New Delhi, In spite of occasions and tales being just alluded to, the peruser can sufficiently envision and comprehend the taboos and insider facts the creator has not actually put in words. What was not portrayed and were given just a short, interesting notice were "the priests [liking] the young men sweat-soaked and winded" and "delicate and flawlessly smooth"— things that stayed concealed and, maybe, problematic. The Scent of God, the new novel by Saikat Majumdar, moves like a murmur. The power in its portrayal isn't apparent at the same time. Majumdar's composing is subtle to the point that a few pieces of this novel warrant a second perusing. The plot is set in the mid-1990s someplace in the edges of Calcutta, in all-young men private school kept running by the priests of a Hindu ascetic association who are wearing saffron. The two lead characters are Anirvan and Kajol, understudies in a similar class, who experience passionate feelings for each other in a spot that "does not perceive their sort of adoration". The following vital character is Kamal Swami, a senior and much-regarded priest who "was in every case right" and who "frightened the young men a bit". At that point, there is Sushant Kane, the Class VII English educator and discussion mentor, who "looked so hip that it was foolish", who "had a place with the ashram… [And] yet… did not have a place [there]." The school — called "ashram", or a cloister — had, apparently, a "perpetual grounds, spread more than eighty towns from the previous." One of the towns outside the grounds was called Mosulgaon, possessed for the most part by Muslims. A biological system was made around the ashram. "The kids in Mosulgaon went poorly school. They meandered into the ashram through the splits in the divider and accumulated dry leaves and bits of wood and discarded plastic containers and treat tins the young men got from home and sneaked out with the plunder." And yet, there was contempt between the prisoners of the inn and the residents of Mosulgaon, and this scorn for the other ran both ways. Majumdar's portrayal of the life of privation driven by the understudies in the ashram is climatic. Indeed, even fans were an extravagance in the ashram in, so when the understudies returned in the wake of spending the late spring excursions at their homes, they "talked groggily about the various types of fans they had seen that get-away."