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Mallika Sengupta is a formidable name in the world of Bengali literature. Through the stroke of her pen, she repeatedly tore apart the heavy veils that have long suppressed women's consciousness. In her essays and poetry, she critiqued the hollow rituals and conventions of society. Sengupta believed that in our society, "womanhood" is artificially constructed--through applying cosmetics, playing with dolls, and assigning domestic chores. From religion to literature, from law to economics, women are confined as men's assistants, sources of inspiration, and bearers of children. Through her works, she boldly challenged this enforced passivity of women across all layers of society. This philosopher of society, in her writings, transforms women's love, humiliation, neglect, and resistance into expressive forms. We have been gifted numerous poetry and essay collections such as Ami Sindhur Meye, Ardhek Prithibi, Purushke Lekha Chithi, Purusher Jonno Eksho Kobita, and Sitayan. In modern Bengali literature, Sengupta's Kathamanabi stands as unique, like her other works. Beneath the grandeur of male deeds lies smoldering ashes, and the voice of women rises as Kathamanabi--a historical epic of 1,200 lines. In this context, my discussion focuses on the autobiography "The Neglected Woman in Poetry." The author addresses women as fire and honors the history of that fire. Across ages, the history of humiliation, insult, and failure has instilled anger in successive generations of women. This anger has given birth to determination, and this determination knows no boundaries. It unites figures from Kunti to Kalpana Chawla, Madhavi to Medha, Rajia to Ras Sundari Devi. The first edition of Kathamanabi was published in 1999. Paying homage to India's soil, water, air, fire, and people, Sengupta composed this historical narrative. From the Rigveda to the twenty-first century, Kathamanabi spans a wide temporal canvas. She strongly rejects any attempt to reduce feminism to a "marketable" concept or trivialize it. According to her, those who treat feminism as a trend are ignorant and misguided. The aim of feminism is not to centralize women's power but to decentralize all forms of patriarchal authority. Thus, Kathamanabi urges: "Love, yet fight"--and emphasizes that in resistance, care and affection cannot always guide actions. For years, men have oppressed and loved, but society has not reflected upon it. The history of Kathamanabi begins with Ganga Janma, introducing women characters such as Khana, Draupadi, Rajia, Malati, Medha, and Shahbanu, all speaking in their own voices. The Ganga is both nature and mother, revered at times, yet attacked at others, even by a mischievous lover's acid. Indian women, unable to be rulers or subjects fully, were forever trapped as queens or subjects' wives. Only once did a woman rise as the sovereign--Sultana Rajia--whose narrative is recorded in Kathamanabi. Medha Patekar grasped the court and the cremation ground to save women; Malati Mudi of Purulia or Princess Madhavi faced oppression that transcended class. Shahbanu's struggle for Muslim women's rights resonates with fiery intensity. Other historical and mythical figures--Gargi, Maitreyi, Surya, the ascetic Akka, Meera Bai, Mahasweta Devi--also populate Sengupta's consciousness. Kathamanabi pays homage to all these women. This extraordinary work honors the history of self-sacrifice, once again affirming women's indispensable contribution to Bengali literature. At the end of the book, Kathamanabi pledges to return, inspiring courage. She commits herself to revolution. Even if we do not directly reap the rewards, the history of our resistance will inspire our daughters, who will one day attain full human dignity. In the analysis of women's place in modern Bengali literature, Kathamanabi remains profoundly relevant.