Volume II, Special Issue, February 2026
Volume-II, Special Issue, February, 2026 |
Received: 26.12.2025 | Accepted: 05.01.2026 | ||
Published Online: 28.02.2026 | Page No: | ||
DOI: 10.69655/atmadeep.vol.2.specialissue.W. | |||
আখ্যান বিহীন আখ্যান-এ কার্নিভালের ব্যঙ্গাত্মক হাসি- ‘মসোলিয়ম’ ড. সেখ মোফাজ্জাল হোসেন, সহকারী অধ্যাপক ও বিভাগীয় প্রধান, বাংলা বিভাগ, সামসী কলেজ, পশ্চিমবঙ্গ, ভারত |
Carnivalesque Satirical Laughter in a Narrative without Narrative: “Mausoleum” Dr. SK Mofazzal Hossain, Assistant Professor and Head of the Department, Department of Bengali, Samsi College, West Bengal, India | ||
ABSTRACT | ||
In Mausoleum, everything is deconstructed. The counter-text is infused with illusion, magic, and improbability. In a twenty-first-century, logic-driven, technology-obsessed age, imagination is shaped through an intense carnival and a fusion with the hyper-real, giving rise to the complete narrative—or anti-narrative. It is as if Nabarun has taken a vow not to spare any subject. After literature, his primary target is contemporary politics and political leaders. He seems to place every major party of India’s multi-party democracy before an encounter squad. He exposes the cult of personality prevailing in some parties, while also laying bare the fundamentalist character of others. To rupture this rigid chain of logic, Nabarun Bhattacharya creates a verbal intoxication of illusion and storm, and a language steeped in satire and mockery. And if we choose to see the issue this way—that social decay has reached the very soul and is no longer confined merely to the exterior—then Nabarun shows that it is the soul that has fallen ill, not the body. In this society, those entrusted with maintaining law and order are today the very violators of the law, and in many cases, criminals themselves. From the 1970s onward, conscious novelists began attempting to break free from this closed chamber of narrative. The seeds of Nabarun’s writing are scattered within the equations of that period. His effort is to dismantle the illusion of story and the stagnation of thought. Mausoleum adds another new dimension in this respect—where the counter-text governs the text. If there is no objection to large-scale hero worship such as the preservation of Lenin’s dead body, then why does an uproar arise over Bhodi becoming a mummy? After all, this too is a form of personality cult. Mausoleum thus emerges as an example of possible improbability, where, within the author’s constructed world, even the impossible becomes possible. | ||
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