Jahane Rumi In search of the unsearchable: O, my soul! where would you find your house?

22Oct/092

Urdu short stories – ‘The Myna of Peacock Garden’

Published in The Friday Times last week:

A new collection of translated short stories reminds us how Urdu literature needs to connect with a global audience, says Raza Rumi

As I hold the recently published “The Oxford Book of short stories” in my hands, I cannot help bemoan the fact that Urdu literature has been almost invisible from the arena of global literature. Admittedly, translation is difficult; the tediousness of translation daunts many a brave heart. Having said that, there have been a handful of remarkable translators such as Khalid Hassan, Alamgir Hashmi, CM Naim, Aamer Hussain, Umer Memon and Rakhshanda Jalil, to name a few. But a wide corpus of Urdu literature lies forlorn and hidden from global readership, which alas is dominated by English language readers. For this very reason, Amina Azfar has done a remarkable job of compiling a collection of Urdu short stories. Her earlier translations have been competent and quite often lyrical. For instance, Akhtar Hussain Raipuri’s Gard-e-Rahh (the dust of the road) and Sajjad Zaheer’s Roshnai ( the Light ) are noteworthy for their tone.

The book has a nice little foreword by Aamer Hussain, who is correct in stating that Azfar’s collection provides a fine introduction to the genre of the Urdu short story. The stories selected encompass a range of various experiments undertaken by the great Urdu writers. The stark realism of Munshi Premchand is counterpoised by Khaleda Hussain’s two short stories that are allegorical and somewhat postmodern in their sensibility. Iftikhar Arif, the renowned poet-bureaucrat, in his formal introduction quotes Dr Jamil Jalibi, terming the selected short stories “in the category of the very best”.

2Oct/09Off

Parveen Shakir – ‘coins of my truthfulness’

Parveen Shakir with her mentor Qasimi whom she called Ammu

Young Shakir at a mushaira

Fifteen years later Shakir remains intensely popular. Her poetry has been reinterpreted and critics who dismissed her as a poetic lightweight have realized that there was much more to Parveen's poetic vision than just henna-dyed hands

Parveen Shakir (1952-1994) has defined the sensibilities of several generations and beyond. At the relatively young age of 42 years, Parveen Shakir died on an empty Islamabad boulevard, as if this was an essential part of her romantic persona. But she had lived a full life where poetry and tragedy intersected each other and became inseparable from her being.

As a young student in high school, I was introduced to Shakir’s romantic poetry, which was best represented by her first collection of poetry ‘Khushbu’. I had won an essay writing competition in Urdu and a delightful award came in the form of this tender volume of poetry. Since then I have always returned to bits and pieces of Khushbu. It may not be according to the cannons of literary theory, but it is spontaneous, fresh and almost dreamlike. Shakir was bearly 24 years old when Khushbu was published and since its first edition, this book has been a best seller wherever Urdu poetry is read or appreciated.

Khushbu turned Shakir into a celebrity. Aside from mushairas, newspapers and public fora, she was ever-present on the Pakistan television, perhaps as its only saving grace during the rigid years of Zia-ul-Haq’s Martial Law. Shakir had a natural talent for public speaking, reciting poetry and just being herself. I remember one monsoon evening in Murree when we were hooked to her presentation on Pakistan’s Independence Day. There was a distinct tenderness in her voice that was in sharp contrast to the platitudes being churned out. Above all she was beautiful. I remember she would read verses from her own work and from the great masters of Urdu poetry with complete ease and immense refinement. In the short period of time that she lived as a poet, Parveen did rather well and was quite prolific. Her later collections comprised Sad Barg (marsh merrygold), Khud Kalami (conversing with one’self), Inkaar (refusal), Maah-e-Tamaam (full moon) and Kaf-e-Aaina (edge of the mirror).

Her raw romanticism runs through her poetry. For instance, yay haseen shaam apni is a love poem of rare beauty; and has always been a favourite of mine. It is composite, taut and melodic; and here is my translation.

This melting evening of ours

Where everything dissolves

The scent of your clothes

The blossoming sprouts of my dreams

A deferred vision, this is

In a little while,

A star will emerge on the horizon

To gaze at you meaningfully…!

Your heart shall then reminisce

The echo of a memory

The tale of a separation,

Of an unfinished moment

Of un-blossomed dreams, things unsaid

We ought to have met

In times, considerate

In pursuit of attainable dreams

On a different sky

On a different earth

We ought to have met

3May/091

Fahmida Riaz – “Her dreams of the future”

Barricaded Islamabad enveloped by the ghosts of national gloom has one little corner of hope. The Pakistan Academy of Letters, under its dynamic and committed Chairman, Fakhar Zaman, continues to weave narratives that still inspire. Even when the bitterness of our grim present affects us all, Fakhar Zaman was forthright in his views on Pakistan, its future and most importantly, its literary tradition. The venue was the book launch of Fahmida Riaz’s novel Godavari that has been translated into English. Fahmida Riaz is better known as a poet but her unique prose is lesser known. Her short stories and novels are extraordinary pieces of literary works rendered into sheer poetry. Often it is difficult to determine the genre of her ‘prose’ works as the lines between watertight compartments blur and fade away, only to reappear as a gentle reminder to the readers that our author is experimenting in her inimitable style. 

Godavari was published last year by the Oxford University Press and Fakhar Zaman organised its launch under the aegis of PAL only to ensure that there are many indigenous, native voices in English that have yet not caved in to the pressures and inducements of Western publishing houses. Godavari is a deceptively simple story of a few characters visiting a holiday hill resort in Maharashtra a little before the communal riots that shook Bombay and India in the 1980s. But deep within its lines, sub-textual connotations and shifting moods lie tales of discrimination, communal hatred and the unfettered spirits of its universal female characters. The heartening aspect of this book launch was that there were a few dozen enthusiasts present on the occasion, and a few powerful

16Nov/085

Fahmida Riaz: A neglected genius

My op-ed for The NEWS

Whilst my earlier piece on the IMF programme and the tremendous discussion it has invoked deserves a rejoinder, I want to write on a completely different subject this week. I am perturbed by the fact that thousands of jobs have been recreated for those who were rightly or wrongly dismissed in the earlier dispensations; there is silence about one luminary, a towering one at that, who lost state employment twice. Fahmida Riaz's name is yet to appear amongst the reinstated ones.

Following the physical departure of the leading Urdu poets – Qasmi, Munir and Faraz – Fahmida Riaz is arguably the greatest living poet of Pakistan. Controversial though this statement might be, her originality and path-breaking poetry has yet to find an equal in the turbulent waters of the Pakistani cultural river. It is hardly surprising that Fahimda Riaz has been targeted all through her otherwise illustrious creative career by state and society alike. She was branded as unpatriotic when she had to run for her life in the Zia-ul-Haq days and live in exile. In India, she was termed as a Pakistani agent since she criticised the communal tensions that the Indian state had encouraged.

7Dec/071

Hazrat Ali’s letter on governance and citizenship

The common stories about Islam or Muslims have to do with the chopping of arms and killing of infidels. We are told that Muslims had a great empire, after many conquests and subjugation of the 'infidels'. And what have we learned in the textbooks: Ali (AS) was a brave general with a legendary sword? Have we heard this:

Do not close your eyes from glaring malpractice of officers, miscarriage of justice and misuse of rights, because you will be held responsible for the wrong thus done to others. In the near future, your wrong practices and maladministration will be exposed, and you will be held responsible and punished for the wrong done to the helpless and oppressed people.

Fahmida Riaz is Pakistan's premier female poet. She became a sensation in the early 1970s when her bold, feminist poetry created a stir in the convention ridden world of Urdu poetry. Riaz was expressive, sometimes explicit, and politically charged. She created a completely new genre in Urdu poetry with a post-modern sensibility. Later, she remained prominent with her defiance of General Zia's martial law, her exile to India and the continuous evolution of her fiction and poetry.

Since the late 1990s, Fahmida Riaz has discovered Jalaluddin Rumi, the 12th century Turkish poet and jurist, and now an international celebrity. Her recent publication “ Yeh Khana-e aab-o-gil" is a unique translation of Rumi's ghazals in the same rhyme and meter. Since her navigation of the Rumi universe, she has explored another dimension of her individual and cultural consciousness, where the influence of Islamic scholars and Sufis is paramount.

Last winter, she read a letter by Hazrat Ali bin Abi Talib (AS), the fourth Caliph and son-in-law of the Prophet Mohammed (PBUH), while browsing a translation of Nahaj ul Balagha (a collection of sermons, letters and sayings of the Caliph). Later, in an email, she related to her friends across the globe how angry she felt for not knowing about this letter all her life, and how the real jewels of Muslim history were concealed generation after generation.

At the time she was preparing for a Conference at Heidelberg, Germany. Lo and behold, she made a dramatic speech about Ali's (AS) letter at the international moot. Thereafter she showed the text of the letter to Dr Patricia Sharpe, a US-based writer who was impressed by it and immediately paraphrased and uploaded it to on her website under the title Good Governance Early Muslim Style.

Ali (AS) had written a comprehensive letter  articulating principles of public policy for the guidance of the newly appointed Governor to Egypt, Maalik al Ashtar. In this fascinating directive, Ali (AS) advises the new governor that his administration will succeed only if he governs with concern for justice, equity, probity and the prosperity of all. There is a timeless applicability of this famous letter. Selected passages from the text are reproduced below:

Religious tolerance: Amongst your subjects there are two kinds of people: those who have the same religion as you [and] are brothers to you, and those who have religions other than yours, [who] are human beings like you. Men of either category suffer from the same weaknesses and disabilities that human beings are inclined to; they commit sins, indulge in vices either intentionally or foolishly and unintentionally without realising the enormity of their deeds. Let your mercy and compassion come to their rescue and help in the same way and to the same extent that you expect Allah to show mercy and forgiveness to you .