While writing a single text like Joiboti Konyar Mon (1992), Deen appears as a poet, a storyteller, a cultural theorist, a futurist, a historian, a playwright and a lyricist. A very poetic opening of its tripartite story presents a mysterious setting where a woman from the medieval Bengal, Kalindi, who has just killed herself is carried all the way to the God's abodeWhile writing a single text like Joiboti Konyar Mon (1992), Deen appears as a poet, a storyteller, a cultural theorist, a futurist, a historian, a playwright and a lyricist. A very poetic opening of its tripartite story presents a mysterious setting where a woman from the medieval Bengal, Kalindi, who has just killed herself is carried all the way to the God's abode. She repents for the mistakes she has committed in her lived life and applies for another opportunity. The rest of the story goes on like a mythological epic. A Bengali woman lives two different lives in two different centuries. However, her psyche does not change and it eventually leads her to the same ending, twice. The author here sounds like a foreseer, a fatalist, and also a historian. He succeeds in depicting both a medieval rural Bengal and a colonial Bengali town. Joiboti Konyar Mon proves that while writing for the stage, Deen did never want to reduce his authorship to a dialogue-writer. He rather started exploring the shared areas of different literary genres like music, dance, epic, fiction and poetry. My interest in Selim Al Deen began when I came across the film adaptation of Chaka by Morshedul Islam in 2007. Then I started reading his books beginning with Kittonkhola. The last book I read was Nimojjon(2004). I also had an opportunity to explore his works on stage as a member of the audience, a good number of times since 2008. Though he has gradually emerged as a famous “writer of the theatre,” to me, Deen is, until now, one of the most underrated authors of Bangla literature. His plays (as I would love to label them) are not mere plays. What we experience on stage, as both performers and audience, are only adaptations of the stories, poems, music, myths, memories and amnesias already included in his written text. There is always possibility of different sorts of adaptations on different levels. Even as an individual reader, one can independently interpret Deen’s texts in his/her own way. So a text as Dhabaman(2008), Putra(2008) or Prachya(1998) can be read as anything: Long narrative poems, fictions or plays. Selim Al Deen, if successfully re-discovered, would appear as a re-incarnation of the kobis (poets) of pre-colonial Bengal where the word “kobi” used to mean everything: An author, a storyteller, a musician, a historian, even a philosopher. So, until we can dive into his works to find him as a modern reincarnation of a successful pre-colonial Bengali poet, he will remain in darkness as one of the most under-appreciated literary figures of our culture.
Abdullah Al Muktadir is a lecturer of English at Jatiya Kabi Kazi Nazrul Islam University. His debut poetry collection, Onyo Ganger Gaan, Samudrasaman, was published in Ekushey Book Fair 2016.