Ekshaw Bachhar (1995) presented him a very honourable place but in no other novel he could revive that honour. Imtiar Shamim (b 1965) is also a young but promising name for the novels of recent Bangladesh. In Dana Kata Himer Bhetor (1996) he presented a NGO-world. His Amra Hetechhi Jara (2000) encompassed a very touching story of the sorry saga of post-independence Bangladesh life. Along with all the above ones Sushanta Majumder’s (b 1954) Garam Hath (1995), Salam Saleh Uddin’s (b 1965) Chhayashorir (1998) are very careful efforts.

When Bangla novel turns one hundred and fifty years, novels of Bangladesh falls fifty years back. It is true that in its history of about one hundred years novels of Bangladesh could not reach the standard of world novels, but we must agree that we have got a good number of novels where creative emancipation of the writers has been established.

1. Annada Sankar and Lila Ray, Bengali Literature, Pashchimbanga Bangla Academy, Kolkata, 2000
2. Biswajit Ghosh, ‘Bangladesher Uponyas’, Sahitya Patrika, Vol. 28 No. 01, Dhaka University, Dhaka, 1984
3. Rafiqullah Khan, Bangladesher Uponyas: Bishay O Shilparup, Bangla Academy, Dhaka, 1997
4. Syed Akram Hossain, ‘Bangladesher Uponyas: Chetanaprabaha O Shilpajijnansha’, Prosango Bangla Kathashahitya, Mawla Brothers, Dhaka, 1997

1. Bangla Academy Charitabhidhan, Bangla Academy,Dhaka, Second Enlarged Edition, 1997
2. Bangla Academy Lekhask Obhidhan, Bangla Academy, Dhaka, 1998
3. Bangla Uponyase Chitrita Jiban O Somaj, Sudhamoy Das, Dhaka, 1995
4. Purba O Pashchim Banglar Uponyas, Shahida Akter,Bangla Academy, Dhaka, 1992
5. Bangladesher Uponyase Char Doshok, Kalyan Mirbar,Kolkata, 1992
6. Amader Uponyase Bisoy Chetona : Bivagottor Kal,Muhammad Idris Ali, Bangla Academy, Dhaka, 1988

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