Rahman Abbas’s speech on receiving the Sahitya Akademi Award (2019) for his novel, Rohzin, a book that featured in the review section of Kitaab.
(From The Hindu. Link to the complete article given below) City-based writer Rahman Abbas has won the Sahitya […]
By Rahman Abbas
‘To write is to fight…’
Dr Gopi Chand Narang (born 11 February 1931) is one of the finest literary critics in the history of modern Urdu criticism. His works deal with the cultural study of classics, stylistics, oriental poetics, post-modernism, structuralism and post-structuralism. He has taught at Delhi University, University of Wisconsin, University of Minnesota, University of Oslo and Jamia Millia Islamia University, and in 2005, the University of Delhi named him Professor Emeritus. He is also Professor Emeritus at the Jamia Millia Islamia. The Aligarh Muslim University, Central University of Hyderabad and the Maulana Azad National Urdu University have conferred D.Litt. Honorus Causa on him. He is the only writer who has been decorated by the President of Pakistan as Sitara-e Imtiyaaz and by the President of India with the Padma Bhushan and Padma Sri. He was vice-chairman of the Delhi Urdu Academy (1996-1999) and the National Council for Promotion of Urdu Language-HRD (1998-2004), and Vice-president (1998-2002) and President (2003-2007) of the Sahitya Akademi, National Academy of Letters. His important books includes Urdu Zabaan aur Lisaniyaat (2006), Taraqqi Pasandi, Jadidiat, Maba’d-e-Jadidiat (2004), Urdu Ghazal aur Hindustani Zehn-o-Tehzeeb (2002), Sakhtiyat, Pas-Sakhtiyataur Mashriqui Sheriyat (1993), Adabi Tanqeed Aur Usloobiyat (1989), Amir Khusrow ka Hindavi Kalaam (1987), Saniha-e-Karbala bataur Sheri Isti’ara (1986), Usloobiyat-e-Mir (1985), Hindustani Qisson se Makhooz Urdu Masnaviyan (1961) and others.
His seminal work on Mirza Ghalib – Ghalib: Ma’ni-Afrini, Jadliyaati Waza, Shunyata aur Sheriyaat (Ghalib: Innovative Meaning, Mind, Dialectical Thought & Poetics (2013) has been considered a milestone in understanding Ghalib. Besides the Padma Bhushan (2004) and Padma Shri (1990), Narang has received hundreds of awards across the globe – Bharatiya Jnanpith Moorti Devi Award (2012), Madhya Pradesh Iqbal Samman (2011), the European Urdu Writers’ Society Award (London, 2005), Mazzini Gold Medal (Italy, 2005), Alami Faroghe-e-Urdu Adab Award (Doha, 1998), Sahitya Akademi Award (1995), Amir Khusrow Award (Chicago, 1987), Canadian Academy of Urdu Language and Literature Award (Toronto, 1987), Ghalib Institute Ghalib Award (1985), and the Association of Asian Studies (Mid-Atlantic Region) Award (US, 1982). Besides India and Pakistan, he has made presentations almost all over Europe, USA, Canada as well as Russia, Uzbekistan, China and Japan.
Rahman Abbas: You are the most discussed literary critic in the world of Urdu literature. How do you assess this unparalleled journey of your life which started from Balochistan when the subcontinent was undivided? Could you also put some light upon your early connections with Urdu?
Gopi Chand Narang: I am simply a lover of Urdu. I was born in Balochistan. My mother tongue is Saraiki, but my father spoke Baluchi and Pushto. He was a scholar of Persian and Sanskrit as well. I was brought up in a multi-lingual, multi-cultural environ. The common speech of bazaar and school was Hindustani and Urdu. Language is nobody’s monopoly. It belongs to whosoever loves it. The newly independent India gave hope to many young people like me that there would be ample opportunities for fulfilling our ideals and aspirations. The Urdu Department at the Delhi University had come into being at the personal intervention of Prime Minister Jawaharlal Nehru. Maulana Abul Kalam Azad, who was Minister of Education, also played a role in this. As I later pursued my doctoral degree, I was extremely fortunate to have had guidance and patronage of some of the brightest minds of that time, including Dr. Zakir Husain (who later became President of India), Dr. Tara Chand, Dr. Syed Abid Husain, Prof. Mohd. Mujeeb, Khwaja Ghulamus Syeddain, Dr. Khwaja Ahmad Faruqi, Sajjad Zaheer, Prof. Ale Ahmad Suroor, Syed Ehtisham Husain, Maulana Imtiaz Ali Arshi, Qazi Abdul Wudood, Malik Ram, Masood Hasan Rizvi Adeeb, Najeeb Ashraf Nadvi, and Dr. Syed Mohiuddin Qadri Zore. These people symbolized values of our composite Indian heritage and they were true role models of our highest ideals. When I look back and remember these unique personalities, I cannot but feel very fortunate for having had them as my patrons and role models.
Rahman Abbas: Some years ago, due to your stark criticism of the fake modernism in Urdu, you were personally targeted. It was unfortunate that instead of countering your opinions, your minority identity was targeted. Did that affect you? What was your reaction then and now?
Gopi Chand Narang: It is a sad story. As a young writer you must have witnessed all that happened. As long as Ale Ahmed Suroor, Khalil ur Rahman Azmi, Waheed Akhtar, Sulema Arib, Mahmood Ayaz and some seniors were alive and active, they wanted to develop a dynamic model which was alive to India’s new social and pluralistic needs. But soon after, when Shams ur Rahman Faruqi and his journal Shab-Khoon took over, a period of misconceived notions and a hidden agenda of sectarian fake modernism set in. This is a period of great turmoil and overlapping. Faruqi with his arrogant self-esteem, one-upmanship and know all bravado started polemics which had more sound than sense. He and his cronies, through over heated debates, set flawed standards for fiction, poetry and ghazal. This confused and misguided a whole lot of promising young writers. Waris Alvi, Baqar Mehdi and some others resisted but they had no theoretical base. At this stage, avoiding labeling and indulging in the misguiding polemics, I switched from my earlier cultural studies and stylistics base and started writing on Theory (both Western and Oriental) and postmodernism. Across the border, Wazir Agha, Qamar Jameel, Intezar Husain, Jameeluddin Azmi, Zamir Ali Badayuni, Faheem Azmi and many other genuine writers joined hands. We wanted to respond to the new social and epistemological shift absorbing the new light of the times, stressing the freedom of the creative voice of the writer, while constructing a genuine model which should be alive to our own pluralistic cultural, realistic and truly subversive, ingenious and in tune with our practical complex social concerns.
‘The novel unravels the complexity of human relations’- Martin Gieselmann
Twice Academy award winning Urdu novelist Rahman Abbas has astonished the world of Urdu literature with his fourth novel Rohzin, which has been in discussions in the mainstream media since its publication on the occasion of Jashn-e-Rekhta, 2016. The novel has been praised by stalwarts of Urdu literature in both India and Pakistan, like, Gopi Chand Narang, Sayyed Muhammad Ashraf, Shafey Kidwai, Nizam Siddiqui, Mustansar Hussain Tarar, Baland Iqbal, Salahuddin Darwesh, Neelam Bashir and Muhammad Hameed Shahid.
Rohzin is one of those rare Indian novels that have been translated into a European language soon after publication and received praise from academics, professors, artists and students abroad. German linguist and translator Almuth Degener translated Rohzin in German and Draupadi Verlag published it in February 2018. The German title Die Stadt, Das Meer, Die Liebe (The City, They Sea, The Love) was first launched and discussed in Switzerland in a three day literary event, ‘The Day of Indian Literature’ organized by Literaturehaus, Zurich.
Recently, Rahman Abbas was invited to undertake a literary tour from 23 March to 15 June to attend the readings of his novel at South Asian Institute (Heidelberg University), Bonn University, Ev. Akademie (Villigst), Indian Consulate (Frankfurt), Café Mouseclick, Tisch Hochst, Pakban (Frankfurt), Lokalezeitung, Gonsenheim (Mainz), Pfalzer Hof Schonau (Bei, Heidelberg), Bickelmann Family (Heidelberg). Most of the events were organized with the cooperation of Draupadi Verlag and Literature Forum Indian, and South Asian Institution (Heidelberg).
Rahman Abbas will read from Rohzin in Frankfurt, Heidelberg, Munich, Mainz & Bonn Rohzin, Rahman Abbas’s fourth novel, […]
Lucknow has been the hub of mushaira, Dasstaangoi and kavi sammelan for centuries, but as times change, rituals and traditions also get recreated and rejuvenated according to the prevailing zeitgeist. In a unique collaboration, the first of its kind, writers, poets, translators and scriptwriters from different parts of India and Asia assembled in Lucknow in the first weekend of April to celebrate writing from South Asia and Southeast Asia.
This first edition of the SRMU Kitaab Literary Festival was jointly organized by Kitaab International Pte. Ltd., Singapore and Shri Ramaswaroop Memorial University (SRMU), Lucknow and was held on the 7th and 8th of April, 2018 at the SRMU campus.
Building bridges between Asian writers and readers
Festival Director Zafar Anjum, the festival’s patron A K Singh, Vice Chancellor of SRMU, Chancellor Pankaj Agarwal, Pro Chancellor Pooja Agarwal, and the faculty of SRMU led by Dr. B.M. Dixit, inaugurated the festival. ‘The aim of this festival ties up with the aim of Kitaab—to create bridges and dialogue between Asian writers and global readers and to bring literature to the grassroots,’ said Anjum in his welcome address.
Agarwal applauded SRMU’s collaboration with Kitaab. He said that Kitaab is an esteemed organisation that offers a promising worldwide platform to both budding and established authors, editors and publishers. Extending from the areas of literary fiction and translation to filmmaking (together with Filmwallas, founded by Zafar Anjum), Kitaab caters to all genres in English and other South Asian languages.
The festival featured more than 20 writers in English, Hindi and Urdu from India, Singapore and Malaysia. Well-known and award-winning writers such as Sudeep Sen, Rahman Abbas, Yogesh Praveen, Dr. Surya Prasad Dixit, Isa Kamari, Dr. Rakhshanda Jalil, Dr. Malachi Edwin Vethamani and Novoneel Chakraborty top lined the festival. Theatre and film actor Shishir Sharma, who was present to talk about his journey in the world of acting, presented the film, More Chai Please, Singapore’s first Urdu short film.
The film, shot in Singapore and presented by Filmwallas, tells the story of a couple with the plot spanning Singapore and Lucknow. The film’s writer and producer Sunita Lad Bhamray and its director Zafar Anjum were present during a special screening of the film on the second day of the festival.
The other major highlight of the festival was the launch of Tawassul, a Malay novel by Singaporean novelist Isa Kamari, translated into Urdu by Rubina Siddiqui. It is the first work of Singaporean literature to be translated into Urdu. Award-winning Urdu novelist, Rahman Abbas who has also helped oversee the edits, hailed this avant-garde work of fiction and told the audience that the book’s Hindi edition was in the works.
Urdu novelist Rahman Abbas, 46, had to spend time in jail, even losing his teaching job, over a […]
Reviewed by Nabina Das
(This review was first published in India Book Review. Re-published here with the author’s permission.)
Author: Rahman Abbas
Publisher: Arshia Publications & Mumba Books India
A book of eight chapters, Rohzin or The Melancholy of the Soul, by Rahman Abbas is a veritable feast for the mind. In Urdu ‘rohzin” is a word that the author coins to signify the souls of people hurt by witnessing the betrayal of their parents with their partners. What ensues is a story of love, lust, belonging, rejection and identity spread lush across the city of Bombay. The core setting, as described in the novel, is a space in the throes of monsoon, perhaps the most defining of seasons in this city by the Arabian Sea.
Rohzin, the author’s fourth novel, has been translated into English by Sabika Abbas Naqvi, and is soon to be published. Its German translation by linguist Almuth Degener has been published in January 2018 by Draupadi Verlag and Literaturhaus (Zurich, Switzerland) has organized its release function on 23 February 2018.
One might recall that Marquez — who is quoted at the novel’s outset — has said in his “The Art of Fiction No. 69” interview with The Paris Review:
‘It always amuses me that the biggest praise for my work comes for the imagination, while the truth is that there’s not a single line in all my work that does not have a basis in reality. The problem is that Caribbean reality resembles the wildest imagination.’
Speaking of imagination and reality readily transmigrating into each other’s realms, Rahman Abbas’ craft could perhaps be called Marquez-esque, but that would be too easy a deliberation. Even then, the vision of Konkan that he evokes is of ‘wildest imagination’. This is juxtaposed with scenes of reality and fantasy jostling together in the deep urban underbelly of Bombay.
From: Rahman Abbas Mumbai, India 20/1/2017 To, Mr. Prime Minister of Pakistan Mian Nawaz Sharif SUBJECT: Appeal to […]
On 19 August 2016, a lower court in Mumbai delivered a judgment on a ten-year-old case against the […]