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Kabir Bouthan
Kabir Bouthan (Bengali) Hardcover - 1 Jan 2014 by Mallika Sengupta (Author)
292 pages, Hardcover
Published January 1, 2014
6 people are currently reading
159 people want to read
About the author
Mallika Sengupta
17 books12 followersমল্লিকা সেনগুপ্ত-র জন্ম ২৭ মার্চ ১৯৬০, কলকাতায়। পেশায় সমাজতত্ত্বের অধ্যাপক। ডক্টরেট, গবেষণার বিষয় ছিল বাংলা উপন্যাসে বিবাহবিচ্ছিন্না নারীদের উপস্থাপনার সমাজতাত্ত্বিক বিশ্লেষণ। ১৯৮৫তে অধ্যাপনার কাজ শুরু করেন। মহারাণী কাশীশ্বরী কলেজে। কবিতা লেখার শুরু ১৯৮২ সাল থেকে তখন এম এ ক্লাসের ছাত্রী। কবিতার পাশাপাশি লিখেছেন তিনটি উপন্যাস ও তিনটি নারীচেতনার প্রবন্ধগ্রন্থ। পেয়েছেন সুকান্ত পুরস্কার, কেন্দ্রীয় সরকারের জুনিয়র রাইটারস ফেলোশিপ, অনীতা-সুনীল বসু পুরস্কার, আলপনা আচার্য স্মৃতি পুরস্কার ইত্যাদি। কবিতাপাঠ ও আলোচনায় আমন্ত্রিত হয়ে গিয়েছেন সুইডেন, অস্ট্রেলিয়া, ইউ এস এ, চেক রিপাবলিক ও ঢাকায়। উইকিপিডিয়া, ইনডিয়া পোয়েট্রি ইনটারন্যাশনাল, দি আনসেভারড টাঙ, ইনডিয়া টুগেদার ইত্যাদি নানা ওয়েবসাইটে তাঁর কবিতা ও জীবনতথ্য পাওয়া যায়। ১৯৮৯ থেকে আমৃত্যু ‘ভাষানগর’-এর সম্পাদক, কবি সুবোধ সরকারের সঙ্গে। প্রয়াণ ২৮ মে ২০১১।
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October 30, 2024
২.৫ তারা
রবি বাবু আর কাদম্বরী দেবী হলো হট টপিক। তাদের নিয়ে বই লিখলে মানুষ রমরমিয়ে পড়বে এটাই নিয়ম। কারণ বড়লোকের পর্দার আড়ালে কি হোয় তা জানার অসুস্থ কৌতূহল তো রয়েছেই সবার তার উপর যে সে নয়, স্বয়ং বাঙালির ভগবানের কাছাকাছি লোক। তাই তার আলোয়ানে কাদার ছিটেফোঁটা খুঁজে মানুষের কাতারে নামিয়ে আনবার অছিলা।
যাই হোক, ভাল লেগেছে এই টুকু যে রবিন্দ্রনাথ আর কাদম্বরীর সম্পর্কটাকে খুঁচিয়ে ইশারা করে কিছু লেখা হোয় নি। সত্য তো আমি জানিনা এবং ফিকশন পড়ে সত্য অনুমানের ইচ্ছাও আমার নেই কিন্তু এটুকু বুঝি বালক বালিকা, কিশোর কিশোরী একই ঘরে থাকলে একটা দুর্বলতা জন্মায় যা সংস্কারের দড়ি দিয়ে বাঁধা থাকে, পরিবারের শাসনে নিজেদের স্বীকৃত সম্পর্কের রাশ মেনে চলে। তাও মনের আনাচে কানাচে একটা ভাল লাগা কাজ করে। সেটুকু হয়তো ছিল, বইয়ে সেটুকু সেভাবেই এসেছে। কাদম্বরীর জ্বালা যে রবি নয়, জ্যোতিন্দ্রনাথ ঘুচাবে তাই তার আশা ছিল। তাতেই ভর দিয়ে দুঃখিনী দুঃখ করতে করতে চলে গেল দিন শেষে।
আরেকটা তারা বেশি দিতে গিয়েও দিতে পারলাম না। কারণ কোথাও একটা বাঁধো বাঁধো ঠেকছে।
রবি বাবু আর কাদম্বরী দেবী হলো হট টপিক। তাদের নিয়ে বই লিখলে মানুষ রমরমিয়ে পড়বে এটাই নিয়ম। কারণ বড়লোকের পর্দার আড়ালে কি হোয় তা জানার অসুস্থ কৌতূহল তো রয়েছেই সবার তার উপর যে সে নয়, স্বয়ং বাঙালির ভগবানের কাছাকাছি লোক। তাই তার আলোয়ানে কাদার ছিটেফোঁটা খুঁজে মানুষের কাতারে নামিয়ে আনবার অছিলা।
যাই হোক, ভাল লেগেছে এই টুকু যে রবিন্দ্রনাথ আর কাদম্বরীর সম্পর্কটাকে খুঁচিয়ে ইশারা করে কিছু লেখা হোয় নি। সত্য তো আমি জানিনা এবং ফিকশন পড়ে সত্য অনুমানের ইচ্ছাও আমার নেই কিন্তু এটুকু বুঝি বালক বালিকা, কিশোর কিশোরী একই ঘরে থাকলে একটা দুর্বলতা জন্মায় যা সংস্কারের দড়ি দিয়ে বাঁধা থাকে, পরিবারের শাসনে নিজেদের স্বীকৃত সম্পর্কের রাশ মেনে চলে। তাও মনের আনাচে কানাচে একটা ভাল লাগা কাজ করে। সেটুকু হয়তো ছিল, বইয়ে সেটুকু সেভাবেই এসেছে। কাদম্বরীর জ্বালা যে রবি নয়, জ্যোতিন্দ্রনাথ ঘুচাবে তাই তার আশা ছিল। তাতেই ভর দিয়ে দুঃখিনী দুঃখ করতে করতে চলে গেল দিন শেষে।
আরেকটা তারা বেশি দিতে গিয়েও দিতে পারলাম না। কারণ কোথাও একটা বাঁধো বাঁধো ঠেকছে।
September 4, 2012
One of the greatest books ever...
June 2, 2022
অনেক কিছু হওয়ার সম্ভাব্যতা সত্ত্বেও তা হলো না। কথাটা রবি-কাদম্বরী সম্পর্কে যেমন সত্য, তেমনি এই বইয়ের ক্ষেত্রেও সত্য। মল্লিকা সেনগুপ্তের লেখার প্রসংশা শুনি কিন্তু 'সীতায়ন' পড়ে সন্তুষ্ট হতে পারিনি। এ বইটা পড়েও আফসোস থেকে গেল। একথা সত্যি যে রঞ্জনের চেয়ে এ বই হাজার গুণে ভালো (বিশেষত রঞ্জন নিজেও এ বই থেকে অনুপ্রেরণা নিয়েছেন) কিন্তু বইটি যে হারে প্রশংসিত ততটা আবেশ এ লেখায় নেই। না চাইতেও তুলনা চলে আসে সুনীলের সঙ্গে। প্রথম আলোতে মূল উপন্যাসের একটা অংশ হয়েও বিষয়টি যতখানি সুন্দর, এখানে তা হয়নি। আমার মনে হলো ভাষার কারণে এই বাধাটা সৃষ্টি হয়েছে। রবীন্দ্রনাথের সময়টাকে মল্লিকা ভাষায় ধরেননি;। সেটা ধরলে আরও ভালো লাগত।
July 11, 2024
Review of The Bard and his Sister-in-law
The Bard and his Sister-in-law is an English translation of the Bengali novel ‘Kobir Bouthan’ originally written by Mallika Sengupta. The work of translation is a gigantic job but translator Lopamudra Banerjee took the responsibility of transcreating this 442-page historical novel over two years. Such translations are a boon for English readers like us who want to know about Rabindranath Tagore and his upbringing but have limited options as we can’t read Bengali.
As I proceeded through the pages, I did not feel that I was reading any translated work, the vivid background descriptions and characters’ emotions were free-flowing. Even the translations of letters written by Rabi (Rabindranath Tagore) and Satyendranath (Rabi’s elder brother) have the characters’ distinct voices intact.
I particularly loved the four pages long diary entry of Rabi written on a ship while sailing through River Ganges. These four pages took Lopamudra as many as seven rewrites and she still is not satisfied with her work but for me these pages are bliss. I dived into the beauty of Rabindranath’s pen and devoured every word heartily.
The original Bengali words are used to create an authentic mid-nineteenth-century Kolkata household setting of a Bengali family. The mention of words like memsahib and gora sahib takes us to the era of the British Raj. I am not a Bengali but my heart craved for more of Bengali literature after reading The Bard and his Sister-in-law.
I bathed in the musical soiree of Thakurbari, I enjoyed the grand literary discussions of the Tagore siblings, and I soaked in the love of Rabi for his muse, Kadambari (his Notun Bouthan). I witnessed the struggle of Jorasankho women to break the shackles of bondage pressed upon them by a patriarchal society, their conspiracies to win their husband’s love and their chores and chatters. Also, abundant was the love among the Tagore brothers and the blossoming of art and literature in the compound of Jorasanko. The tactful upbringing of Debendranath Tagore (father of Rabindranath Tagore) is clearly visible throughout this historical biography.
It transported me to the agonizing pain of Kadambari when she lost little Urmila (her sister-in-law’s daughter whom she loved like her own) and the intense mourning of Gyanada when she lost three of her children. Kadambari and Gyanada are two strong brides of the Tagore household: one creates her own identity by accepting age-old traditions and restrictions while the other paves a path for the emancipation of women by daring to sail through the Atlantic Ocean and going to London without her husband or any other men from her household with her three children that too when she was pregnant.
The tales of Malini, the bookseller, entertained me and the plight of Nati Binodini cast light on how people of higher strata used someone from an undignified background as mere puppets to fulfill their lust and pockets. Rupa, the nonconformist adopted daughter of Rabi’s mother, played an important role in shaping the interpersonal relationships between Tagore women. The spread of Brahmo Samaj, society’s stern reaction against its followers and how Debendranath went against his wife, brother’s family and society to propagate and follow Brahmo religion is shown through various instances in this historical non-fiction. The multifaceted narratives of liberal Swarnakumari and Satyendranath, enduring Rash Sundari and unfaithful Jyotirindranath have been distinctly defined leaving no room for confusion.
The original Bengali novel takes references from various published works and the esteemed translator herself read volumes of books on this subject to bring out the authenticity in her translated version. The Bard and his Sister-in-law is a testament to Lopamudra Sengupta’s hardwork and will to make Bengali literature accessible to non-Bengali readers. I am deeply grateful to her for bringing this book into my hands and igniting my interest in Bengali literature.
The Bard and his Sister-in-law is an English translation of the Bengali novel ‘Kobir Bouthan’ originally written by Mallika Sengupta. The work of translation is a gigantic job but translator Lopamudra Banerjee took the responsibility of transcreating this 442-page historical novel over two years. Such translations are a boon for English readers like us who want to know about Rabindranath Tagore and his upbringing but have limited options as we can’t read Bengali.
As I proceeded through the pages, I did not feel that I was reading any translated work, the vivid background descriptions and characters’ emotions were free-flowing. Even the translations of letters written by Rabi (Rabindranath Tagore) and Satyendranath (Rabi’s elder brother) have the characters’ distinct voices intact.
I particularly loved the four pages long diary entry of Rabi written on a ship while sailing through River Ganges. These four pages took Lopamudra as many as seven rewrites and she still is not satisfied with her work but for me these pages are bliss. I dived into the beauty of Rabindranath’s pen and devoured every word heartily.
The original Bengali words are used to create an authentic mid-nineteenth-century Kolkata household setting of a Bengali family. The mention of words like memsahib and gora sahib takes us to the era of the British Raj. I am not a Bengali but my heart craved for more of Bengali literature after reading The Bard and his Sister-in-law.
I bathed in the musical soiree of Thakurbari, I enjoyed the grand literary discussions of the Tagore siblings, and I soaked in the love of Rabi for his muse, Kadambari (his Notun Bouthan). I witnessed the struggle of Jorasankho women to break the shackles of bondage pressed upon them by a patriarchal society, their conspiracies to win their husband’s love and their chores and chatters. Also, abundant was the love among the Tagore brothers and the blossoming of art and literature in the compound of Jorasanko. The tactful upbringing of Debendranath Tagore (father of Rabindranath Tagore) is clearly visible throughout this historical biography.
It transported me to the agonizing pain of Kadambari when she lost little Urmila (her sister-in-law’s daughter whom she loved like her own) and the intense mourning of Gyanada when she lost three of her children. Kadambari and Gyanada are two strong brides of the Tagore household: one creates her own identity by accepting age-old traditions and restrictions while the other paves a path for the emancipation of women by daring to sail through the Atlantic Ocean and going to London without her husband or any other men from her household with her three children that too when she was pregnant.
The tales of Malini, the bookseller, entertained me and the plight of Nati Binodini cast light on how people of higher strata used someone from an undignified background as mere puppets to fulfill their lust and pockets. Rupa, the nonconformist adopted daughter of Rabi’s mother, played an important role in shaping the interpersonal relationships between Tagore women. The spread of Brahmo Samaj, society’s stern reaction against its followers and how Debendranath went against his wife, brother’s family and society to propagate and follow Brahmo religion is shown through various instances in this historical non-fiction. The multifaceted narratives of liberal Swarnakumari and Satyendranath, enduring Rash Sundari and unfaithful Jyotirindranath have been distinctly defined leaving no room for confusion.
The original Bengali novel takes references from various published works and the esteemed translator herself read volumes of books on this subject to bring out the authenticity in her translated version. The Bard and his Sister-in-law is a testament to Lopamudra Sengupta’s hardwork and will to make Bengali literature accessible to non-Bengali readers. I am deeply grateful to her for bringing this book into my hands and igniting my interest in Bengali literature.
March 14, 2024
Kabir Bouthan” by Mallika Sengupta is a literary masterpiece that delves deep into the rich tapestry of Bengal’s cultural history through the lens of the illustrious Tagore family. “Kabir Bouthan” which was beautifully translated into The Bard and his Sister-in-law by Lopamudra Banerjee is not merely a historical novel or biographical nonfiction; it is a testament to the enduring legacy of the Tagore family and their contributions to literature, art, and humanity. Lopa’s nuanced narration and storytelling skillfully weave together the personal and political, shedding light on the socio-political history of Bengal during the colonial era.
The author’s meticulous research and poetic prose bring to life the sights, sounds, and emotions of the Tagore women, who helped to shape Bengali literature and society during the Bengal Renaissance. Being a Bengali, one almost teleports into the bygone era, such is the power of her writing; descriptive and detailed.
Through the captivating narratives of protagonist like Satyendranath, Sarada Sundari, Jyotindranath and Rabindra Nath. The author boldly delves into the struggles women face in their quest for freedom and self-expression, challenging societal norms and advocating for women’s equal rights to a certain degree. I was personally absorbed in both ethos and pathos by the grief that engulfed young Kadambari. It also takes me on a journey through the brief yet profound life of Kadambari, tracing her humble beginnings to her upbringing amidst the opulence of Jorasanko. Amidst the grandeur, Kadambari finds herself ensnared by the cutting remarks of the aristocratic women, notably Gyanadanandini, whose disdain pierces her soul.
Yet, amidst the shadows cast by societal judgment, a ray of light emerges a tender friendship with the youthful Rabi during their formative years. Nevertheless, the comforting presence of companionship is eclipsed by the gradual onset of desolation as her husband, once the light of her life, retreats, leaving her feeling lost in an ocean of melancholy.
As whispers of infatuation swirl, possibly directed towards the beguiling and seductive Binodini, Kadambari’s world is shattered, and the once vibrant spirit succumbs to the weight of unrequited love and existential despair. Her poignant narrative serves as a piquant reminder of the fragility of happiness and the complexities of human relationships.
Seeped in the diverse cultural history of Jorasanko Thakurbari, this book celebrates the resilience, creativity, and free spirits of women like Gyanadanandini, Kadambari, and Swarnakumari Devi. An engrossing read that skillfully encompasses Bengal’s literary richness, serving as a heartfelt tribute to the indomitable spirit of the Tagore family. Lopa’s English rendition of Kobir Bouthan beautifully captures its essence with an intricately woven filigree of words. A book that must be read by all.
The author’s meticulous research and poetic prose bring to life the sights, sounds, and emotions of the Tagore women, who helped to shape Bengali literature and society during the Bengal Renaissance. Being a Bengali, one almost teleports into the bygone era, such is the power of her writing; descriptive and detailed.
Through the captivating narratives of protagonist like Satyendranath, Sarada Sundari, Jyotindranath and Rabindra Nath. The author boldly delves into the struggles women face in their quest for freedom and self-expression, challenging societal norms and advocating for women’s equal rights to a certain degree. I was personally absorbed in both ethos and pathos by the grief that engulfed young Kadambari. It also takes me on a journey through the brief yet profound life of Kadambari, tracing her humble beginnings to her upbringing amidst the opulence of Jorasanko. Amidst the grandeur, Kadambari finds herself ensnared by the cutting remarks of the aristocratic women, notably Gyanadanandini, whose disdain pierces her soul.
Yet, amidst the shadows cast by societal judgment, a ray of light emerges a tender friendship with the youthful Rabi during their formative years. Nevertheless, the comforting presence of companionship is eclipsed by the gradual onset of desolation as her husband, once the light of her life, retreats, leaving her feeling lost in an ocean of melancholy.
As whispers of infatuation swirl, possibly directed towards the beguiling and seductive Binodini, Kadambari’s world is shattered, and the once vibrant spirit succumbs to the weight of unrequited love and existential despair. Her poignant narrative serves as a piquant reminder of the fragility of happiness and the complexities of human relationships.
Seeped in the diverse cultural history of Jorasanko Thakurbari, this book celebrates the resilience, creativity, and free spirits of women like Gyanadanandini, Kadambari, and Swarnakumari Devi. An engrossing read that skillfully encompasses Bengal’s literary richness, serving as a heartfelt tribute to the indomitable spirit of the Tagore family. Lopa’s English rendition of Kobir Bouthan beautifully captures its essence with an intricately woven filigree of words. A book that must be read by all.
This entire review has been hidden because of spoilers.
December 18, 2024
Lopamudra Banerjee is a poetess and a writer of acclaim who has taken on this monumental task of translation of this historical novel about a real family, the Thakur (Tagore) family of Jorasanko. I found this translation beautiful and done with complete fidelity to the Bengali work by Mallika Sengupta, 'Kabir Bouthan'.
Set in the mid nineteenth century, the very large family of the aristrocratic Thakurs begins. They are a landowning family of considerable wealth who have a remarkably immense effect on pre-Renaissance Bengal in the 1850s onwards. They in fact help in bringing about the Bengali Renaissance, the education of women and removal of a lot of cruel social customs of the time.
Sarada, Rabindranath's mother has 16 children, only 10 of whom survive. Rabindranath is among the youngest boys and is lonely, having been raised by midwives as is customary of aristrocratic wives. He is a poet from a very young age and craves his mother's attention.
Sarada and her husband in the meantime have decided to educate all the young girls and girl brides of the family. Among the brides is young Kadambari who is just 2 years older than Rabi, the bride of Jyoti, Rabi's older brother.
Rabindranath finds her irresistible. She is beautiful, brilliant and is gradually being educated in the Thakurbari mold along with him. She captures his imagination as well as his affections.
What follows has an air of inevitability about it. Kadambari has a tender and loving friendship with Rabindranath but she is abandoned by her husband and criticized by her sisters in law and other women in the household, especially her older sister in law Granada. Lonely, depressed and unable to hold her husband's affection, her life ends in tragedy that affects the poet deeply.
The novel is Dickensian in character, sprawling and describing the conditions of mid-nineteenth century Bengal just like Dickens managed to describe London of the same period. Lopamudra does a beautiful job of translation of the ethos of this work. This is no mean feat being able to convey the same environment in another language but she does it beautifully.
I really enjoyed reading this work and would recommend it to everyone.
Set in the mid nineteenth century, the very large family of the aristrocratic Thakurs begins. They are a landowning family of considerable wealth who have a remarkably immense effect on pre-Renaissance Bengal in the 1850s onwards. They in fact help in bringing about the Bengali Renaissance, the education of women and removal of a lot of cruel social customs of the time.
Sarada, Rabindranath's mother has 16 children, only 10 of whom survive. Rabindranath is among the youngest boys and is lonely, having been raised by midwives as is customary of aristrocratic wives. He is a poet from a very young age and craves his mother's attention.
Sarada and her husband in the meantime have decided to educate all the young girls and girl brides of the family. Among the brides is young Kadambari who is just 2 years older than Rabi, the bride of Jyoti, Rabi's older brother.
Rabindranath finds her irresistible. She is beautiful, brilliant and is gradually being educated in the Thakurbari mold along with him. She captures his imagination as well as his affections.
What follows has an air of inevitability about it. Kadambari has a tender and loving friendship with Rabindranath but she is abandoned by her husband and criticized by her sisters in law and other women in the household, especially her older sister in law Granada. Lonely, depressed and unable to hold her husband's affection, her life ends in tragedy that affects the poet deeply.
The novel is Dickensian in character, sprawling and describing the conditions of mid-nineteenth century Bengal just like Dickens managed to describe London of the same period. Lopamudra does a beautiful job of translation of the ethos of this work. This is no mean feat being able to convey the same environment in another language but she does it beautifully.
I really enjoyed reading this work and would recommend it to everyone.
April 24, 2024
This translation in an impeccable manner, retains the flavour of the original Bengali novel by Mallika Sengupta, which documents the niggling details of the legendary Tagore family. Right from Gyanada Debi's modernity to the encouraging frissons of delight the male members of Tagore family expressed on the assertion of freedom and daring attitudes of their wives and sisters to Sarada Debi's role in redefining womanhood in the family are the major concerns of the book.Kadambari Debi's literary proclivities helped shape Rabindranath as a refined poet with finer sensibilities.And her suicide came as a blow to Rabi, who found an afflatus in it and kept writing with renewed enthusiasm.Life flew on like a river, Anna Tarkhad and other relationships fizzled out, even the pursuit of legal studies in England went haywire for Rabi who created gems and treasures of literature henceforth.Tagore family did not hesitate to allow its daughter-in-law Gyanada Debi to venture out to England all alone.
To know more such hair-raising facts, let's read this translated volume by Lopamudra Banerjee.
To know more such hair-raising facts, let's read this translated volume by Lopamudra Banerjee.
May 12, 2013
Provides insight on the lifestyles of the Tagore family. A bit disappointing as a Novel, but enjoyable to read when taken as a collection of prose on life & times in Bengal, Bombay & Brighton during the late 19th century. It elaborately covers the clan of Maharshi Debendranath Tagore - the residents of No. 6, Jorashanko.
Through her extensive research, the author has depicted the pioneering efforts of Tagore family members in enriching Bengali Literature and also women's freedom. The chemistry between the principal characters - the ease with with they could intermingle even in those conservative times, is indeed fascinating.
It talks about how family scandals in those days also could be concealed from the public life by buying off the press. The definition of what constitutes a scandal in the first place in those times also throws light on the mindset and acceptance of the then society.
Through her extensive research, the author has depicted the pioneering efforts of Tagore family members in enriching Bengali Literature and also women's freedom. The chemistry between the principal characters - the ease with with they could intermingle even in those conservative times, is indeed fascinating.
It talks about how family scandals in those days also could be concealed from the public life by buying off the press. The definition of what constitutes a scandal in the first place in those times also throws light on the mindset and acceptance of the then society.
October 20, 2023
Mallika Sengupta’s sprawling novel “Kabir Bouthan” provides a fascinating account of the illustrious Tagore clan, the unforgettable characters, their times, the life they led, and the family they belonged to. Her book mirrors the hopes and fears, trials and tribulations, aspirations, and heartaches that they, especially the women of the Tagore household experienced. Tagore is an unmissable part of Bengali life; his two sisters-in-law, especially Kadambari Debi, and their interpersonal relationship lies at the heart of this book.
Translating such an intensely researched vast novel with several layers requires grit, talent, and perseverance of the highest order. Lopa Banerjee deserves our applause for translating this beautiful book in an easy, captivating manner for global readers.
Translating such an intensely researched vast novel with several layers requires grit, talent, and perseverance of the highest order. Lopa Banerjee deserves our applause for translating this beautiful book in an easy, captivating manner for global readers.
April 26, 2013
Based on the lives of the luminaries of Jorashanko Thakurbari (namely, Jyotirindranath Tagore,Jnanadanandini Devi, Rabindranath Tagore and Kadambari Devi). A compelling read, which paints a portrait of the times...it takes a little bit of liberty depicting the releationship between Rabindranath and his 'notun bouthan' Kadambari Devi- but it is nevertheless mainly portrayed as platonic and beautiful. Societal norms and values have been painted with great details. I liked it.
March 8, 2024
The original book is in Bengali. Lopa has beautifully trascreated the novel and gifted it to the global readres. It's a phenomenal work and goes a long way in narrating the history of the Thakur bari in a language which people across different cultures understand.
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August 17, 2019
If you want to know what is the actual relation between Rabindranath Tagore and Kadombori Devi then you just read it
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