Nagen Chaudhury did not consider the short story as one piece. He lacked the sense of structure which is evident from stories like Bogitora, Parivartan, Vijoya, Tamar Tabij. He was mentally affiliated to conventions. However he had a natural urge to identify himself with the new concept. Mahi Bora portrayed lower middle class society, its ordinariness and frivolity, dignity and verse. His characters are typical of certain human aspects. Bora's Abhoy and Keranir kapal are studies of human nature. A story like Ukilar apadare is farcical. Jog Aru Biyog, Asara Khalu Samsara, Jai Parajai, Labh Lokchan, Ukilar Janma Rahashya are some of Bora's well known stories that are known for pleasure, grim humour and energy. H. R. Deka's stories are satirical with ironic overtones. It is a well knit pattern. His stories like Photographer, Parvatar Tingar Bangala Ghar, Sahaj Samadhan, Parajai are graphic portrayals. In some of the stories a pall of gloom sets in which however does not affect the basic fibre of his theme. It is told in a simple style, the best example of this is Rere Bare Bhai.
Lakshmi Sarma's stories show a technical drift and revolutionary idealism from the trend that was practiced till then. He was inspired by Western social thought and philosophy. He drew his technical inspiration from Maupassant.
Bina Barua has to his credit two volumes of stories, Pat-pari-vartan (1948) and Aghonibai (1950). This shows two distinct stages of development of his art and insight. He depicts rural life in Aghonibai. Jatin Goswami's Kanchanmati is considered as a recent counterpart to Barua's Aghonibai.
Roma Das's collections of short stories known as Srestha galpa are stories of impulses. The idiosyncrasies of his characters have a glazed brilliance in them that demands attention. He has the capacity to capture the middle class society and paint a convincing panorama of fashion. His stories like Rhododendronar bilas have subtle irony. Most of his stories can best be described as romantic rhapsodies. His Barsa jetia namye depicts the romantic ego. Jivanar Arati is a story of abnormal melancholy. Das's latest collection of stories is Barsajetia Namye (1964).
Uma Sarma has skilfully used psychopathology. His Manuh Janmar Pisat is known for its undertone of agony. Pakhi however is a story of natural love. His stories reveal an improved technique and form and psychoanalytical character study. Dina Sarma's collections: Kalpana Aru Bastav, Dulal, Kuwa Bhaturia Othar Talat, Pohar are romantic stories that have conflict and dramatic elements. He is known for a subtle psychological approach and insight. Two other short story writers of this generation are Munin Barkataki and Krishna Bhuyan who had made a significant development of technique.
Jamiruddin, Indibar Gogoi and Suprava Goswami are other noted short story writers of this era. Premnarayan Datta and R. M. Goswami belong to this age. P. N. Datta is noted for his sarcasm in stories like Asirbad, Bahharamve, Gangatop which is directed against the vulgar rich and the educated people. His other collections are Asirbad, He Hari Sarva Sunya and Adirasar Utpatti.
R. M. Goswami's Niyati and State Transport portray lower middle class life. State transport is known for parallel studies of character and modest projection of attitudes. There is a cynical approach to the artificially polished norms of society and sympathy for those who are victims of economic imbalance.
During the Awahon age, the lower middle class theme of a romantic vein replaced the rural theme that was popularised by L. N. Bezbaroa. The writers of Awahon age tried to tell a story as it should be told without projecting themselves. Maupassant's contribution is great in this regard. In technique, form, natural and spontaneous expression of the real stuff of life, there was a remarkable improvement made during this period. It opened the floodgates of the future.
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