The journey of the Amar Ekushey Book Fair began in 1972 through the solitary initiative of Chittaranjan Saha, who set up a single stall on the premises of the Bangla Academy in order to honour the Language Movement of 1952. That humble beginning has since transformed into a month-long festival celebrating Bengali literature, culture, and national identity. However, within this evolution lies an unsettling contradiction. The fair has expanded in size, formalities, and spectacle, yet its core spirit seems to have dimmed because the spontaneity of free expression, linguistic self-respect, and the intimate bond between readers, writers, and books has gradually weakened. What once fit comfortably within the confines of the Bangla Academy now sprawls across the Suhrawardy Udyan, although this expansion appears inversely proportional to the warmth it once embodied.
Last year’s book fair hosted 708 publishing houses, and the central theme was “The July Mass Uprising: Building a New Bangladesh,” which reflected both the fall of the Awami League government and the hope of reconstruction and national reawakening that emerged after the July uprising.
The 2025 fair unfolded amid numerous controversies, irregularities, and serious concerns over safety. If anyone visited on 7 February, they would have seen young visitors disappointed from the very beginning because Sisimpur was absent from the first morning. On 10 February, the Sabyasachi stall displaying books by Taslima Nasrin came under attack, and the situation was controlled only after police intervention. On 15 February, another controversy erupted when a stall selling sanitary pads and diapers was shut down. A letter that went viral on social media claimed that several Islamist groups had objected to the stall, although the Director General of the Bangla Academy, Mohammad Azam, later clarified that the stall had not received approval according to the fair’s guidelines. If that explanation is accurate, then the closure occurred due to procedural reasons rather than social pressure.
Another disappointing aspect was the absence of many prominent writers. If security concerns had not been as serious as they were, these renowned authors might have participated, and the fair’s cultural stature would not have suffered so visibly.
Furthermore, allegations of irregularities in stall and pavilion allocations provoked sharp criticism. Many established publishing houses expressed anger after being denied their usual spaces. Fourteen well-known houses received stalls but no pavilions, one prominent publisher received neither a stall nor a pavilion, and three houses found their pavilion spaces reduced. Many observers believe that these decisions signal political retaliation by the new government. Since Journeyman Books, Anannya Prakash, Kakoli, Pathak Samabesh, Puthiniloy, Nalanda, and Bishwo Sahitya Bhaban were among those excluded, the situation echoed the controversial exclusion of Adarsha Publication in 2024. If such exclusion continues, it will undermine not only publishers but also the core ethos of the fair, which is built on inclusivity and freedom. Therefore, a transparent, impartial, and ideology-neutral allocation process is essential in order to prevent the recurrence of these irregularities.
The safety and management systems of major international book fairs offer useful lessons. The Kolkata International Book Fair deploys extensive police forces, hundreds of CCTV cameras, fire-safety drills, and a clearly defined crowd-control plan. The Frankfurt Book Fair follows publicly declared safety protocols that range from luggage checks to fire-safety regulations. The London Book Fair, organised at ExCeL London, enforces mandatory risk assessments, clear evacuation routes, medical support, and coordination with the fire brigade. The Sharjah International Book Fair conducts mock drills and emergency assembly procedures with support from police, civil defence, ambulances, and volunteers. The Cairo Book Fair follows similar civil defence guidelines, structured safety measures, and venue-driven emergency plans. Large exhibition venues like Expo Guadalajara prioritise building-specific emergency policies, coordination with Protección Civil, and rigorous fire-safety drills. If Dhaka adopts even a portion of these practices, the safety of the book fair would improve significantly.
These international examples demonstrate clearly that a major cultural event is not merely a literary celebration. It is also an exercise in disciplined security, emergency preparedness, and coordinated management.
In the current context, the growing threats faced by Bangladesh’s cultural sector signal a grave warning for any nation. Attacks, vandalism, the misuse of religious sentiments, and threats against artists and writers all echo the tragic fate of Humayun Azad. The violence carried out in the name of “Tawhidi Janata” contradicts Islam’s core message of peace. From assaults on Lalon and Baul performances to attempts to disrupt concerts, these incidents undermine not only cultural practice but also the very architecture of a creative society. If creativity is eroded, no state can truly progress.
For this reason, if the book fair is held in February during the election season, additional precautions must be taken well ahead of time. These preparations must extend beyond law-and-order concerns and include thoughtful planning for environmental risks, natural disasters, and effective crowd management. Multiple entry and exit routes must be designated, and clear protocols should be in place to respond swiftly to earthquakes, storms, or any sudden shifts in weather. Publishers must be assured that no stall will be shut down arbitrarily under any circumstances. At the same time, active vigilance is essential in light of the rising risks of extremist violence, supported by a responsive and capable security force able to intervene immediately when necessary. If these measures are properly implemented, the fair can proceed without disruption.
No situation should be allowed to emerge around the book fair that creates a culture of fear or undermines the country’s broader cultural environment. Any laxity previously shown by the authority cannot be repeated. This time, maximum caution, responsibility, and the protection of free, creative expression must be ensured, because that is the demand of the moment.
The writer is a writer, researcher, and environmentalist. He can be reached at: [email protected].
