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They were the common inhabitants of one world, and they are still there even after their passing into eternity. They had many things in common, and at the same time, there were many dissimilarities or contrasts among them, too. However, it is not easy to quantify their commonness and contrasts. Both lived in the world of literature, and both were top-rated writers. Nevertheless, they were not well-recognised by the literary critics and experts. Interestingly, both also did not bother about the critics and so-called mainstream literature. Instead, they were appreciated ever so well and guarded by their millions of devoted readers and admirers. Still with them is this class of readers and admirers. The two are none other than Qazi Anwar Husain and Humayun Ahmed— both legendary figures of Bangla literature, despite various criticisms and limitations.
If he were alive, Anwar would turn 88 today. The same day, 12 years ago, Humayun passed away. The date of one’s birth and another’s death is a coincidence. Nevertheless, it is also a unique opportunity to remember them together for obvious reasons.
Though they were inhabitants of a shared world, they had two separate windows there. Their readers and admirers looked in the windows to observe the creations of two writers and were amused to see the diverse spheres there. They both created some unique literary characters unparalleled to each other. Masud Rana, the daredevil spy of Bangladesh Counter Intelligence (BCI), is made by Anwar. Rana is the first spy character in Bangla literature through whom Anwar introduced the first spy thriller in this part of the world. Though the shadow of James Bond, the British spy assigned to Her Majesty’s Secret Service by writer Ian Fleming, Mashd Rana is unique on many counts. Rana is a character who attracts all but does not take anyone with him. The readers want to walk with Rana, but they cannot do so. Getting very close to a spy who loves to travel through all dangerous and thrilling adventures is anything but impossible.
The famous introductory text in every book of Masud Rana series is as follows: ‘A daredevil spy of the Bangladesh Counter Intelligence. He travels the globe on a secret mission. His life is strange, and his movements are mysterious. His heart is a beautiful blend of tough determination and tenderness. Single! He attracts but refuses to get entrapped. Wherever he encounters injustice, oppression, and persecution, he fights back. Each step is overshadowed by danger, fear, and the risk of death. Come! Let us acquaint ourselves with this daring man. In a flash, he will lift us from the monotony of a mundane life, transferring readers to a riveting world of fantasy. You are invited!’ [English translation by Towheed Feroze].
Similarly, Anwar’s first creation, Mansur Ali, also known as Quasha [fog], always moves through the mists of mystery. Some attempt to pursue him, only to find themselves lost in the fog!
Looking through the window of Humayun, it is fantastic to see a fascinating character like Himu. The readers (as well as the viewers as the character, who is also televised in drama) not only feel acquainted with Himu but also touch him. The creator of Himu, however, asks: ‘Why does Himu’s illogical and mysterious world attract a rational person?’ He adds: ‘When I write on Himu, I feel myself as Himu, I go through an illusionary mode. It doesn’t usually happen at another time of writing.’ [Himu by Humayun Ahmed; Page-7; Protik Publishers, Dhaka, February, 1993].
Himu attracts many - to some, the character is unnatural; to some, he is mysterious; and to some, he is childish. Almost everyone, however, tries to find something in common with Himu despite knowing it is a fictional character.
Suppose Himu is a light character, as labelled by some critics. In that case, Misir Ali is a serious creation of Humayun with a different dimension and new height. Though Misir Ali, a psychiatrist by profession, can smoothly connect with the readers, most want to avoid becoming a Misir Ali, as it has not happened in the case of Himu.
Both the writers used to love music. Anwar was a singer and used to sing on the radio, where he first met Farida Yasmin, another legendary singer in the country. The duo soon liked each other, and so got married in the early 60s. Anwar also plays back in the movie ‘Sutorang’. He, however, discontinued the music soon and devoted to writing and publishing business. Humayun wrote many lyrics for his television drama and big-screen songs. Many eminent singers like Sabina Yasmin played the songs and enthralled the audience. Humayan’s musical lyrics spanned from folk-genre ‘Age chole dasi-bandi, piche Sakhina’ to modern melody like ‘Borhser prothom dine, ghono-kalo megh dekhe.’
Masud Rana went to the big screen in 1975 based on the novel Bishhoron (the 13th of the series), where Sohel Rana appeared as the secret agent. The film was super-hit, and Anwar was awarded as the best script writer. He, however, did not move ahead, and there were no more movies based on Rana during his lifetime. However, he approved a plan a few years ago before his death to make a cinema based on the first book of the series. The movie, titled MR-9: Do or Die, was finally released last year.
Humayun’s versatility as a storyteller was evident in his foray into filmmaking. He successfully adapted a number of his novels into films, including Daruchini Dip, Aguner Poroshmoni, Srabon Megher Din, Shonkhonil Karagar, Dui Duari, Shyamol Chhaya, Anil Bagchir Ekdin, and Ghetuputra Komola. His role as the script writer and director of these films, winning the National Film Awards a record seven times, showcased his multifaceted talent and left a lasting impression on the film industry.
Before venturing into the big screen, Humayun showed his immense talent for writing television dramas and soap operas. His Eai Sob Din Ratri, Kothao Keu Nei, Aaj Robibar, Bohubrihi and Oyomoy were considered as classic TV serials for stories coupled with the performances.
Based on Anwar’s Masud Rana, the first package BTV drama, or outsourced drama, was produced and aired in 1993. Named Prachir Periye, the book’s original title was Pishach Dwip (The Island of the Vampire); it was a flop due to the producer’s inability to capture Masud Rana’s adventurous characteristic and dangerous settings of the original story. A two-part radio drama was also made and aired in 1987 based on the third book of the series, Swaranmriga (Golden Deer).
Publishers used to chase Humayun to collect his manuscript to publish at the Bangla Academy Book Fair in February every year. His book was always a hit, and several editions appeared at the month-long fair in Dhaka. There was always a long queue at the bookstall that had published it. On many occasions, he was also present to sign autographs.
Anwar was, however, himself a publisher, writer and editor. Seba Prokashoni, the first paperback publication house in the country, was, and is also, immensely popular for its versatile publications. Besides the Masud Rana and Kuasha series, Seba publishes an abridged Bangla version of world classics. The house also published the first Western fiction series in Bangla along with a juvenile fiction series named Three Investigators. During the ‘70s, ‘80s and ‘90s, all these books drew a good number of readers.
Anwar and Humayun have contributed to developing the reading habits among the youths in Bangladesh over the decades. They are unmatchable to anyone in this regard. While Humayun’s outreach was diverse due to his TV drama, Anwar solely relied on printed publications along with his unique marketing style. He also developed a new style of writing that has also gained popularity. Many journalists and writers in the ‘80s and later decades till today are highly influenced by the style and adopted it as a flexible model. Humayun’s writing style was different and confined to him. Many did not follow it due to its inflexibility and typed structure.
The difference in writing style was the main reason Humayun never wrote for Seba Prokashoni except one. He had translated The Exorcist, a 1971 horror novel written by American writer William Peter Blatty, and Seba published it. He also wrote a novel, titled Omanush (Inhuman) for the inaugural issue of monthly Rohassaya Potrika (Mystery Magazine), published and edited by Awar in November 1984. It was based on Man on Fire, a 1980 thriller by English novelist Philip Nicholson, written as A J Quinnell. There was a plan for the novel to be elaborated later and published as a book by Seba. That didn’t happen, and Humayun later published it in another house as he had some reservations about Seba’s editing pattern. He was always sensitive about his writing and never allowed anyone to revise or edit his manuscript slightly. Anwar, however, is ready to send manuscripts to the press only after editing to match the style of Seba Prokashoni. Later, a book of Rana series named Ogni Purush was published in two parts based on the original book.
Humayun won the Bangla Academy Literary Award in 1981 and the Ekushey Padak in 1994 for his contribution to Bengali literature. No such award was offered to Qazi Anwar Husain, however. Sadly, the self-claimed guardians of the Bangla literature, Bangladeshi literature, to be exact, have failed to recognise Anwar. Nevertheless, the recognition of millions of readers kept him up constantly.