On 27th May, 2020, a prolific writer and veteran Urdu satirist, Mujtaba Hussain (84) passed away at his residence in Hyderabad (Telangana, India) after a prolonged illness.
“Bol ke lab azaad hai tere” is a famous poem by legendary Urdu poet, Faiz Ahmed Faiz. Eleven artists from Singapore recited this poem to inspire others and pay homage to Faiz and his spirit of speaking up, and speaking truth to power. The artists shot their own clips at their homes using mobile devices, respecting the social distancing regulations during the COVID-19 pandemic.
Finding humour in tense anxious situations has been the forte of award-winning and acclaimed author of A Case of Exploding Mangoes, Mohammed Hanif. While he has been under flak in his own country, Pakistan, after the aforesaid book was translated to Urdu, he had been invited to Hong Kong to give the PEN ( Poets, Essayists, Novelists) Hong Kong Literature & Human Rights lecture at Hong Kong University.
In a report published this year based on an interview at that time, we are told he had a tough time making it across the violence to the talk which needed to be rescheduled. Said a frazzled Hanif: “I’d rather have running water and safe streets, I’d rather have boring normality. If that means dull literature, I’ll happily make that bargain.”
In 2008, the year it was published, A Case of Exploding Mangoes by Mohammed Hanif was long-listed for the Booker Prize. In 2009, it won the Best First Book Award from Commonwealth Book Prize. The writer won a national award in 2018, the third-highest civilian award of Pakistan, the Sitara-e-Imtiaz.
A Case of Exploding Mangoes is centred around General Zia ul Haq’s mysterious assassination in 1988. It is a comical take of the incident with real and fictionalised characters calling out for a laugh — a satire at best. The writer says “writing the novel was his attempt to make sense of Zia’s dictatorship and the military.” He added, “By mocking them…You’re also in a way trying to humanize them.”
The book was originally written in English and, therefore not easily read by many in Pakistan. All the trouble started after the book was translated to Urdu. Now, the army is cracking down on the book — 250 copies have been confiscated.
Book review by Mitali Chakravarty
Author: Isa Kamari
Publisher: Kitaab, 2019
Isa Kamari is a well-known legend in the Singapore literary community. He has won numerous awards — the Anugerah Sastera Mastera, the SEA Write award and Singapore Cultural Medallion, the Anugerah Tun Seri Lanang. He has been written about and discussed in Universities. With ten novels, nine of which have been translated into English — and some into more languages like Arabic, Mandarin, Urdu and Turkish — three poetry books and plays under his belt and one novella written in English by him, one can well see him as a maestro of storytelling.
The last translation of his novel Kiswah has been launched in November at the Writer’s Festival in Singapore. Isa, a reformer at heart who claims to write only when he is very moved, authored and published three novels together in 2002. Intercession was to do with much needed comments on Islam — an outcome of the 9/11 bombing in New York; The Tower was to do with an individual’s own journey through materialism to a more spiritual plane and the last, which is what will be dealt with here, was Kiswah, a critique on the effects of pornography on young minds.
Most of Isa’s books can be seen as the journey of the protagonist towards self realisation. The issues he takes up are of global concern, though he claims to focus on the Malay community in his books.
By Rashid Askari
The rusty old bus skidded to a halt with a screech of brakes. The engine stopped with an ear-splitting sound. Exhaust fumes were winding into dark clouds. It was a routine picture. There was, however, plenty of room for controversy as to whether it could be called a bus. It was little bigger than a minibus and much smaller than an ordinary one. It looked like a tin-can with a turtle neck. People would call it murir tin. This grotesque shape was made by a local carpenter-cum- bus mechanic who went by the name of Dilu Mistry. Rumour had it that he was capable of making a jet engine only out of the motor accessories. However, the proof of the pudding was never in the eating in Dilu Mistry’s case. If ever asked, clever Dilu would wear a mysterious smile on his face that left a cryptic message that his hidden worth was one of the unsolved mysteries of the locality. Dilu Mistry’s name was so strikingly inscribed on the turtle-neck’s body that it would tickle your fancy on sight. But the optical attraction would fly out of the windows after you had squeezed into it through the narrow door. Jam-packed with passengers the motor turtle used to move so sluggishly that it would take the whole day to cover the distance of about fifty miles between Rangpur and Gaibandha suffering at least a couple of engine failures. It might have amused people to call it a buffalo-cart, but they were left with no second choice.
Haripada would travel between his home in Mithapukur and workplace in Rangpur once a week. Every Thursday he would come home in the evening, stay one day and two nights and the next Saturday go back to his workplace. He was a lecturer in English at a non-government college on the outskirts of Rangpur town. He joined the college immediately after he had completed his Master’s from Dhaka University. He could have got a much better job in Dhaka, but he missed it for no fault of his own. Dhaka on and after 25thMarch (1971) was blazing. The horrific Operation Searchlight was stalking through the city. Mujib had declared independence of Bangladesh and been taken prisoner. The marauding Pakistani armed forces had overrun the capital and unleashed a reign of terror upon the defenceless people. A mighty eagle swooped on the innocent chicks.
When the buffalo cart driver with a stubbly beard braked hard, the passengers dozing fitfully woke up with a start. But Haripada was not one of them. Nor was he wide awake. Seated by a window he was brooding over his life. How things had been out of joint over a few days! The son of Kalipada Master and the grandson of Bishnupada Master had to be Haripada Master. People would call him Professor. Lecturers of non-government colleges were professors in the eye of the common people. But Haripada was not happy with his position. He was not willing to take up his ancestral profession. He had rather a mind to serve in the civil service and had the ability too. But a violent storm from the western sky had dashed all his dreams.
“Get off the bus. You, the bloody Bengali. Get cracking.” A throaty voice boomed like a rumble of thunder.
Mohandas Karamchand Gandhi opposed the Partition that came as an edging of India’s Independence movement. In 1947, he told Rajendra Prasad,”, “I can see only evil in the plan.” Rajendra Prasad went on to become the first President of India and the pacifist father of the nation, Mahatma Gandhi, was shot by Nathuram Godse, the fanatic Hindu nationalist. Jawaharlal Nehru, the first Prime Minister of India, gave in to the Partition as he saw it as a necessary step to accommodate the growing divisions with Jinnah, the first Prime Minister of Pakistan, and the Muslim League.
Urdu with the Nastaliq script was adopted as the national language of Pakistan and Hindi written the Devanagari script became the national language of India.
Hindi and Urdu both started as dialects of Hindustani. Both the dialects continued to diverge both linguistically, politically and culturally. Hindi drew words from Sanskrit, and Urdu from Arabic, Persian and Chagatai, an extinct Turkic language. Culturally, Urdu was associated with Muslims and Hindi with Hindus.
There are twenty two ‘scheduled’ languages in India and dialects run into many more. The 2001 census put the count of all spoken languages and dialects at 780, second only to Papua and New Guinea which leads with 839 languages.
With such a huge babel of words at it’s disposal, some languages languish from neglect. Some profess Urdu is one such victim. Recently, much is being written about how Urdu is dying in the bylanes of Old Delhi .
Urdu, a language of the court and poetry, graceful and elegant in its usage, came to be recognised fully around the eighteenth century in India. Before that, Persian was used in the Mughal courts. Urdu evolved as a language that was used by both Hindus and Muslims, perhaps a language of harmony. It used the elegant Nastaliq script.
(From The Wire. Link to the complete article given below) Fahmida Riaz, who passed away on November 21, […]
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.