In a literary world increasingly shaped by popular feminist narratives, Sayantani Putatunda emerges as a rare voice of balance and boldness. A prolific writer from Bengal, Putatunda defies the constraints traditionally imposed on women authors. Her work does not simply highlight women’s issues—it transcends gender boundaries to explore the full spectrum of human experiences.
While many expect women writers to focus solely on the suffering and struggles of women, Putatunda challenges this notion head-on. Her debut novels, Anandadhara and Chhayagroho, broke new ground by depicting women who manipulate men through their gender—an unconventional narrative rarely seen in mainstream literature. Yet, she does not shy away from depicting violence against women either, as seen in powerful novels like Nandini, Krishnaveni, Jolshoi, and Swaha.
What sets Putatunda apart is her fearless exploration of complex characters—male or female, victim or perpetrator. In novels like Jingle Bell, Shishmahal, and Sorbonashini, she presents intricate human relationships, foreshadowing real-life incidents such as the Atul Subhash suicide case and the Pragati Yadav and Sourav Rajput murder cases. These parallels highlight her foresight and unflinching commitment to portraying reality.
Her short story Apala Bhalo Achhe (2012), about an acid attack survivor’s journey, shares thematic resonance with Meghna Gulzar’s 2020 film Chhapaak, showcasing her ahead-of-the-curve narrative instinct. Equally groundbreaking is her story Chupi Chupi Aschhe, which brings attention to male rape and molestation—subjects often deemed taboo in Indian literature.
Putatunda’s voice stands not just for feminism but for humanism. She writes about male chauvinism and hard feminism with equal honesty, without catering to ideological trends. Stories like Eksho Baaro and Mrigotrishna, written over a decade ago, addressed themes of marital rape and psychological captivity—long before they entered mainstream discourse in web series and cinema.
When asked about her perspective, Putatunda succinctly states, “I write about the problems of human beings… I’ve written what I’ve seen neutrally.” Her work does not beg for societal acceptance; instead, it challenges readers to confront uncomfortable truths. Her belief is clear and unwavering
