Miththuk Abosshak: Poems of Man, Myth and Illusion
Abdur Razzak
Muhammad Farid Hasan’s poetry collection Miththuk Abosshak unfolds as a landscape of feelings that step boldly outside conventional form. Time, man, nature, history, love, pain, death, and myth dissolve into each other here, creating an enigmatic weave where every poem feels like a hidden doorway into another world. In Face, the poet embarks on a journey to trace his own being, only to discover countless versions of himself scattered through history and creation. From Tutankhamen to the very first stars, his presence resonates everywhere. This pursuit of a fragmented self ultimately leads to deeper reflections on human existence. Poems such as Kachher Banshi, Nagna, and Culer Vahbe Megh Rahi present love and desire mingled with rainlight and illusion. Nature here is no silent backdrop- it is a confidant, a partner in intimacy. In Bilupt Purush, Bul Manush, and Mithyuq Bimrut, Hasan turns to the present, sketching the moral decay and hypocrisy of contemporary life. Especially in Mithyuq Bimrut, politics and social fraud are laid bare through biting satire, exposing the raw face of deceit. Other poems- Aladdin’s Sorrow, Amaake Je Nete Ale, Harit Barnamala-draw history and myth into modern realities. Echoes of the language movement, ancestral struggles, and whispers of magical realism expand these verses into timeless journeys across eras. Hasan’s language shifts like a prism: direct one moment, symbolic or abstract the next. In works like Prajapati, Sattar Rang, and Akal Chaitradin, the imagery bursts into vivid color, placing clear, almost cinematic scenes before the reader. Miththuk Abosshak is not just a collection but a document of both personal and collective experience. Love, memory, death, politics, and nature are all reframed through the poet’s artistry, opening up new dimensions of meaning. These poems compel not only reading but contemplation: Who are we? Where have we come from? Toward what horizon are we moving? Ultimately, this book is an inward pilgrimage. Hasan balances the hidden chambers of the self with the vastness of the outer world in an arresting harmony. It stands as a striking and significant contribution to contemporary Bengali poetry.
Published by: The People
Muhammad Farid Hasan’s poetry collection Miththuk Abosshak unfolds as a landscape of feelings that step boldly outside conventional form. Time, man, nature, history, love, pain, death, and myth dissolve into each other here, creating an enigmatic weave where every poem feels like a hidden doorway into another world. In Face, the poet embarks on a journey to trace his own being, only to discover countless versions of himself scattered through history and creation. From Tutankhamen to the very first stars, his presence resonates everywhere. This pursuit of a fragmented self ultimately leads to deeper reflections on human existence. Poems such as Kachher Banshi, Nagna, and Culer Vahbe Megh Rahi present love and desire mingled with rainlight and illusion. Nature here is no silent backdrop- it is a confidant, a partner in intimacy. In Bilupt Purush, Bul Manush, and Mithyuq Bimrut, Hasan turns to the present, sketching the moral decay and hypocrisy of contemporary life. Especially in Mithyuq Bimrut, politics and social fraud are laid bare through biting satire, exposing the raw face of deceit. Other poems- Aladdin’s Sorrow, Amaake Je Nete Ale, Harit Barnamala-draw history and myth into modern realities. Echoes of the language movement, ancestral struggles, and whispers of magical realism expand these verses into timeless journeys across eras. Hasan’s language shifts like a prism: direct one moment, symbolic or abstract the next. In works like Prajapati, Sattar Rang, and Akal Chaitradin, the imagery bursts into vivid color, placing clear, almost cinematic scenes before the reader. Miththuk Abosshak is not just a collection but a document of both personal and collective experience. Love, memory, death, politics, and nature are all reframed through the poet’s artistry, opening up new dimensions of meaning. These poems compel not only reading but contemplation: Who are we? Where have we come from? Toward what horizon are we moving? Ultimately, this book is an inward pilgrimage. Hasan balances the hidden chambers of the self with the vastness of the outer world in an arresting harmony. It stands as a striking and significant contribution to contemporary Bengali poetry.
Published by: The People