Fiction by Mandira Mitra Chakraborty: ‘I try not to behave like my mother and accept a session of pedicure without making it about civilization and its discontents. I am in no hurry to die, but I shall go quietly when He comes.’

Photo Essay by Abin Chakraborty: ‘Kolkata is a kaleidoscope: turn your gaze and a new pattern will emerge. What you wish to see is therefore a combination of what you want to see and what your gaze is capable of perceiving.’

‘I board a bus to Biswabangla, wearing a grey shade, mask, olive hibiscus t-shirt, lemon green hair band, loose crimson brown hair, mild sweat, and the will of forgetting.’ By Sufia Khatoon

Fiction by Sakkho Goon: ‘Five years passed since that day. She wiped her tears when she saw him wear his father’s shoes. She was quiet as he boarded the cab to go to the airport. She read his letters but never sent a reply.’

Ronald Ross was once immortalized in Amitav Ghosh’s historical novel. Nivedita Dey rediscovers a memorial dedicated to Kolkata’s forgotten, Nobel laureate physician.

A city rooted in colonial legend, Nivedita Dey examines the linguistics of place, names, food, and culture that keep the “Calcutta” in Kolkata.

Poetry by Kiriti Sengupta: ‘Death pauses verdict; the authority mars evidence. / The doomed is put on the pyre; rallies slit through / the silence.’

Poems by Shome Dasgupta: ‘take me back / to the moss and crawfish, please / Krishna—take me back to moonlit / moss and claws red like tandoori / curry, soft and savory.’

Marnina (Avirup) spoke to representatives from Queer organizations at the 2024 Kolkata Book Fair about the experience of hosting their stalls, seeking diversity in Indian publishing, and much more.

In interaction with contemporary South Asian art, Jahnabi Mitra asks, how can artists truly help with climate change action? What larger purpose can these works serve? Or do they end up normalizing the dystopic times ahead?

Personal Essay by Mallika Bhaumik: At the Bengali festival for the goddess, the pomp and grandeur involved in the worship of ‘Nari Shakti’ is in stark contrast to the apathy shown towards the Durgas whom we come across every day.

Distortions and intimacy, revulsions and beauty: Celebrating the art of one of India’s great masters—Jogen Chowdhury—whose work continues to provide new insights to our world. By Medha Dutta Yadav