Magic & mindscapes: a psychological approach to magical realism in selected works from Humayun Ahmed’s Himu series

Abstract

Humayun Ahmed’s (1948-2012) acclaimed character Himu has been a controversial figure to readers and literary critics since its very inception. Critics like Din Mohammad Sumon Rahman state that Himu is a central figure in Ahmed’s literary tendencies which is present in almost all of his works, and thus, the judgement of Himu is the judgement of Humayun Ahmed. Scholars like Mohammad Azam mention that many Bangladeshi scholars have created a collective barrier in reading Ahmed’s writings by labeling him a popular author instead of delving deep into his writings. These critics consider Himu as someone ‘insane’, much like Himu’s uncle (Badol’s father) or his friend’s father Minister Mobarak Hossain does. Critics like Azam, Rahman, and others highlight the intentions of Himu, the maverick; intentions that are advanced through his peculiar activities, psychological control and supernatural power that influence the characters and capture the readers’ attention in a realistic setting behind the veil of an itinerant ceaseless traverser wandering around strangely and indulging in meaningless activities. This paper imparts critical insights into magical realism as explored in Humayun Ahmed’s Himu, through the titular character who is someone with magical attributes indulging in apparently strange activities and exercising strong psychological control over the other characters. Himu has kept a mark on Humayun’s readers too. This paper offers a close examination of four novels from the Himu series, Dorjar Opashe (1992), Angul Kata Joglu (2005), Himu Remand E (2008), and Himu Ebong Harvard Ph.D. Boltu Bhai (2011) to show how through Himu’s distinct psychological approach, certain social issues are unravelled and justice is imposed through punishment. This thesis aims to fortify this approach that helps establish magical realism and how such a technique cements Himu as Humayun Ahmed’s mouthpiece.