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(6)Interview>Nazib Wadood with Bangla Literature (part 4)
Bangla Literature : You have written some short 
stories and novels for the children. Do you feel writers 
should write more for the children?
Nazib Wadood : I have written for the children 
but these are not good in number– some short stories 
actually, including three science fictions; and translated 
some others from world literature. I am yet to write novel 
for them. However, I have translated a short novel from 
English– Swarna Nadir Raja (The King of the Golden 
River) by John Ruskin. It is a mixture of adventure, thrill, 
mystery, fairy tales and morals written in the perspective 
of a realistic setting.
Bangla Literature : What should a writer 
emphasise while writing for the children?
Nazib Wadood : Story and language. These two 
things must be attractive and easily digestible. 
Bangla Literature : Mother understands her 
children best, so women are supposed to write good for 
the children, isn’t it?
Nazib Wadood : What does reality say? 
Actually, literature is a creative work. Combination of 
experience and imagination makes it possible. Experience 
shouldn’t be direct always; it might also be achieved 
indirectly. So it’s possible for anyone, besides mothers or 
women, to write good pieces for the children. 
Bangla Literature : You started your literary 
career as a rhyme writer in late ‘70s. You have a book of 
rhymes– Fulkuruni Dhankuruni (Flower-collectors Rice-
collectors) published in 2009. It has been received well by 
the critics and readers. There is a long rhyme Fatikchhari 
in this book. It was written on an adolescent martyr of 
the Liberation War. It has achieved very popularity. Was it 
written in the beginning of your literary career?
Nazib Wadood : Yes. I wrote it in late 1980. I 
first read it, probably in 1982, in a program of Kishor 
Shahitya. That was then being run by Ashraful Alam 
Pintu. Hasan Azizul Haq who was present in the program 
as the chief guest and others also, highly acclaimed the 
rhyme. It was first published in a magazine of 
Bangladesh Muktijoddha Sangsad, Dhaka city unit in 
1983.   
Bangla Literature : You have written a good 
number of rhymes then, but you are seldom seen to write 
rhymes now-a-days. Why?
Nazib Wadood : Rhyme is my first love. I can’t 
leave it. Yes, it is fact that I am not writing rhymes 
abundantly now, but that doesn’t mean that I am not 
writing. I have a plan to publish another book of rhymes 
very soon.
Bangla Literature : Have you ever written 
poems? Isn’t it a very popular medium, especially from 
the writers’ side?  
Nazib Wadood : [laugh] Very popular, no 
doubt. This isn’t true that I haven’t written any poem, but 
very few in number. 
Bangla Literature : Why?
Nazib Wadood : Probably it is for my 
incompetence. I don’t think I am skilled enough in  
writing poems. That’s why... 
Bangla Literature : Let us now talk about your 
novels. Is Ditio Ridoy your first attempt?
Nazib Wadood : I wrote two novels almost at 
the same time– Deyal (The Wall) for Eid magazine of 
Dainik Barta, and Somukhe (In Front) for Eid issue of 
monthly Nirjhor in the same year of 1997. I rewrote these 
two novels and published Deyal in the new name of Ditio 
Ridoy in 2006 and Somukhe was published in Eid issue of 
Weekly Ekattor as Biyer Ful before being published as 
book in 2008. 
Bangla Literature : Ditio Ridoy presents two 
realities– contemporary political crisis over anti-autocratic 
movement, and conflicts and controversy over love 
among three persons. Nurul Haq is very much desperate 
to get Rownak who is confused with her husband and 
lover. When her husband dies in an accident (it might be 
suicide), it seems that the only obstacle has been 
removed from in front of them. But they actually get 
more detached. Thus it is proved that their struggles 
aren’t only of love affairs but of their social and moral 
values too that actually happens in their own minds. In 
this novel, I have tried to place and judge contemporary 
political conflictions and contradictory legal and illegal 
demands of the three chatacters side by side to invent 
universal mystery and internal inconsistency of human 
mind. 
Bangla Literature : You didn’t try to give any 
advice in this novel, that is a good thing, though you 
have raised some important questions and have given 
indirect clues to alternative solutions to some problems 
of human life. After the end of the novel, readers cannot 
but think about life and its consequences. That is your 
success, I guess. But this novel and Biyer Ful also, might 
be more elaborate and longer. Some critics say that these 
are actually long stories…
Nazib Wadood : Yes, there are contradictory 
observations about length of a ovel all over the world. 
What I believe is that length shouldn’t be a major 
criterion of novel. The Old Man and the Sea, Sidharth, 
and many other world famous novels aren’t long 
enough. And in our country, novels are mainly of 
medium size. I don’t, however, like to justify the writings 
which are being published in our Eid magazines in the 
name of novels. We should search for vastness and 
multilateral significance of the subject matter, 
contradictions of human minds, struggle for livelihood, 
liberation and security of life, questions and clashes of 
ideals and realities, etc, and at the same time excellence 
of language and techniques while judging a novel.
Bangla Literature : What is about Bier Ful? 
Doesn’t it hear a little light and commercial?
Nazib Wadood : One has the right to think so. 
But I believe that name doesn’t matter much, rather, one 
should dive into the depth of the subject matter and 
search for its significance and judge its literary excellence 
as a whole. In this novel I have drawn a realistic picture of 
our political crises with the help of a love affair. I believe 
nobody will mark it as a novel of below standard.  
Bangla Literature : You have written some other 
novels that are yet to be published as books– e.g. Ganger 
Manush. It was first printed in Shobdapath, a little 
magazine published from London in August 2009, isn’t 
it? It’s a very promising writing. Why aren’t you 
publishing it? 
Nazib Wadood : I have to rewrite it. I have 
many other things to add to this draft writing. I shall 
soon complete it. 
Bangla Literature : In this novel, you have taken 
the Padma river and its northern bank areas near Rajshahi 
as the setting. You have shown that environment, nature, 
agriculture and even livelihood, values and social 
relations of the people, everything is changing with 
dying of the river. Subject matter is of multilateral 
significance– clashes of the people over love, wealth and 
power, sufferings and struggle of the people for 
existence, longing for development and peace, and so 
on. Very charming and rich language you have used in it. 
I can remember another one– Moina. A portion of this 
novel had been serially published in the Fortnightly 
Palabadal. Why didn’t you complete it? 
Nazib Wadood : Later I completed it that had 
been serially published in Doshdik, a monthly magazine 
published from Japan.
Bangla Literature : Aguner Fulki and  Ek Nodi 
Prem Othoba Ek Kap Cha are two other novels…
Nazib Wadood : The first one is a significant 
work, I think. 
Bangla Literature : You had been writing 
Sundori Go… in monthly Nirjhor published from Rajshahi 
University when I had been a student there. It was a 
good writing with affairs of the students and teachers of 
the university, but you didn’t complete it. 
Nazib Wadood : Then suddenly I had become 
engaged in other things.
Bangla Literature : Your language in the novels 
is very much straightforward and playful, rich in humor 
and allusive dialogue, full of life and taste. It is enjoyable 
and a little different from that of your stories. Did you do 
it consciously?
Nazib Wadood : Language in short story and 
novel may apparently seem alike, as the difference is 
minute and delicate. I think, subject matter and form 
decide nature of language.  
Bangla Literature : We often hear of social 
commitment and responsibility. How does it work in you? 
Do you write for saying something or you write as it 
appears good to you?
Nazib Wadood : Yes, there is something like 
social or more fairly speaking humanistic responsibility 
and commitment that I can’t avoid or ignore. But the 
question of artistic commitment shouldn’t also be 
ignored. As it is a question of literature, I am to fulfill the 
conditions of literature first, and then come to the 
question of social commitment. I try to say something, 
but do it following conditions of art.  
Bangla Literature : You were very much politics-
driven in your early age. Do you think that reflection of 
political faith and outlook in creative writings hampers 
evaluating man and his society in general? 
Nazib Wadood : Politics isn’t a bad thing what 
is apparently thought. Moreover, it is very closely related 
to our life. So political reflection in literature is not 
unexpected. But problem is created when politics is used 
as a rough weapon for degrading, even extinguishing the 
opponents. If writing fulfills conditions of art, I don’t care 
whether it has politics or not. Usually, political motivation 
makes serious damage to the artistic excellence of 
writing. 
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