Author: Rinky S

Ame Jibajantu Bhari Badhia is a vibrant Odia poetry collection by Basant Kishor Sahu, published in 2017, that has captured the hearts and imaginations of readers across generations. This book stands as a testament to the enduring power of poetry to weave together everyday wonder, cultural heritage, and the natural world. Its verses are not only an expression of poetic artistry but also a reflection of the joyful coexistence of life forms surrounding us, making it especially appealing to both children and adult enthusiasts of literature. One of the striking features of the collection is its playful yet profound exploration…

Baram Nibasa Bhala Ranakshetrare, an Odia drama book penned by Rames Das and published in 2012, stands as an extraordinary contribution to contemporary Odia literature. The work is distinguished by its multi-layered narrative structure, which elegantly intertwines sub-drama, saciety, and humanity. In doing so, it not only challenges conventional dramatic forms but also creates an immersive experience for the reader by exploring various shades of human existence in a profound, yet accessible manner. At its core, the book reveals a rich array of sub-dramas—smaller, self-contained narratives interlaced within the main storyline. Each sub-drama brings its own distinct flavor and perspective,…

Bhanga Aina, an enthralling Odia drama written by Bijaya Misra and published in 2014, intricately weaves the complex tapestry of urban life in a metropolis. Set against the backdrop of the bustling city—referred to as Mahanagar in the work—the play explores the multi-layered struggles of individuals whose inner lives reflect the fractures of modern society. With a title that translates to “Broken Mirror,” the drama metaphorically examines how the reflections of identity, tradition, and modernity shatter under the pressures of rapid urbanization and shifting moral values. At the heart of Bhanga Aina lies a penetrating social commentary on the disintegration…

Odia Drama Book Bijaya by S. C. Chattopadhyay, translated by J. Samal and published in 2000, is an impressive work that stands as a significant contribution to the realm of Odia literature and dramatic arts. This drama, categorized as a sub-drama within the distinctive tradition of Odia theatre, encapsulates the rich cultural and societal narratives that have long been a part of the region’s literary heritage. It is published under the aegis of Datta, indicating the work’s deep connection with traditional and progressive elements of Odia storytelling. At its heart, “Bijaya” is a celebration of human resilience and the eternal…

Bilua Nanar Banabhoji by Basant Kishor Sahu is an enchanting collection of Odia poetry designed specifically for children—a delightful exploration of language, culture, and imagination. Published in 2008, this illustrated volume seamlessly weaves rhythmic verses with vibrant imagery to create a universe where words come to life and every page invites young readers into a realm of wonder and discovery. At its heart, Bilua Nanar Banabhoji is a celebration of childhood curiosity and the magic of nature. Sahu’s poetic narrative transports readers to a lively forest where every creature, plant, and hidden nook has a tale to tell. The title…

Gachha Ama Jiban, an enchanting Odia story book by Basant Kishor Sahu, published in 2003, weaves the magic of nature into the fabric of everyday life with a special focus on children and their curious hearts. The title, which translates to “The Tree, Our Life,” not only underscores the central theme of the narrative but also reflects on how trees, as silent witnesses to human existence, carry the essence of life and wisdom. In this delightful collection, Sahu invites young readers to explore the world around them, nurturing a bond with nature that is both respectful and wondrous. At the…

Gajabandhan is a distinguished work in Odia literature, composed by S.D. Banibhusana and meticulously edited by N. Harichandan and A.K. Rath. Published in 2002, this book offers readers a unique insight into the age-old tradition of elephant capture—a practice steeped in cultural symbolism and historical importance. Derived from a sub-manuscript collected in Tigiria, the poem “Gajabandhan” (literally meaning “the tying up of an elephant”) stands as a lyrical testament to the intricate relationship between man and nature, encapsulating the ritual’s beauty, peril, and deeper significance. At its core, the poem goes beyond the mere depiction of a physical act. Banibhusana…

Jakshini Sambad, an Odia drama book by Archana Naik, published in 2004, stands as a significant contribution to contemporary Odia literature. As a sub-drama collection, this work breaks away from conventional dramatic narratives and presents a series of dialogues that delve deep into the nuances of human relationships, societal norms, and the delicate interplay of tradition and modernity. At its heart, Jakshini Sambad is a tapestry of conversational vignettes that capture the immediacy and spontaneity of communication. Archana Naik employs a distinct narrative form in which conversations become the vehicle for exploring multifaceted characters and the complexities inherent in their…

Jane Mahapurusanka Janma O Mrutyu Samparkare, written by Rames Panigraphi and published originally in 1973 with a celebrated second edition in 1986, stands as a milestone in modern Odia drama. This innovative work, a sub-drama in the series Manduka Upakhyanam, explores the cyclic nature of existence through the dramatic interplay of life and death. In the complex tapestry of Panigraphi’s narrative, the themes of birth and death are investigated not merely as two distinct events but as essential, intertwined processes that define the human condition. In this seminal drama, Panigraphi employs a unique blend of classical storytelling techniques fused with…

Kranti, an Odia drama book by Binapani Mohanty published in 1999, represents a fascinating compilation of one-act plays that capture the spirit of transformation and social introspection. This work, while concise in form, is rich in content and dramatic technique. The title itself, meaning “revolution,” reflects the fervor and dynamism that pervades the plays, inviting audiences to reconsider established norms and engage with themes of change, resilience, and human passion. The one-act format employed by Mohanty in Kranti is particularly significant. In a format that demands brevity and precision, each play is crafted to encapsulate a complete narrative or idea…