Before the COVID-19 pandemic, Bangladesh’s publishing industry was thriving, with an annual growth rate of 15 to 18 percent. The pandemic, however, had a significant impact, causing a 30 percent decline in the market between 2020 and 2021. Currently, the industry is valued at around $1.5 billion, with children’s books, non-fiction, and educational books contributing to the majority of its growth.
Having fought long and hard for our mother tongue, as proud Bengalis, we hold Bangla close to our hearts. The Ekushey Boi Mela is a testament to our love for literature. This event draws both national and international readers, celebrating the beauty and richness of our mother tongue.
“Contrary to popular belief, the world of publishing in Bangladesh is currently in an exciting phase. Books now meet global standards in terms of design, layout, and content. Children’s books are vibrant and captivating. The community of cartoonists, artists, and writers are constantly producing well-crafted comics and graphic novels. Young designers are increasingly entering the field of book design, while more and more printers are mastering the craft of printing,” shares Zeenat Chowdhury, Director, Bengal Publications. “All of these factors contribute to the exhilarating and inspiring new direction of the publishing industry. To loosely yet appropriately paraphrase Huxley, it’s a brave new publishing world indeed!”
Despite the strong affection for Bangla books, some thinkers in the country are facing a predicament. While Bangla books are undeniably significant, the prominence of English as a universal language, notably in science and commerce, cannot be ignored. The dearth of English books in our publishing scene is cause for concern, particularly given Bangladesh’s 63rd rank in non-native English proficiency among 100 countries worldwide. This ranking appears relatively low considering the nation’s impressive 74 percent literacy rate. Many experts feel that a fertile ground for English book publishing can bring this number up.
By sharing her deep understanding of Bangladeshi culture and experiences through her writing, Anam has not only contributed to the diversity of English literature but has also fostered a greater appreciation for the stories and voices of her homeland.
As a writer with roots in Bangladesh, Tahmima Anam brings a unique perspective to her works, offering readers a glimpse into the country’s rich history and culture, as well as the experiences of its people.
Her novels, A Golden Age (2007), The Good Muslim (2011), and The Bones of Grace (2016), tell the story of three generations of women during and after the 1971 Liberation War of Bangladesh. Her ability to weave together personal stories with broader historical contexts has made her a prominent voice in contemporary English literature. By sharing her deep understanding of Bangladeshi culture and experiences through her writing, Anam has not only contributed to the diversity of English literature but has also fostered a greater appreciation for the stories and voices of her homeland.
In recent years, Iffat Nawaz has emerged as another significant Bangladeshi voice in English fiction. Her debut novel, Shurjo’s Clan (2022), is a captivating book about Bangladesh’s freedom movement. War, Partition, martyrs and their families, the struggle for identity, displaced idealism, the blurring of the ordinary and the extraordinary, characterised by intense emotions of love, loss, and, above all, a pull towards one’s roots and motherland, come together in the book.
The story is about a family in independent Bangladesh, who lives in the memories of losses that the Bengal Partition of 1947 and the 1971 Liberation War of Bangladesh brought. This may sound like a clichéd literary idea, but Nawaz brings a freshness to it through the element of magic realism which she uses to merge the worlds of the alive and the dead.
In conversations with emerging Bangladeshi authors of English books, common challenges emerged regarding publishing their works. Fahim Anzoom Rumman, an author and illustrator of graphic novels, notes that the limited number of English-language publishers presents difficulties, particularly in his niche market. He reveals that while free publishing houses have increased, offering publication without remuneration, he aspires to earn an income from his creative work. Unfortunately, few publishing houses are willing to support English novels financially.
A shared concern among these writers is the lack of platforms to promote their work. “While the Boi Mela primarily caters to Bangla books, the Dhaka Lit Fest offers a more diverse range, though it tends to focus on an author’s latest work. This limits the exposure of writers’ complete portfolios to a broader audience,” adds Rumman, whose comic book, Nidranogor, was released at the Dhaka Lit Fest in 2019.
As writers grapple with the complexities of crafting stories in languages beyond their mother tongue, it is essential to consider the broader implications of self-expression and linguistic freedom. “The 1952 struggle encompassed not only the preservation of Bangla, but also the fight for freedom of expression,” says Syed Rafid Kabir, author of The Little Sounds of Time (2019). “While championing Bangla, we must also recognise the importance of allowing every language to thrive, as the choice of language should never hinder the telling of one’s story.”
As key stakeholders, publishers have a distinct viewpoint on the subject. Karunangshu Barua, Founder and CEO of Nymphea Publications, highlights their unique strategy: “We consciously choose to publish works that celebrate Bangladesh’s abundant cultural heritage and literary wealth, setting us apart from other publishing houses in the country.”
The idea of Nymphea Publication’s first book, Festivals of Bangladesh, for instance, was conceived in 2001 when the country witnessed post-election violence against religious and ethnic minorities and an unprecedented rise of intolerance towards people of different faiths.
Barua assembled a diverse group of creative individuals to collaborate on a book showcasing Bangladesh’s vibrant festivals. This work aimed to capture the nation’s history of religious harmony, cultural interpretations, and exceptional photography. Producing such a comprehensive English-language book was a significant undertaking.
“I believe that a writer’s work should be of a calibre that aligns with the reputation of the publishing house that accepts it. We are happy to publish both emerging and established writers as long as they uphold the quality that we value,” adds Barua.
Md Nuzaimul Hoq, Co-founder of Worthy Books, presents a fresh perspective to publishing English books in Bangladesh. He asserts that a considerable audience for English literature exists, consisting mainly of the youth, students, and working professionals. He underscores the importance of comprehending market preferences to effectively engage this audience.
According to him, publishing English books in Bangladesh can be both straightforward and complex. Increased global media exposure has fostered a growing interest in English literature, yet the fact that English is a second language can impact writing quality.
Typically, publishers anticipate English writers to deliver a level of quality and relevance that aligns with local readers’ interests, such as proper prose, captivating narratives, or culturally pertinent content. However, fulfilling these criteria does not necessarily ensure success. Hoq suggests that authors who can build a connection with their audience have a competitive edge. Additionally, he advocates for a shift in the scepticism some Bangladeshi readers hold toward local English authors, as this would encourage emerging writers.
Prominent writer, translator, and critic Kaiser Hamidul Huq shares similar sentiments. He believes that the prejudice against English writers in Bangladesh is gradually dissipating, as evidenced by his own poems being selected for PhD research, taught in university courses, and gaining international prominence. Huq asserts, “These are all different ways in which English writing is gaining popularity. Acceptability of the chosen language of expression is gradually shifting from only Bangla to any language in which the writers feel comfortable, including English.” He emphasises that writers should be praised and popularised if they can express themselves well, regardless of the language they choose, and critiqued if their expression is lacking. This changing perception indicates a more open and inclusive literary landscape in Bangladesh, fostering hope for emerging writers who wish to use English to share their stories.
With the increasing demand for international literature, the prospects for good prose and poetry from Bangladeshi English writers seem promising, provided they possess compelling content and masterful expression.