| Al Mahmud আল মাহমুদ |
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|---|---|
| Born | Mir Abdus Shukur Al Mahmud July 11, 1936 Morail Village, Brahmanbaria District |
| Occupation | Poet, journalist |
| Nationality | Bangladeshi |
| Ethnicity | Bengali |
| Genres | Poet, novelist, short-story writer |
| Subjects | Literature |
| Notable work(s) | Lok Lokantor Kaler Kalosh Sonali Kabin Mayabi Porda Dule Otho |
| Notable award(s) | Bangla Academy Award (1968) Ekushey Padak (1987) |
| Spouse(s) | Sayeda Nadira Begum |
Mir Abdus Shukur Al Mahmud (Bengali: আল মাহমুদ) (born 11 July 1936), commonly known as Al Mahmud is a Bangladeshi Poet, novelist, short-story writer. He is considered as one of the greatest Bengali poets emerged from 1950s.[1] His work in Bengali poetry is dominated by his copious use of regional dialects. In 1950s he was among those Bengali poets who were outspoken by writing about the events of Bengali Language Movement, nationalism, political and economical repression and struggle against West Pakistan Government.[2]
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He was born in Morail Village, Brahmanbaria District, Bangladesh. Mahmud started his career as a journalist. He came into recognition after Lok Lokantor was published in 1963. In succession, he wrote Kaler Kalosh (1966), Sonali Kabin (1966) and Mayabi Porda Dule Otho (1976).[3] In addition to writing poetry, he has written short stories, novels and essays such as Pankourir Rakta and Upamohadesh. He took part in the Liberation War of Bangladesh as a freedom fighter in 1971.[1] After the war, he joined The Daily Ganakantha as the assistant editor. He was jailed for a year during the era of Awami League government. Later, Al Mahmud joined Bangladesh Shilpakala Academy in 1975 and retired in 1993 as director of the academy.
His literary work Shonali Kabin[4] published in 1973, is considered as a landmark of Bengali poetry. Philosopher Sibnarayan Ray commented:
| “ | Al Mahmud has an extraordinary gift for telescopic discrete levels of experience; in his poems I find a marvelous fusion and wit which reminds me occasionally of Bishnu Dey. The complete secularism of his approach is also striking…he was born and brought up in a very conservative Muslim religious family; it is not a secularism forced by some ideology, but present naturally and ubiquitously in his metaphors, images and themes. | ” |