Journalist Bibhu Ranjan Sarker: Chronicle of A Death Foretold?

Shweta Irina 20 September 2025

Journalist Bibhu Ranjan Sarker is no more. His death is a mystery, which the government does not want to solve. We are almost forgetting the letter he left for us, where he narrated the hardship of an honest journalist in Bangladesh. This article is a tribute to our Bivu'da.

20 September 2025

April is the cruelest month, breeding Lilacs out of the dead land, … stirring Dull roots with spring rain. (The Waste Land by T.S. Eliot). Is April the cruelest month in Bangladesh, too? Or August? Can the vast and torrential downpouring erase the blood-drenched assassination of our Father of the Nation, Bangabandhu Sheikh Mujibur Rahman, with almost all the members of his family? Or the surrealistic piles of dark, monsoon clouds can hide that blood stain? After a 21- years’ 21-year-long arduous struggle, Bangladesh could become ‘Bangladesh’ again in 1996-2001. This delta had achieved miracles of economic, infra-structural, and cultural heights during 2008-2024. This monsoon too was no good at all. Let me be succinct now. Mystery shrouds the death of veteran journalist and columnist Bibhu Ranjan Sarker. Bangladesh is passing through one of its darkest epochs of tyranny and vandalism at present, bringing news pieces of new murders, arrests, and mob attacks every morning. It compels us to forget

the saddest event of even yesterday. This is why it’s no wonder that Bibhu da’s strange but sad demise gets evaporated from our discussion within a time-frame of just around one month. Our sharply opinionated state, however, could not help but get divided upon this issue too: was Bibhu da’s death a mere suicide or a killing? Or even if a suicide, was it a ‘structured silencing’ or not? Life and Career of the departed journo: Late Bibhu Ranjan started his career as a schoolboy reporter for Dainik Azad and then moved to work at daily Sangbad, Rupali, and some other weeklies, according to his last writing that he e-mailed to bdnews 24.com on 21st August morning (9:15 AM on Thursday). In this last write-up, he recollected his five-decade-long career in the press. He, however, gained popularity for his political columns in the weekly ‘Jai Jai Din’ during the mid-eighties. But he had to adopt a pen name, ‘Tarikh Ibrahim’,…

Opinion

Milestone School Tragedy: Everything ‘Under Erasure (Sous Rature)”?

Shweta Irina 29 July 2025

A water color image of Mahreen and Masuka

‘Now we begin to see how Derrida’s notion of ‘sous rature’ differs from that of Heidegger’s. Heidegger’s Being might point at an inarticulable presence. Derrida’s trace is the mark of the absence of a presence, an always already absent present, of the lack at the origin that is the condition of thought and experience.’ [Translator’s Preface in ‘Of Grammatology’ by Jacques Derrida, page: xvii (Translated from French to English by Gayatri Chakravorty Spivak, The Johns Hopkins University Press; First Published; Maryland, 1976 and First Indian Edition by Motilal Banarsidass Publishers Private Limited, Delhi).] Although renowned French philosopher Jacques Derrida had explained the term ‘sous rature (under erasure)’ from a linguistic, philosophical and metaphysical viewpoint, today the epithet ‘sours rature (under erasure)’ is being used from a more comprehensible prism. ‘Under Erasure’ seems equivalent to ‘self-censorship.’ Now what is ‘self-censorship?’ ‘Self-censorship, also known as self-censure, is a phenomenon that occurs when individuals purposefully choose to limit or restrain their own

expression, thoughts, or actions. It often arises out of fear or apprehension of potential consequences, such as social backlash, legal repercussions, or professional harm. While self-censorship can be seen as a means of self-preservation or complying with societal norms, it is a complex and intricate concept that warrants deeper examination (https://psychologyfanatic.com/self-censure/). To put in more lucid terms: do the authors, journalists or even common people feel ‘self-censured’ before writing anything which may challenge authority, hierarchy or hegemony? Be it state, government, religion, patriarchy, culture or anything with a cumulative force against an ordinary individual or a group of individuals with less power to bargain? How much free are we in the real sense? Can we speak up, write or claim for our just demands within a coercive state machinery? If Derrida seems too difficult to be understood, novelist Milan Kundera may sound somehow easier who underscored ‘the struggle of man against power as the struggle of memory against forgetting.’ Kundera,…

Analysis, Bangladesh, Opinion

Rampant destruction of sculpture since so-called ‘July Revolution’: What a savage nation we are becoming!

Shweta Irina 14 July 2025

Actually, how much civilized is a nation can be well measured by its intellectual properties as reflected through literature and culture, music and poetry, paintings and sculpture. Every nation which is a connoisseur of paintings and sculpture, protects its heritage with utmost efforts and their celebrated painters or sculptors are recollected through ‘larger than life’ novels and movies. The author narrates the curious case of Bangladesh after the color revolution of 2024.

14 July 2025

Destruction of Bangabandhu's sculpture 'Mrityunjaya' at Bijoy Sarani

‘সুতনুকা নাম দেবদাসিকী তং কাময়িথ বালানশেয়ে দেবদিন্নে নাম লুপদকখে!’ “Sutanuka by name, Devadasi. The excellent among young men loved her, Devadinna by name, skilled in sculpture" is the translation of the aforementioned line in the Magadhi Prakrita language of the ancient age India and inscribed upon the sculpture of a temple-based artist (in terms of singing and dancing) cum courtesan. Once celebrated Bengali novelist Narayan Sanyal, who is still evaluated within the critics, had authored a complete novel (সুতনুকা একটি দেবদাসীর নাম) on basis of this one single line inscription on the sculpture in the cave temple of Ramgarh mountain in Madhya Pradesh, India. A more loose and easily comprehensible Bengali translation of this line in Magadhi Prakrita goes on like: 'সুতনুকা নামে এক দেবদাসী, তাহারে ভালবাসিয়াছিল/ দেবদিন্নে নামে এক রূপদক্ষ। ’Generally the sculptors were termed as ‘রূপদক্ষ’ in Sanskrit which reads as ‘লুপদকখে’ in Magadhi Prakrita and ‘ভাস্কর’ in Bengali. Michelangelo Buonarotti, one of the greatest sculptors of all

ages, thus depicted his perception about sculpting: ‘I saw the angel in the marble and carved until I set him free.’ The creator of ‘David,’ ‘Pieta,’ ‘Sistine Chapel’ and so many other monumental art-works further narrated sculpting as ‘In every block of marble I see a statue as plain as though it stood before me, shaped and perfect in attitude and action. I have only to hew away the rough walls that imprison the lovely apparition to reveal it to the other eyes as mine see it.’ Actually, how much civilized is a nation can be well measured by its intellectual properties as reflected through literature and culture, music and poetry, paintings and sculpture. Every nation which is a connoisseur of paintings and sculpture, protects its heritage with utmost efforts and their celebrated painters or sculptors are recollected through ‘larger than life’ novels and movies. Remember how Akira Kurosawa paid his tribute to Vincent Van Gogh in one of his…

Bangladesh, Dr Yunus, Opinion

When the Tulip unfurls her petals!

Shweta Irina 24 June 2025

The article discusses Yunus' recent trip to the UK and the corruption allegation of Bangladesh government against British MP Tulip Siddique.

24 June 2025

‘Mandar dafa bajna /Abir gul lala kum kum/ Keshor charato karawato/Kutuhal has e/Mandar dafa bajna.’ (Mandolins are being played/colored powders getting sprinkled/ Tulip unfurling her petals/Women have curious smiles on their lips). (Hindustani Dhamar on the spring festival) …It was the year of 1989. Me and my immediate elder sister used to attend a Hindustani classical music class (as many other middle-class Bengali girls attend in their childhood or adolescence days and later most of them cannot continue for studies, work or etc. etc.) where our teacher used to train us in ‘Dhrupad’ and ‘Dhamar’- two unique forms of Hindustani classical music besides the too commonly practiced ‘Kheyal.’ Sometimes we used to ask the teacher meaning of all these Hindustani lyrics and he tried to explain at his best. The aforementioned lyrics of Dhamar was composed by any of the classical lyricists of the sub-continent (or to be more accurate, by the lyricists from Persia or Afghanistan up to

the Indian sub-continent) to welcome the advent of spring and the word ‘gul lala’ means Tulip in Urdu and this Tulip is opening her petals in the spring (Keshar charato karawato). We know how much our Hindustani classical music has been enriched by the composers from Persia like Ameer Khasru and others. In fact, the word ‘Dafa’ means ‘Mandolin’, a particular type of musical instrument which used to be played in any festival in Persia and the adjoining regions and still it is played across a long route from Persia or central Asia to the Pakistan-North Indian territories. Although reputed Bengali musicians like Kabeer Suman are now-a-days advocating for writing Bengali Kheyals for better comprehension of the Bengali learners (as language often seems to be a barrier in understanding the North Indian classical music and learning Hindustani classical is a pre-requisite for achieving minimum skills in music of this region), but can we ever deny that how the ancient and…