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(6)Interview>Nazib Wadood with Bangla Literature (part 1)
Nazib Wadood, a leading writer of the time, was born on 
July 20, 1961, at Shyampur village under Katakhali 
Municipality in Rajshahi. His father, late Elahi Baksh 
Molla, was an engineer and mother Mabia Khatun is a 
housewife. Nazib was a meritorious student. He achieved 
his MBBS degree from Rajshahi Medical College and is 
now serving at Rajshahi University as a Deputy Chief 
Medical Officer.
Nazib started writing from his very boyhood and has 
raised himself as a leading fiction-writer and translator of 
the time. He writes rhymes, plays and essays too. 
However, till now, Nazib Wadood is famous mostly for 
his short stories and translations. He is traditional, with 
some exceptions, in his writing. He does not build story 
without story in the name of creating new things, 
techniques and isms. Rather, he creates his fictions with a 
subject at its centre and digs into the core of life to 
discover and unearth meaning of life, aims and objectives 
of living, and builds it with charming and live language 
that makes the writing attractive. He describes mainly 
nature and people of the Barendra region. His 
subjectmatter is poor and low-income people. But he 
does not write traditional proletariat, realistic and 
socialistic fiction. He encompasses all aspects of life and 
forms of literature. That earns fame for him as a fiction-
writer. 
Nazib Wadood is also an organizer of literary movement. 
He edits two little magazines Porilekh and Nandan. The 
two magazines are playing praiseworthy roles in 
searching out and harboring new writers. Bangla 
Literature is offering tribute to this great writer by 
publishing an interview recently taken by  Masud Ahmad, 
editor of the little magazine Galpopotra. 

Bangla Literature : You started writing in 
boyhood, specifically in 1971, with songs… Then a rhyme 
was published in the Daily Ittefaq in 1974. By that time 
you also wrote plays and novels. When did you emerge 
as a short story writer?
Nazib Wadood : Well, in 1971 we were in 
Murshidabad as refugee when I wrote a song on our 
liberation war. Then I was a mere a boy of 10 years, and 
you could imagine that the song had been a product of 
emotion. Then I didn’t know anything about literature. 
After liberation, I used to write poems and essays on 
various occasions like the National Mourning Day, 
Independence Day and so on. I won many prizes in local 
and national competitions. It inspired me to keep up 
writing. During this period, I wrote some stories, plays 
and novels, and mostly rhymes and songs. But the 
attempts that mean literature actually began after 
mid-’70s. I devoted myself to  writing short stories in 
1980. Then we had formed a literary organization 
(Rabibashorio Shahitya Sangsad) and published a literary 
magazine Porilekh early in 1981. My first literary attempt 
of writing short story was ‘Banvasi’ (Flood-swept). It was 
published in the inaugural issue of Porilekh. Then my 
stories began to appear in some other magazines and 
literary pages of local and national daily newspapers. But 
all on a sudden it was interrupted when I left Rajshahi 
town and began to live in remote villages like a traveler 
(1982-1987). That could be a good bye for ever from the 
world of writing, but in March, 1987 I accidentally met 
three friends of eminent fiction-writer of West Bengal 
Abul Bashar when I visited Murshidabad. They are 
essayist Akram Ali, fiction-writer Rakibuddin Yusuf and 
Shuvo Chatterjee, editor of literary magazine Rourab. 
They inspired me to start writing again. There I read 
stories of Samoresh Bose, Syed Mustafa Siraj, Shirshendu 
Mukhopadhyay, Sunil Gongopadhyay, Abul Basher, Anil 
Ghorai and some other writers of West Bengal. Just 
before leaving Murshidabad, I wrote a short story 
‘Shoronarthi’ (The Refugee) that was published in the 
Sharadio (autumnal) issue of Rourab in 1987.
I came back to Rajshahi town. Probably in a later day of 
1987, a young boy stopped me on the road at Sonadighi 
Crossing in Rajshahi town and asked me whether I was 
Nazib Wadood. He said that he had heard much of me 
from the local senior writers. He introduced himself as 
Khurshid Alam Babu and didn’t forget to say that he 
wrote poems and essays and an attentive reader of short 
stories. We became good friends. Babu, with his 
continuous inspirations and criticisms, made me get 
devoted again to writing short story. So it can be said 
that my actual emergence as a fiction-writer happened in 
the period of late ’80s.  
Bangla Literature : From the very beginning, 
you are writing short stories mostly on village life. You 
narrate village people with their faith, conscience, 
sensibility, struggle, and everything they have, and you 
do it with very attractive forms and language of your 
own. Do you think that the villages are the same now? 
People’s expressions, attitudes and figures always reflect 
their surroundings and its influences, isn’t it? How does 
this creative process act in your case?
Nazib Wadood : Yes, I still now write mostly 
with village life because I have come from village. I know 
village life well. But you should know, as you are also a 
story writer, that it is primarily and finally a question of 
art and narration of mere experiences can’t be literature. 
To be literature, experience needs to be absorbed with 
imagination, appropriate form and aesthetic language. I 
followed the mainstream of Bangla Fiction that had been 
initiated and nourished by Rabindranath Tagore, 
Sharatchandra Chattapadhyay, Tarashonkor 
Bandhyapadhyay, Bibhutibhushan Bandhyapadhyay and 
Manik Bandhyapadhyay. However, we shouldn’t forget 
that Bangla literature takes many turns being influenced 
by the literature of other languages. All these have 
influenced my attempts. Yes, our villages have been 
rapidly changing, at least for last two decades. Natural 
and ecological, socio-economic and cultural changes as 
well, are very significant. Some changes are positive no 
doubt, but most changes are negative, I guess. Our social 
and cultural bondages and relations are breaking down. 
Our families are being dismantled. Evil things are 
infiltrating into our families and societies in the name of 
civilization, modernism and technology. But I am sorry to 
say that these changes are seldom being depicted in our 
literature. This is a feature of colonialism. I try. I don’t go 
beyond my experience, but with it come imaginations 
and analyses to act on to improve it to art. I draw a 
picture of a man or a locality with all its characteristics– 
nature and history, religion, faith and notions, values and 
traditions, domestic and social atmospheres, limitations 
and potentials, joy and sorrows, thoughts and 
conscience, attitude and dialects, and everything. They 
are involved in and concerned  with. These come as hints, 
gesture and allusions very briefly in short stories, and 
vividly in novels.
Bangla Literature : Does any inspiration work in 
this case? Everyday sufferings, sorrows and struggle of 
destitute, low-income professionals and oppressed, 
exploited and deprived farmers are your favorite subject 
matter...
Nazib Wadood : Right. I must acknowledge 
that I was very much politics-driven in the beginning. 
Exploitation, oppression, disparity and deprivation hurt 
me very much. That might work as inspirations. Actually, I 
write about them whom I know well. I have come of a 
middle-class family, but I had the opportunity to see and 
know destitute and low-income people very closely. I 
have the experience of living and starving with them 
every now and then. That was a rude reality, not hobby at 
all. So their sufferings and struggles, sorrows and joys 
have occupied major spaces in my literary works. But 
these do not come as `political’ inspiration now. 
Bangla Literature : Real life as well as psycho-
analysis comes in your stories very distinctly  but 
precisely. That is why, human life is portrayed in your 
stories with its perspectives and prospectives. This helps 
sometimes a locality, mostly of the Barendra region, to be 
grown  up as a live character. How will you explain this 
creative process?
Nazib Wadood : This is actually a question of 
form related to creative method. It, at the same time, is a 
matter of theme of the story. Life has two sides– one is 
external reality and another is internal reality; but these 
are, in fact, inseparable from each other. Both the aspects 
of life obviously affect each other. I take the external side 
in the front but do not ignore its internal aspect. It has 
happened in most of my stories. I relate and often mix up 
external reality with internal emotion and maintain 
subtleness, hints and preciseness in doing it. I have learnt 
it from Ernest Hemingway. Some writers cannot control 
temptation of narrating things with minute details which 
is often proved to be excessive and make language 
complex as if they did not want the readers understand 
the writer’s and the story’s motive. Many writers forget 
that mystery; lack of clarity, psychological intricacy and 
incomprehensibility of language are different things. A 
human being is a complete existence with all its external 
and internal possessing. He is concerned with his time, 
his nature and physical surroundings, his faiths and 
notions, his ideals and contradictions; he is a real man 
with all these things. While writing, I always keep it in my 
mind, though this aspect predominates in this story and 
that in the other. You will observe this creative processes 
well in my stories like ‘Abad’ (Cultivation), 
‘Dokhol’ (Occupation), ‘Comrade O Kiritch’ (The Comrade 
and the Falchion), ‘Kanna-Hasir Upakhyan’ (A Fable of 
Crying and Laughing), ‘Pichhutan’ (Pulling from the 
Back), ‘Britto’ (The Circle), ‘Aro Duti Khun’ (Two More 
Killings), ‘Kosai’ (The Butcher), ‘Megh Bhanga Rod’ (The 
Cloud-Breaking Sunshines), ‘Jion Kathi’ (The Magic Stick), 
etc. 
Bangla Literature : ‘Britto’ was written on the 
occasion of cultural competition of Rajshahi Medical 
College in the year of 1980. Eminent fiction writer Hasan 
Azizul Haq was the chief judge. Were you then writing 
seriously?
Nazib Wadood : I was then a student of first 
year MBBS class. That was the period of beginning of my 
short story writing. Actually I was then ignorant of the art 
of short story. 
Bangla Literature : Did Hasan Azizul Haq give 
you some advice?    
Nazib Wadood : Yes. There is a story behind it. 
Actually, I stood second in that competition. But my great 
reward was that my story could attract Hasan Azizul Haq. 
Sohel Aman, one of our senior brothers, was then a very 
busy and promising writer. He had good relations with 
Hasan. Being asked by Hasan, he searched out and took 
me to him. By that time I had read some stories of Hasan 
and become his fan. So I went to meet him with very 
excitement. He praised my  writing but at the same time 
pointed out some weaknesses of the story and gave me 
some tips. That was really a big achievement for me. His 
advice helped me in improving quality of my writing. 
Bangla Literature : Well, can it be said that 
Hasan influenced you in taking villages as the perspective 
of your stories?
Nazib Wadood : No, not at all. Yes, his personal 
association and language and socialistic approach of his 
stories attracted me very much in the beginning, but I 
think he could not influence my writing. Actually  every 
writer’s literary style is built up on his own philosophy, 
experience and personality. In that perspective, distance 
between us was vast. I should say that Hasan’s village-
based stories are his best writings though there are some 
kinds of artificial and imposed matters in these stories. 
However, I am fan of these pieces. 
Bangla Literature : Let me explain the matter… 
nature and environment of the Barendra region and daily 
life and dialects of the Barendra people have been vividly 
but artistically portrayed in your stories. Sometimes these 
are so live that the writer’s voice draws pictures of their 
own existence. We see the same things in Hasan’s stories 
that are based on Rarh region…  
Nazib Wadood : Right. Hasan’s villages are of 
Rarh-Bangla, i.e, Bardhwan and Birbhum districts of West 
Bengal. Tarashonkor Bandapadhyay also wrote mainly on 
this region. Syed Mustafa Siraj, a very strong fiction writer 
of West Bengal, has taken Bardhwan, Birbhum and 
Murshidabad as his perspectives. Abubakar Siddique is 
another eminent fiction-writer who has written stories on 
both Rarh and Barendra regions. On the other hand, 
villages of my stories are mainly from Rajshahi and 
Chapainawabganj districts, i.e. Barendra region. All we 
have written on village and village people. No doubt, this 
is a common characteristic among us; but no other 
similarity can be found among us– neither in philosophy 
of life, nor in language and narratives or forms. 
Bangla Literature : How did you achieve this 
skill? Has it come spontaneously?
Nazib Wadood : Yes, you can say it 
spontaneous. But at the same time, you shouldn’t also 
forget that literature today can’t be imagined without 
some kinds of conscious and intellectual endeavors. 
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