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Chandan Kumar Bhattacharya
Vattacharja Chandan (also known as Chandan Kumar Bhattacharya), is a bilingual (Bengali and English) writer, poet, composer and mail artist. He was born in 1944 in the small town of Tamluk (now in Purba Medinipur District), which was the ancient Indian port of Tamralipta in West Bengal. Chandan came to Kolkata after finishing his high-school studies at Tamluk Hamilton High School. After graduating from Asutosh College, he obtained his master of arts degree in political science from the University of Calcutta. He hoped to become an experimental scientist like Jagadish Chandra Bose, Newton or Edison. Although Chandan did not accomplish this, he expresses his love of experimentation in art and literature.
In 1968 and for several years thereafter, he participated in poetry readings at the Saturday open-air ''MuktaMela'' fairs at the Kolkata Maidan grounds with other contemporary poets like Tushar Roy, Rabindra Bhattacharya, Bablu Roy Choudhury, Satya Ranjan Biswas, Pranab Basu Ray, Samar Bandyopadhyay and Abu Atahar; this taught him how to perform his poetry in later life. It was the launch-pad where he could mobilise his associates when, after editing a few hand-written magazines, he was trying to begin a new literary movement. At the MuktaMela he discovered Dilip Gupta, Ashis Deb and Shukla Mazumder, with whom he launched the Prakalpana Movement in Bengali literature with the countercultural magazine ''Swatotsar'' in 1969.
== Prakalpana and Chetanavyas ==
Chandan coined the word ''prakalpana'' (meaning "proper imagination"), an amalgam of ''pra'' from ''prabandha'' (essay), ''ka'' from ''kabita'' (poetry), ''lpa'' from ''galpa'' (story) and''na'' from ''natak'' (drama). Later, he expanded its origins more globally: P for prose, poetry and gra''p''hics; R for sto''r''y; A for art, Chet''a''n''a''vy''a''s and ess''a''y; K for ''kinema''; L for nove''l'', cu''l''ture and p''l''ay and N for so''n''g.〔Texture, Norman, Ok, USA.〕 Although the word ''prakalpana'' is found in some Indian languages, Chandan used it as the name of a new form of composition and movement. That eventually led him to begin his ongoing magnum opus ''Atiprithibi 1''. The first part of the Bengali version as well as the English version, ''Cosmosphere 1''(), have been published.
Chandan authored the first prakalpana book, ''Porimandal'', which was published on Prakalpana Day (6 September 1975). In the early 1970s he developed the philosophy underlying the Prakalpana Movement and its counterpart (the Sarbangin Poetry Movement), which he called ''Chetanavyas''. According to Chandan, what is seen everywhere is change (in the outer world of matter and in the inner world of sense and consciousness). This is ''Chetanavyas'', which is the conflux and interaction of ''chetana'' (sense) and ''abvyas'' (wont, or custom). "Sense" is assigned the widest conceivable meaning here, as the feature differentiating a living object with a lifeless one, and includes attributes of the conscious and subconscious mind. "Wont" (''abvyas'') is used here as the habit of living objects and the nature of non-living ones. As habit may be considered as "second nature", that second nature evolves over time; the smallest unit of a living organism works and perishes faster than that of a lifeless object like a granite stone. Thus the universe, which is perceivable only through the higher form of sense that is consciousness, is composed of sense-full and senseless matters acting, reacting and interacting internally and externally in accustomed ways during their respective spans of time. After this they degenerate, decompose and dwindle to dust or particles, to be regenerated and recomposed again in some form.〔Bangla Galpa-Kabita Andoloner Tin Dashak, Sandip Datta, Radical Impression, 1993.〕 Apart from ''Chetanavyasism'' and ''Prakalpana'', Chandan's other teachings (part of the Prakalpana Movement) include Sarbangin poetry, flow verse, visual effects, "golden language", "proverse", mathematical dimensions and sonorous, musical and repetition effects. Appraisals of his ''prakalpana'' include:
" The bizarre but compelling language is given an enhanced weirdness by the slightly awkward obviousness of its trans from Bengali sometimes resulting in an enjoyable ...effect." 〔NewHope International Review '', Vol 18, number 5.〕
" I enjoyed the most....the experimental fiction piece ''Aurora On The River Gour'', which bordered on inaccessible at times but was interesting nonetheless..." 〔Sean Stewart in ''The New Pages Zine Rack'', number 31.〕
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