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Ray - The Complete Adventures of Feluda: Volume II

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Ray The Complete Adventures of Feluda: Volume II
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Nineteen gripping tales of suspense and mysteryFor readers who enjoyed the adventures of Feluda in Volume 1, this second omnibus volume holds more delights. Accompanied by his cousin Topshe and the bumbling crime writer Lalmohan Ganguly (Jatayu), Feluda travels from Puri to Kedarnath, from Kathmandu to London in his pursuit of culprits; he tracks down Napoleons last letter, a forgotten painting by Tintoretto and a stolen manuscript.

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Satyajit Ray THE COMPLETE ADVENTURES OF FELUDA II - photo 1
The Complete Adventures of Feluda Volume II - image 2
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Satyajit Ray
THE COMPLETE ADVENTURES OF FELUDA
II
The Complete Adventures of Feluda Volume II - image 4

PENGUIN BOOKS

THE COMPLETE ADVENTURES OF FELUDA II

Satyajit Ray was born on 2 May 1921 in Calcutta. After graduating from Presidency College, Calcutta, in 1940, he studied art at Rabindranath Tagores university, Santiniketan. By 1943, Ray was back in Calcutta and had joined an advertising firm as a visualizer. He also started designing covers and illustrating books brought out by Signet Press. A deep interest in films led to his establishing the Calcutta Film Society in 1947. During a six-month trip to Europe, in 1950, Ray became a member of the London Film Club and managed to see ninety-nine films in only four and a half months.

In 1955, after overcoming innumerable difficulties, Satyajit Ray completed his first film, Pather Panchali, with financial assistance from the West Bengal government. The film was an award-winner at the Cannes Film Festival and established Ray as a director of international stature. Together with Aparajito (The Unvanquished, 1956) and Apur Sansar (The World of Apu, 1959), it forms the Apu trilogy and perhaps constitutes Rays finest work. Rays other films include Jalsaghar (The Music Room, 1958), Charulata (1964), Aranyer Din Ratri (Days and Nights in the Forest, 1970), Shatranj Ke Khilari (The Chess Players, 1977), Ghare Baire (The Home and the World, 1984), Ganashatru (Enemy of the People, 1989), Shakha Proshakha (Branches of a Tree, 1990) and Agantuk (The Stranger, 1991). Ray also made several documentaries, including one on Tagore. In 1987, he made the documentary Sukumar Ray, to commemorate the birth centenary of his father, perhaps Bengals most famous writer of nonsense verse and childrens books. Satyajit Ray won numerous awards for his films. Both the British Federation of Film Societies and the Moscow Film Festival Committee named him one of the greatest directors of the second half of the twentieth century. In 1992, he was awarded the Oscar for Lifetime Achievement by the Academy of Motion Picture Arts and Sciences and, in the same year, was also honoured with the Bharat Ratna.

Apart from being a film-maker, Satyajit Ray was a writer of repute. In 1961, he revived the childrens magazine, Sandesh, which his grandfather, Upendrakishore Ray, had started and to which his father used to contribute frequently. Satyajit Ray contributed numerous poems, stories and essays to Sandesh, and also published several books in Bengali, most of which became bestsellers. In 1978, Oxford University awarded him its DLitt degree.

Satyajit Ray died in Calcutta in April 1992.

* * *

Gopa Majumdar has translated several works from Bengali to English, the most notable of these being Ashapurna Debis Subarnalata, Taslima Nasrins My Girlhood and Bibhutibhushan Bandyopadhyays Aparajito, for which she won the Sahitya Akademi Award in 2001. She has translated several volumes of Satyajit Rays short stories, a number of Professor Shonku stories and all of the Feluda stories for Penguin Books India. She is currently translating Rays cinematic writings for Penguin.

Foreword

My husband was always deeply interested in science fiction stories. It was not surprising, therefore, when he decided to write them for his childrens magazine Sandesh.

One day, he told me that he wanted to experiment with stories other than the science fiction ones.

What other kind? I asked, although I knew the answer instinctively, since both of us were avid readers of detective stories. He didnt have to tell me, so he smiled and said ruefully, But theres a big snag... I looked inquiringly at him. The magazine is meant for children and adolescents, which means I shall have to avoid sex and violencethe backbone of crime thrillers... you do realize the difficulty, dont you?

I did, indeed. Still, I told him to go ahead and give it a tryI had so much faith in him!

He did. And thats how Feluda was born and became an instant hit. Story after story came out, and they all met with resounding success. When they were published in book form, they became best-sellers. It was really amazing!

After finishing each story, he would throw up his hands and say, I have run out of plots. How can one possibly go on writing detective stories without even a hint of sex and hardly any violence to speak of?

I couldnt agree with him more, but at the same time, I knew he would never give up and was bound to succeed at his endeavour. That is exactly what he did. He never stopped and went on writing till the end of his days. That was my husband, Satyajit Ray, who surmounted all difficulties and came out on top!

Calcutta
October 1995

Bijoya Ray

Introduction

One of my earliest recollections of childhood is of struggling to get two thick bound volumes from my fathers bookshelf, with a view to using them as walls for my dolls house. To my complete bewilderment, when my father saw what I had done, he told me to put them back instantly. Why? They were only books, after all. No, he explained, handling the two volumes with the same tenderness that he normally reserved for me, these are not just books. They are bound issues of Sandesh, a magazine we used to read as children. You dont get it any more. Neither of us knew then that Sandesh would reappear only a few years later, revived and brought to life by none other than Satyajit Ray, the grandson of its original founder, Upendrakishore.

That Satyajit Ray was a film-maker was something I, and many other children of my generation, came to know only when we were older. At least, we had heard he made films which seemed to throw all the grown-ups into raptures, but to us he was simply the man who had opened a door to endless fun and joy, in the pages of a magazine that was exclusively for us. This was in 1961.

In 1965, Sandesh began to publish a new story (Danger in Darjeeling) about two cousins on holiday in Darjeeling. The older one of these was Feluda, whose real name was Pradosh C. Mitter. The younger one, who narrated the story, was called Tapesh; but Feluda affectionately called him Topshe. They happened to meet an amiable old gentleman called Rajen Babu who had started to receive mysterious threats. Feluda, who had read a great many crime stories and was a very clever man (Topshe told us), soon discovered who the culprit was.

It was a relatively short and simple tale, serialized in three or four instalments. Yet, it created such a stir among the young readers of Sandesh that the creator of Feluda felt obliged to produce another story with the same characters, this time set in Lucknow (The Emperors Ring), in 1966. Feludas character took a more definite shape in this story. Not only was he a man with acute powers of observation and a razor-sharp brain, we learnt, but he also possessed a deep and thorough knowledge of virtually every subject under the sun, ranging from history to hypnotism. He was good at cricket, knew at least a hundred indoor games, a number of card tricks, and could write with both hands. The entries he made into his personal notebook were in Greek.

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