As an artist, Samaresh believed in reinventing his artform continuously. During his active literary career, spanning roughly four decades (from 1946 to 1988) we see four distinct literary styles – both in its form and content. During the first phase, we see works such as Nayanpurer Mati, B T Roader Dhare, Srimati Cafe, Ganga reflecting his life in Aatpur and Jagaddal, his personal experience of party and Trade union politics. In the second phase, which included works such as Bibar, Prajapati, Patak, Swikarokti we see some of his most path breaking literary works. There was a central theme of loss of faith, in this period’s work. The said works received accolades and brickbats in equal measures. Court cases were filed against the writer and the publisher on charges of obscenity. Prajapati was banned for 17 years based on a ruling by the lower court. The ban was lifted and the writers were acquitted finally by the supreme court. The third phase included some of his most acclaimed and political works which included Jug Jug Jiye and Mahakaler Rather Ghora. The final phase was long time coming. Dekhi Nai Phire was the first autobiographical fiction of its kind in Bengali literature. He committed close to 10 years of his life in researching this project. However, this novel and his this new phase of his literary style remain unfinished with his demise in 1988.