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But it was not long before the figure of the private eye—who typically assists a bumbling constabulary—came to occupy centre stage.
The decades after World War II were the most fecund for Bengali crime fiction, with the reader utterly spoilt for choice: Kiriti Roy, Byomkesh Bakshi, Hukakashi, Bimol-Kumar, Joyonto-Manik and more.
But all of these heroes, with the exception of the dhoti-kurta clad Byomkesh, more properly belonged to the genre of pulp fiction than to crime.
It was Sharadindu Bandopadhyay who made Byomkesh throw away the rakish fedora and brier, and instead clothed him in the more down-to-earth canonicals of the Bengali bhadralok.
Feluda was pretty much in the Byomkesh mould, but with a higher cool quotient.