FLASH FICTION / Chand raat at Mohakhali

Following the trails of Imaginary Homelands (Penguin Books, 1992) and Step Across The Line (Modern Library, 2003), comprising essays written and lectures given by Salman Rushdie between 2003-2020, Languages of Truth is Rushdie’s third collection of nonfiction works and is as a delectable read as its predecessors if not more.

The author paints an engrossing picture of her experiences and memories, both influenced by food, which is true for most of the people in this world, and particularly for South Asians.

By visually capturing the characters, landscapes, and action scenes, the graphic novels enhance the reading experience and offer a fresh perspective on the beloved story.

The Hundred Foot Journey is the story of an immigrant Indian family who sets up a restaurant right in front of a famous French relais and the feud it ensues.

Bibhuti Babu’s pen tenderly reveals the nudity of apparently disturbing feelings and emotions that we are so ashamed and afraid to accept and express.

"This book is a way for me to express my own emotions associated with Tagore’s lyrics”, Fakrul Alam shared his thoughts at the launch of 'Gitabitan'.

Dickens, a literary luminary of his era, exposes the vicious cycle where hunger and desperation divide society, laying bare the inequities perpetuated by an exploitative system.

The creators discussed the thought process that led to the creation of the characters' journey, the challenges they encountered during the writing and editing process, and the inspiration behind the narrative choices.

It is a truth universally acknowledged that food is the undisputed sixth love language that Gary Chapman forgot to mention in his 1992 book. Or maybe it’s just the gastronome in me speaking.

In two of the more prominent fictional works that are part of the diasporic South Asian literary production, Jhumpa Lahiri’s The Namesake and Mohsin Hamid’s The Reluctant Fundamentalist, food is presented as a conceptual apparatus that makes palatable the tensions of ‘multiculturalism’ and offers a critique of class barriers—if not always at the level of economics, but at the level of consciousness.

Unlike online influencers and their various outright claims of right and wrong, Dr Wolrich’s approach is grey.

I have always had a rather avoidant recoil to the aftermath of death.

I was a little anxious. It was only the second day of my life at the University of Cambridge, and I was already bombarded with instructions on how to dine.

The goal of this project is to bring together readers to explore literary contributions, showcase artistic quality and celebrate women in the creative world as well as to foster interests and understanding of the accomplishments of female writers and artists. 

Veering off from stories for a bit, Fahim Anzoom Rumman’s “The Secret” was a breath of fresh air. The piece seemed to be a cross between a poem and the kind of fable your grandparents would tell you as a kid to get you to fall asleep.

His face was growing warmer, it seemed as though the intangible entity that was stinging his closed eyes was growing stronger.

Ask me not of Grief. For I have been burnt by its friendly fire with blood and bits of oozing mortal flesh spun flaky and ashen by its biting cold breath.

that single spot, shunyo, a hole that is filled to its circumference, I drive and the sun is bigger than I’ve ever seen and orange, look directly into it or, i had to write a poem to go along with the first

Love is the enormous mango tree growing directly from an ancient grave, so old that no headstone remains at all.

Whenever depression is depicted in pop culture, it is shown in some visible extreme, with blue-grey lighting, dark rooms, ashen faces peering out through rainy windows, bodies curled up in bed.