platform of thought to the readers when other writers are engaged in stereotyping and cloning the flow of literary activism. So to draw a line between the common and the uncommon, the usual and the unusual, this volume with inputs from various writers and critics holds good for a cause - to give Hrushikesh, the writer, his `right place' on the book pile - measuring his reach and sensitivity index - literary.

Prof Satpathy's own words in `Premara Paribhasa: Shruti - 1994' tells the story of Shruti and Gopesh and is a great compliment to the story-telling tradition of Fakirmohan Senapati of `Rebati' fame. But, the over use of English style in dialogue delivery, ambiguity and digressive style worries the critic.

Commenting on Panda's short story 'Sonaputara Loke', Prof Baishnab Charan Samal says the writer has successfully created a literary `landmark' through a new wave of thought, use of proper words, their pictorial depiction and unveiling of intellectual hypocrisy in society at large.

Hrushikesh's craftsmanship in discovering the `man within the man' and his virtues like the aesthetic reality and aesthetic socialism are distinctly seen in his creations, the critic tells the reader with generosity adding, the peculiarity in his `literary collage' mixes well - the human and the art form making a `statement of totality'. Also praise for his content and ideas in the story telling flow gets a special mention.

An author once said, 'A writer writes his age'. On the contrary, Hrushikesh has mastered the art of telling the philosophy of life to his readers. Though he belongs to the elite class with a high profile career as a bureaucrat and responsible citizen, his writings never miss the sensibility of a common writer with uncommon intellect and ability, feels Prof Samal in his assessment.

The description of the youth of `Sunaputa', Keshab, who loses his father, faces his world with courage, gets encouragement to fight evil with support from others including his beloved, and becomes successful emerging a winner. There are parallels between the character, Pavel in the Russian novel `Mother' and Keshab. Gorky's character Pelagaya as Pavel's mother becomes the inspiration for portraying Keshab's mother. Keshab's mother inspires the young and angry man to conquer the world.

The analysis of `Harina Pithire Ajana Suryastaku' takes the pain of narrating the psycho-social dilemma of Kunti, its protagonist. Her love-hate relationship with `Bhanu' never bothers her much as she learns to live life as it comes. Even Govinda - another man in her life - does a `Bhanu act' but she remains calm and composed as she faces life. The golden deer myth of Ramayana, Mahabharata's Kunti and the legendary Oriya story `Nila Mastrani' perhaps have some sort of impact on the author's mind to construct the character and he has done it with ease and maturity.

Other essays like `Hasa o Itihasa', `Dashyu', the author's philosophy of life in stories like `Rebati' and Puri and above all his talent in drama are noteworthy. Last, but not the least, the architecture of Hrushikesh's story-telling genius is also discussed by Dr Santosh Tripathy. The historic descriptions and psycho-analysis of the characters of his stories also get special mention.

The metamorphosis of the chemistry scholar-turned-bureaucrat to writer is really an interesting story in itself. However, this small but quality book with good editing backup and cover design has made it genuinely eligible to dissect the writer in Panda and brings the essence of his talent to the fore.
Madhusmita Mohapatra