Biswabrata Goswami
KRISHNAGAR, 20 FEB: The heart that chronicled the restless pulse of post-Independence Bengal fell silent on Friday afternoon. Manishankar Mukherjee — better known to generations of readers as Shankar — passed away at 1:50 p.m. on 20 February 2026 at a private hospital in Kolkata. He was 92 and had been ailing due to age-related complications.
With his passing, Bengali literature loses not merely a prolific novelist but a master storyteller who transformed lived experience into enduring fiction. For over six decades, Shankar held up a mirror to urban Bengal — its aspirations, anxieties, moral dilemmas and quiet heroism — crafting narratives that bridged reportage and imagination with rare ease.
Born on 7 December 1933, Shankar grew up in a time of turbulence. His father, Haripada Mukherjee, was a lawyer. During the Second World War, amid fears of Japanese bombing, the family shifted to Howrah. Tragedy struck early: his father’s untimely death in 1947 forced the teenage Shankar to shoulder the burden of the household, an experience that would later lend his writing its unmistakable authenticity.
He began his schooling at Howrah District School and later studied at Vivekananda Institution before enrolling at Surendranath College. Financial hardship, however, made the continuation of formal education a challenge. Life became his greater university.
Shankar’s early professional life was marked by struggle and resilience. He worked as a typewriter cleaner, a private tutor and a junior clerk to a jute broker — occupations that exposed him to the layered realities of a changing Bengal. A decisive turning point came when he joined the chambers of the last English barrister of the Calcutta High Court, Noel Barwell, as a “muhuri” (law clerk). The mentorship and milieu of the colonial courtroom left an indelible imprint on the young writer’s imagination.
In 1955, he published his debut novel, Kato Ajanare, inspired by his experiences with Barwell. The work announced the arrival of a distinctive voice — one that combined narrative drive with documentary precision. But it was Chowringhee (1962) that cemented his place in the pantheon of Bengali fiction. Set against the backdrop of the fictional Shahjahan Hotel, the novel captured the glittering yet fragile world of urban modernity. Translated into multiple languages, it remains a touchstone of post-Independence Bengali literature.
Two of his other landmark works — Seemabaddha and Jana Aranya — were adapted for the screen by the legendary filmmaker Satyajit Ray, further expanding his readership and reinforcing his stature in India’s cultural landscape. His engagement with the life and philosophy of Swami Vivekananda also produced widely read and researched works that reflected his intellectual depth beyond fiction.
Over the decades, Shankar’s oeuvre expanded to include novels such as Ghar O Baire, Paribarik, Rasabati, Charan Chhuye Jai and Eka Eka Ekashi, each resonating with his signature blend of empathy and realism.
Recognition followed. In 2016, he was conferred the honorary D.Litt by the University of North Bengal. In 2021, he received the Sahitya Akademi Award for his contribution to literature — a tribute to a lifetime devoted to letters.
Yet awards alone cannot measure Shankar’s legacy. He belonged to that rare breed of writers who chronicled the moral and material transformations of a society in flux. His protagonists were often ordinary men navigating extraordinary pressures — corporate corridors, hotel lobbies, courtrooms and cramped middle-class homes — reflecting the evolving ethos of a newly independent nation.
In his death, Bengal mourns a chronicler of its modern soul. His words, however, endure — in dog-eared copies on bookshelves, in cinematic frames, and in the collective memory of readers who found in his stories their own struggles and dreams.
Shankar is survived by his family and countless admirers.
The heartbeat has ceased, but the stories will continue to echo.
In a refreshing blend of tradition and scientific innovation ahead of Holi, the University of Kalyani has unveiled a home-grown, herbal alternative to the chemical-laden colours that flood markets every spring. Branded “Kalyanbarna,” the eco-friendly abir has been developed under the aegis of the Institution’s Innovation Council, through a collaborative effort between the university’s Incubation Cell and the Department of Botany — an initiative that seeks to marry festive fervour with public health and environmental responsibility.
At a time when concerns over the toxic impact of synthetic colours on skin, eyes and respiratory health are mounting, the university’s initiative signals a conscious return to nature. Vice-Chancellor Prof. Kallol Pal said the institution felt a moral obligation to respond to the growing health risks associated with commercially available abir.
“The chemical content in market-sold colours is entering the human body and the toxic effects are harmful. As a university, we have a responsibility towards society. That is why we have developed a chemical-free, herbal product. I believe this initiative will gradually grow into a large movement. Not only other universities, but in the coming days we aim to cross state boundaries and market it across the country,” he said.
The herbal abir has been prepared using plant-based ingredients such as seeds of Sindur Raga, leaves of Ashoka Harita, rhizomes of Kasturi Gauri, roots of Mridu Leela, and turmeric rhizome, among others. According to the developers, these components are not merely natural dyes but also carry therapeutic properties.
The product has already generated interest beyond the university campus. Faculty members, non-teaching staff, students and researchers have embraced the initiative, and word of the herbal colour has spread across Nadia district.
The formulation was developed under the supervision of Supriya Ray, an alumna of the university. She revealed that although Jadavpur University had once considered producing herbal abir, the project was shelved due to high costs. Ray, however, focused on extracting pigments from commonly available vegetables, flowers and edible plant sources to reduce production expenses.
“I learned methods to extract colour from various vegetables, flowers and leaves that we regularly consume. This helped in producing the abir at a lower cost. The herbal ingredients and organic powders used in it do not cause any allergic reactions,” she said.
Entrepreneurs involved in the project emphasised that the abir is not only safe for the skin but may also offer protective benefits. The ingredients are known to contain anti-inflammatory and antioxidant properties, making the product gentle and skin-friendly.
Prof. Neera Sen Sarkar of the Department of Botany and Coordinator of the Incubation Cell pointed out that the raw materials are sourced from the university’s own Biodiversity Park.
“All the herbal components required for preparing the abir are available in the university’s Biodiversity Park. Researchers from different departments have worked together to develop this product. Compared to the synthetic colours available in the market today, ‘Kalyanbarna’ stands out as a truly innovative alternative,” she said.
Determined not to confine the initiative within academic boundaries, the authorities have decided to make the product available to the public. The biodegradable and environmentally sustainable abir is priced at Rs 100 for a 100-gram pack and Rs 50 for a 50-gram pack. It is currently available at the university’s Incubation Cell and Department of Botany.
