Stories from the 1950s - Ghanada Gallery

Short stories from the 1950s

Tall tale. Tiny title. Ghanada’s USP lay in two-syllabic names. Robinson Crusoe Meye Chhilen breaks this trend.

Ajit Gupta re-defines our hero’s look in the first published book.

1950 – Knach

1952 / Earlier – Robinson Crusoe Meye Chhilen

1952 – Tupi

1952 – Lattu

1953 – Dada

1954 – Phuto

1955 – Dnat

1957 – Hnash

1958 – Suto

1959 – Shishi

Knach

(Glass), 1950

First Published: 1950, Udayan, Dev Sahitya Kutir Puja annual

Illustrations: Protul Chandra Bandyopadhyay

First featured in the book: Ghanadar Galpo, 1956

Illustrations: Ajit Gupta

Knach from the Puja annual Udayan (1950)

Artist: Protul Chandra Bandyopadhyay

From Knach onwards, Protul Bandyopadhyay‘s Ghanashyam appeared equally old in the present & flashback sequences. A rare expresson of surprise on Gupta-Ghanada’s wooden visage.

Narendra Dutt’s Ghanashyam resembles Oliver Hardy!

[From Premendra Mitrer Shera Galpo, 1950]

Knach from Ghanadar Galpo (1956, 1986)

Artist: Ajit Gupta

Knach from Ghanada Choturmukh (1968), Aphuronto Ghanada (1976)

Artist: Ajit Gupta

From Premendra Mitrer Shera Galpo (1950)

Publisher: Chakrabarty & Chatterjee

Artist: Narendra Dutt

Heere Moti Panna (1978)

Publisher: Annapurna Prakashan

Artist: Unknown

From a Hindi translation

Artist: Ajit Gupta

Robinson Crusoe Meye Chhilen

(Crusoe Was a Girl), 1952 or Earlier

First Published in: Unknown

First incorporated in the book: Premendra Mitrer Sreshtho Galpo, 1952

Publisher: Navana

Illustrator: Unknown

(Annada Munshi, Indra Dugar, Kalikinkar Ghosh Dastidar were the four illustrators of this book)

Also featured in the book: Ghanada Toshyo Toshyo Omnibus, 1983

Illustrations: None

Headpiece for Robinson Crusoe Meye Chhilen

From Premendra Mitrer Sreshtho Galpo, 1952

Publisher: Navana

Artist: Unknown

First to feature Ghanashyam’s alternate audience of elderly evening strollers: Ramsharan, Shibapada, Harisadhan and Bhabataran. In the 1952 book version, Bhabataran is called Chintaharan.

First one placed outside the 72 Banamali Nashkar Lane mess. Backdrop: South Kolkata Lake.

First and only story where our hero or his predecessors have no role to play.

First with a prominent female character.

First Ghanada aimed at mature readers.

First instance (of several) where we’ll beg you to help us with info, pix etc.

Robinson Crusoe Meye Chhilen-s first appearance is unknown.

Obviously it was before being added to the anthology Premendra Mitrer Sreshtho Galpo in 1952. Can anyone give us a clue ?

Treated more often as a neutral short story, than part of the Ghanada oeuvre, this amazing tale slipped between the covers of several Premendra anthologies.

None illustrated unfortunately

Tupi

(Hat), 1952

First Published: 1952, Parashmani, Dev Sahitya Kutir Puja annual

Illustrations: Protul Chandra Bandyopadhyay

First featured in the book: Ghanadar Galpo, 1956

Illustrations: Ajit Gupta

Tupi from the Puja annual Parashmani (1952)

Artist: Protul Chandra Bandyopadhyay

The mess’ address was first mentioned in Tupi: 72 Banamali Nashkar Lane

Fun to compare the two off-beat Abominable Snowmen who meet our adorable showman, six years before Tintin does.

Tupi from Ghanadar Galpo (1956, 1986)

Artist: Ajit Gupta

Tupi from Ghanada Choturmukh (1968), Aphuronto Ghanada (1976)

Artist: Ajit Gupta

From Ek Jahaj Galpo – Moyurponkhi (1968)

Publisher: Vidyoday Library

Artist: Surya Roy

Ghanadar Bachhai Galpo (1992)

Publisher: Sarkar and Co.

Artist: Dilip Das

From English & Hindi translations

Artist: Subir Roy, Ajit Gupta

Lattu

(Top), 1952

First Published: 1952, Tapoban, Sarat Sahitya Bhaban Puja annual

Illustrations: Unknown

First featured in the book: Ghanadar Galpo, 1956

Illustrations: Ajit Gupta

Lattu from the Puja annual Tapoban (1952)

Artist: Unknown

Headpiece by an unknown artist is the only graphic from the final Ghanada story featured in a Sarat Sahitya Bhaban annual

Tupi from Ghanadar Galpo (1956, 1986)

Artist: Ajit Gupta

Lattu from Ghanada Choturmukh (1968), Aphuronto Ghanada (1976)

Artist: Ajit Gupta

From Heere Moti Panna (1978)

Publisher: Annapurna Prakashani

Artist: Unknown

Ghanadar Bachhai Galpo (1992)

Publisher: Sarkar and Co.

Artist: Dilip Das

From English & Hindi translations

Artist: Subir Roy, Ajit Gupta

Dada

(Elder Brother), 1953

First Published: 1953, ‘Bashudhara’, Dev Sahitya Kutir Puja annual

Illustrations: Protul Chandra Bandyopadhyay

First featured in the book: Adwityo Ghanada, 1959

Illustrations: Ajit Gupta

Protul Chandra & Ajit Gupta’s representation of our hero’s so-called elder brother, who occupies the roof-top room in his absence.

Lattu from Ghanada Choturmukh (1968), Aphuronto Ghanada (1976)

Artist: Ajit Gupta

From Heere Moti Panna (1978)

Publisher: Annapurna Prakashani

Artist: Unknown

Ghanadar Bachhai Galpo (1992)

Publisher: Sarkar and Co.

Artist: Dilip Das

From English & Hindi translations

Artist: Subir Roy, Ajit Gupta

Phuto

(Hole), 1954

First Published: 1954, Indradhanu, Dev Sahitya Kutir Puja annual

Illustrations: Protul Chandra Bandyopadhyay

First featured in the book: Adwityo Ghanada, 1959

Illustrations: Ajit Gupta

Phuto from the Puja annual Indradhanu (1954)

Artist: Protul Chandra Bandyopadhyay

Phuto from Adwityo Ghanada (1959, 1988)

Artist: Ajit Gupta

Phuto from Aphuronto Ghanada (1976)

Artist: Ajit Gupta

From Ghanadar Bachhai Galpo (1992)

Publisher: Sarkar and Co.

Artist: Dilip Das

From English translation

Artist: Subir Roy

Dnat

(Teeth), 1955

First Published: 1955, Debalay, Dev Sahitya Kutir Puja annual

Illustrations: Protul Chandra Bandyopadhyay

First featured in the book: Adwityo Ghanada, 1959

Illustrations: Ajit Gupta

The Dev Sahitya Kutir Puja annual of 1956 carried the poem Ghanar Bachon, instead of a story.

In both Phuto & Dnat Protul Chandra’s adventurer Ghanashyam wore specs even in the flashback sequences.

Dnat from the Puja annual Debalay (1955)

Artist: Protul Chandra Bandyopadhyay

Dnat from Adwityo Ghanada (1959, 1988)

Artist: Ajit Gupta

Dnat from Aphuronto Ghanada (1976)

Artist: Ajit Gupta

Also see Suto, 1958

Hnash

(Duck), 1957

First Published: 1957, Nawbopotrika, Dev Sahitya Kutir Puja annual

Illustrations: Protul Chandra Bandyopadhyay

First featured in the book: Adwityo Ghanada, 1959

Illustrations: Ajit Gupta

Hnash from the Puja annual

Nawbopotrika (1957)

Artist: Protul Chandra Bandyopadhyay

Hnash from Aphuronto Ghanada (1976)

Artist: Ajit Gupta

A new listener joins the gang of four. Bapi Dutta also crops up in Suto

Our hero disguised as a ‘Dokpa’ or Tibetan herdsman

Same situation. Same artist. Different sketches.

Illustrator: Dilip Das

Hnash from Adwityo Ghanada (1959, 1988)

Artist: Ajit Gupta

From an English translation

Artist: Subir Roy

From Ek Jahaj Galpo – Mawkormukhi (1969)

Publisher: Vidyoday Library

Artist: Surya Roy

Ghanadar Bachhai Galpo (1992)

Publisher: Sarkar and Co.

Artist: Dilip Das

Bhanumatir Bagh (2002)

Publisher: Nirmal Book Agency

Artist: Dilip Das

Ad for

Ek Jahaj Galpo

Suto

(Thread), 1958

Aparajita, Deb Sahitya Kutir Puja annual. Cover: Protul Chandra Bandyopadhyay

First Published: 1958, Aparajita, Dev Sahitya Kutir Puja annual

Illustrations: Protul Chandra Bandyopadhyay

First featured in the book: Adwityo Ghanada, 1959

Illustrations: Ajit Gupta

Suto from the Puja annual Aparajita (1958)

Artist: Protul Chandra Bandyopadhyay

This illustration from Dnat [Adwityo Ghanada] seems more relevant to Suto.

Here the famous four peek into Ghanada’s room, where he’s enjoying a solitary lunch.

In Dnat they visit him in the morning with a plate of croquette.

Suto from Adwityo Ghanada (1959, 1988)

Artist: Ajit Gupta

Suto from Aphuronto Ghanada (1976)

Artist: Ajit Gupta

From Ghanada Kishore Omnibus (1990)

Publisher: Kamini Prakashalay

Artist: Amal Chattopadhyay

Shishi

(Phial), 1959

First Published: 1959, Dol Yatra, Deb Deul, Dev Sahitya Kutir annual

Illustrations: Balaibandhu Roy

First featured in the book: Abar Ghanada, 1963

Illustrations: Ajit Gupta

Shishi from the annual Deb Deul (1959)

Artist: Balaibandhu Roy

In his two ventures, Balaibandhu Roy followed the Protul-pattern of realistic illustrations, probably to maintain the Dev Sahitya Kutir Ghanada tradition of the last decade.

Ghanashyam caught between a revolver and a double-barrel.