I recently had the privilege of interviewing Dr. Dipa Mitra — a passionate poet, a soulful thinker, and the brilliant mind behind Janani Janmabhumiścha. Our conversation was nothing short of exciting and deeply motivational, as she shared the heartfelt journey behind her verses that celebrate the essence of motherhood and the spirit of our motherland.
Question 1: Your work spans both academic and literary domains. How do your experiences as a poet and novelist influence your academic writing, and vice versa?
Answer by Dr. Dipa:
Hmm, that’s a great question. (Pause, smile)
You know, for me, literature and academia—they’re not really opposites. I see them more like… parallel paths, both kind of chasing after truth, but in different ways.
So, as a poet and novelist, I naturally bring a sense of emotion, rhythm, and human connection into my academic writing. It’s like—suddenly, I’m not just dealing with numbers or dry data; I’m thinking about the students behind those numbers, their stories, their questions. And that makes my research feel more… empathetic, more alive.
And then, on the flip side, my academic training helps me bring structure and thoughtful context to my creative work. It’s like giving my stories a strong backbone—making sure they’re meaningful and responsible.
So, really, one side teaches me precision, the other teaches me compassion. Together, they remind me that knowledge without heart feels empty, and emotion without reflection can be fleeting.
Question 2: You have authored several books in both English and Bengali. How do you decide the language and form for your next project—be it research, fiction, or poetry?
Answer by Dr. Dipa:
(Light laugh) You know, I often feel like the language chooses me, more than I choose it.
When an idea comes to me, it usually carries its own voice—the rhythm, the emotion, the kind of people it wants to speak to. So if it’s something deeply rooted in memory, intimacy, or the feeling of home, it naturally comes out in Bengali—because that’s my first language of love and longing.
But when the subject needs a bit more distance, or I want to engage in a global conversation—like with academic work—English just becomes the right choice.
As for the form, poetry shows up when silence needs a voice. Fiction appears when characters start whispering in my mind. And research… well, research takes shape when there’s a question I just can’t ignore.
So really, each project finds its own language and form. I just listen carefully and follow where it wants to go.
Question 3: You’ve won multiple awards for your literary contributions, including the National Literature Award 2024. What themes or messages are you most passionate about conveying through your literature?
Answer by Dr. Dipa:
(Soft smile) You know, at the core of my writing is this simple, but powerful idea—that every life has a story worth telling, and every silence deserves to be heard.
I’m really drawn to exploring themes like love, identity, memory, and resilience—especially through the eyes of women, those often unheard voices, and histories that don’t always get told.
Whether I’m writing in Bengali or English, I try to reach those quiet, tender places inside people—the ache of wanting to belong, the bravery in standing apart, and the gentle strength found in vulnerability.
Most of my stories come from what I experience or witness—the poetry in everyday pain, those fleeting moments of life that hold meaning, and the beauty in being open despite hardship.
Honestly, while awards are lovely and encouraging, what truly matters to me is when a reader says, “I felt seen.” That’s the real gift I hope to give through my work.
Question 4: Your academic career is deeply rooted in management studies, yet your literary works span mythological, emotional, and social themes. How do you balance analytical and creative thinking in your writing process?
Answer by Dr. Dipa:
(Thoughtful pause) I like to think of analytical and creative thinking not as two competing forces, but as… two ways I use to understand the world around me.
My background in management has trained me to think critically—to question, to analyze systems, and to find patterns. That gives my writing discipline and structure.
But when I write creatively—whether mythology, emotional stories, or social issues—that part comes from intuition, empathy, and just listening deeply.
Balancing these two isn’t something I do consciously anymore. I often say my head handles the strategy and the logic, while my soul tells the story.
Research asks, “What is?” but my poetry and fiction ask, “What if?” or “What could be?”
So, really, I don’t try to balance them—I let them flow and dance together naturally.
Top Books of Dr. Dipa Mitra
- DIVINE DAWNING: THE SAGA OF RAMAYANA
- Janani Janmabhumiścha
- THE SNAPSHOTS | Hope between the lines
- Dualia: A Journey through the Paradoxes of the Soul
Question 5: What inspired you to write ‘Divine Dawning: The Saga of Ramayana’ in poetic form, and how did you approach the integration of traditional storytelling with modern literary style?
Answer by Dr. Dipa:
Divine Dawning was born from a lifelong reverence for the Ramayana—not just as a myth but as a living, breathing epic that shapes our culture, values, and imagination. I chose poetry because it is the most ancient, musical, and intimate form of storytelling, capable of capturing the epic’s spiritual depth and emotional nuance.
(Pause, gentle smile) My inspiration was to make the Ramayana accessible to contemporary readers—especially those who might find traditional retellings distant or dense. I sought to blend the rhythms and imagery of classical Sanskrit verse with modern sensibilities, language, and emotional immediacy.
This integration was a delicate dance—honouring the original’s sacredness while inviting fresh perspectives and critical reflection. The poetic form allowed me to weave myth with philosophy, heroism with vulnerability, and timeless lessons with today’s questions.
Ultimately, you know, I just wanted readers to experience the Ramayana not only as a story but as a living dialogue between past and present, heart and mind.
Question 6: As someone who’s chaired many international conferences and has been a keynote speaker multiple times, how do these platforms contribute to your growth?
Answer by Dr. Dipa:
Yes, International conferences and keynote speaking opportunities are invaluable in shaping both my intellectual growth and my visibility as a writer.
They provide me with a vibrant forum to exchange ideas with diverse thinkers, challenge my assumptions, and stay connected to global academic and literary currents. This constant dialogue sparks fresh insights that enrich my writing—whether academic or creative.
Moreover, these platforms amplify my voice beyond traditional boundaries, connecting me with wider audiences, publishers, and collaborators. They allow me to present not just my research but also the deeper stories and values behind my work.
In essence, they are spaces where I grow as a thinker and storyteller, and where my work finds resonance in new and meaningful ways.
Question 7: You have authored 22 books ? Please share your experience as an author of books like grabbing my masters and winning my phd, organizational behavior, handbook on retail management and many more academic books ?
Answer by Dr. Dipa:
Oh, yes—11 academic books and 11 literary works, and still trying to keep the balance! (gentle laugh) Writing is my passion!
Grabbing My Masters and Winning My PhD is designed as a comprehensive guide for postgraduate and PhD aspirants. It takes a deep dive into research methodology and the practical use of computer tools in research—making it an indispensable resource for students, researchers, and academics alike.
Whereas , Organizational Behavior, Volume 1 is crafted to prepare both undergraduate and postgraduate students for a journey that equips them to lead with insight and adapt with agility in today’s dynamic world.And then there’s the Handbook of Retail Management—a must-read not only for postgraduate students but also for practitioners and policymakers. It offers a clear understanding of the principles, practices, operations, and strategies that drive this rapidly growing sector.
There are many more, but I must tell you, each book serves a unique purpose, but together, they reflect my commitment to bridging theory and practice across diverse fields with contemporary examples and cases.
Question 8: Please tell us about your other poetry books. And kindly pour some light on how do you relate them to the contemporary world?
Answer by Dr. Dipa:
Great question, frankly speaking, poetry, to me, is not an escape from reality—it is a return to it with deeper sensitivity. In a world shaken by conflict, speed, and contradiction, my verses seek to hold space for what is tender, true, and often forgotten.
“Janani Janmabhumi: A Poetic Tribute of Mother & Motherland” is my heartfelt offering to the two most sacred anchors of identity—our mothers and our homeland. In the light of recent events like the Pahalgam terror attack and the valorous Operation Sindoor, these poems pulse with renewed relevance. They speak of sacrifice, loss, and unyielding pride—threads that quietly stitch the soul of our nation. Rooted in the essence of India, the collection evokes strength in belonging, and the timeless grace of nurturing love.
“Snapshots: Hope Between the Lines” is my poetic whisper to slow down. Amidst the noise of digital life, it captures the unnoticed beauty of everyday moments—a quiet cup of tea, a fleeting smile, a shared silence. These verses gently remind us that hope is not always loud—it often hides in life’s smallest, simplest pauses.
“DUALIA” dives into the paradoxes we all live—between logic and longing, ambition and stillness, knowing and not knowing. It does not aim to solve these inner contradictions but to honour them. In today’s polarized world, DUALIA invites us to sit with our complexity, and to find wisdom not in clarity, but in compassion.
Together, these books are more than poetry—they are my emotional conversations with a world in flux. They seek not just to be read, but to be felt—to offer stillness in movement, courage in vulnerability, and connection in a time of growing disconnection.
Question 9: Your works like ‘Monmajhare’ and ‘Swapnaneer’ delve into complex human emotions. How do real-life experiences or research inform your character development in fiction?
Answer by Dr. Dipa:
(Pause, smile)
My characters often emerge where life’s raw emotions meet thoughtful reflection. Real experiences give them depth—the contradictions, the courage, the quiet ache of being human.
At the same time, research—psychological, sociological, cultural—helps me go beneath the surface and portray them with honesty, not just imagination.
In Monmajhare and Swapnaneer, for instance, I reimagined Tagore’s Sesher Kobita and Nastaneer in a contemporary setting—with more emotional complexity and romantic tension, layered in a modern context.
So yes, it’s always a blend—real life, deep study, and the desire to let each character breathe in their own truth.
(Phone rings softly. She pauses, excuses herself with a kind smile, and answers—her tone patient, gently guiding. After the call, she returns with a warm smile.)
Thank you for your patience. My students come first, always. They ground me. And in many ways… their questions, struggles, even their silences—often find their way into my pages.
(Smiles) They remind me what it means to care, to listen—and to write from a place of truth.
Question 10: How do you see the evolving role of women in literature, both as creators and characters, especially in the context of your own writing and recognition as a ‘Visionary Leader’?
Answer by Dr. Dipa:
The role of women in literature is no longer confined to the margins—we are not just muses or metaphors anymore; we are makers, narrators, and truth-tellers.
As creators, women are now shaping literary landscapes with bold voices, intersectional stories, and unapologetic honesty. We are re-writing silences, revisiting myths, and reclaiming narratives long buried under patriarchal telling.
In my own writing, especially in works like Alor Disha, Rupkatha, Swapnaneer, Monmajhare, I strive to infuse emotional depth, agency, and complexity into my female characters—not as idealized figures, but as real, thinking, feeling individuals negotiating love, loss, and liberation.
Being recognised as a Visionary Leader is both humbling and affirming. It reminds me that literature is not just about words—it’s about vision, courage, and the will to challenge what is.
Today, women are not just contributing to literature—we are changing its rhythm, its gaze, and its soul. And I feel honoured to be a part of that quiet revolution.