You can get some information from this write-up from the Daily Star as stated below:
"What we call Bangladeshi writing in English has come into being after the emergence of Bangladesh. Although the stream is very feeble, it exists. There is, however, no chronological list of the writers of this school. I have tried to make a rough outline which is, of course, subject to further modifications. The first generation of Bangladeshi writers in English includes a few poets. Razia Khan Amin came up with a couple of collections of poems. Her poetry books Argus Under Anaesthesia (1976) and Cruel April (1977) bear the stamp of her preeminence among English poets in Bangladesh. Farida Majid is another distinguished poet and literary translator. Her Take Me Home, Rickshaw (1974) is a collection of poems by contemporary Bangladeshi poets translated in English. She has edited an anthology of English poems titled Thursday Evening Anthology (1977).
Kaiser Haq is the most leading English language poet in Bangladesh. His poetic output is quite substantial. They are as follows: Starting Lines (1978)-Dacca; A Little Ado (1978)- Dacca ; A Happy Farewell (1994)-Dhaka; Black Orchid (1996)-London; The Logopathic Reviewer's Song (2002); Published in the Streets of Dhaka : Collected poems 19662006) (2008). A freedom fighter himself, Kaiser Haq is a consummate artist who has painted the contemporary Bangladeshi scene with powerful imaginative mind and artistic precision. His work bears all the hallmarks of good poetry. Feroz Ahmed-ud-din is another noted poet. Though not prolific, his poetry is marked by shortness and intensity. His Handful of Dust (1975) vividly portrays the loss of vision in contemporary life. Syed Najmuddin Hashim's collection of poems, Hopefully the Pomegranate, is a valuable addition to Bangladeshi English poetry. Hashem has drawn allusions and references from far-off European mythology and biblical anecdotes, and woven them into the local themes. Nuzhat Amin Mannan's Rhododendron Lane (2004) is enriched with creative imagery and distinctive style.
Rumana Siddique's Five Faces of Eve: Poems (2007) reflects the timeless experience of a woman symbolized by their biblical ancestor, Eve. Rumana's poems are a mix of the pleasures and pains of life. Nadeem Rahman's Politically Incorrect Poems (2004) is a collection of poems dealing with post-liberation war themes. His poetry is typified by highly individualistic attitude, sharp social sensibility, and keen political observation. Fakrul Alam's translation Jibanananda Das: Selected Poems (1999) is of great literary value. Apart from the poets identified, a number of enthusiastic poets are also writing good English poems. Syed Badrul Ahsan is one of them.
The realm of fiction in BWE hitherto is dominated by Adib Khan, a Bangladeshi diasporic author in Australia. He is a writer of real merit. His novels Seasonal Adjustments (1994) Solitude of Illusions (1996); The Storyteller (2000); Homecoming (2005); and Spiral Road (2007) win global acclaim and are mostly concerned with themes of self-identity, sense of belonging, migration, and social dislocation. His style is characterized by lucidity and sarcasm.
Tahmima Anam belongs to the group of writers who were born after the liberation of Bangladesh. Her novel A Golden Age (2007) is set in war-torn Bangladesh. As an English fictional work on the independence war (1971), Anam's novel must have a singular place in the history of Bangladeshi English literature. The storyteller Mahmud Rahman has appeared on the BWE scene with his debut publication Killing the Water (2010). It is a collection of a dozen short stories published by Penguin India and covers a wide range of themes ranging from the liberation war of Bangladesh to the racial violence against fresh immigrants in the USA. A galaxy of promising writers is trying their hands at writing short stories in English. Among others Khademul Islam, Kazi Anis Ahmed, Ahmede Hussain, Razia Sultana Khan, Shabnam Nadiya and Shahidul Alam deserve special mention.
Although Bangladeshi writing in English has a long way to go, it has a bright future too. We may be able to play at least a role similar to that of India. But how? The ongoing mode of BWE has to be liberated from the literary coterie, i.e., the small circle of writers, publishers, and their admirers. It has to be rescued from the narrow confines of academia and the English medium schools. English language newspapers and magazines should allow enough room for literary expression and fresh writings should be picked solely on merit. The King's/Queen's English can better be exploited by the conscious 'Calibans' of our country.''https://www.thedailystar.net/news-detail-150619