000			02157nam a22002417a 4500
005			20251009162936.0
008			251009b |||||||| |||| 00| 0 eng d
020			_a9789361568206
037			_cPurchased _nPrism Books, Kadavanthra
041			_aEnglish
082			_aF _bRAJ/DE
100			_aRajkamal Choudhary
245			_aDEAD FISH
250			_a1
260			_aNew Delhi _bRupa _c2025
300			_g177
500			_aMachhali Mari Hui, Rajkamal Choudhary’s seminal masterpiece of Hindi literature, is a fearless anatomy of sexual orientation, identity and emotional tumult set in mid-20th-century Kolkata. Translated into English for the first time as The Dead Fish, the novel explores the psychological depths of Nirmal Padmavat, a ruthless businessman whose personal life is marked by emotional volatility and contradictory sexuality. His complex relationships—particularly with Shirin, Priya and his beloved Kalyani—reveal a disturbing and fragmented self, crushed between deification and confusion, longing and detachment. Rajkamal firmly brings homosexuality to the forefront, a bold move for his time. Priya and Shirin, both queer, form part of a muddled psychological and emotional nexus that overwhelms Nirmal’s inner world. He is likened to Goethe’s Mephisto, Shakespeare’s Othello and Brontë’s Heathcliff for his bestiality. Nirmal’s violation of Kalyani’s daughter, Priya, reinforces his own confused identity and his ineptitude of connecting with women in a healthy manner. The metaphor of the dead fish echoes throughout and evokes themes of barrenness, enmeshment and unfulfilled desires. Through lyrical prose and skilfully embroidered subplots, coupled with an unconventional and experimental writing style, Rajkamal Choudhary critiques hostile societal norms and reveals the intense struggles associated with queer identity. In an era when homosexuality is striving for rightful recognition within the social fabric, The Dead Fish feels more urgent and relevant now than ever before.
650			_aFiction
650			_aNovel
700			_aMahua Sen (tr.)
942			_cLEN
942			_2ddc
999			_c196570 _d196570