Qurat-ul-ain Haider Has Passed Away

I am ashamed to admit that I have not read any of Qurratulain's works. I learnt about her death from a forwarded email from Tarek Fatah who lumped her with Sahir Ludhyanvi as someone who realised early the direction into which Pakistan was headed and decided to live and die in India. I don't think that the comparison was quite valid. Sahir did not stay in Pakistan for any length of time, was quite unhappy in Pakistan for not being able to interact with anyone except Muslims and the views he expressed were unpopular. It seems however that Annie was quite successful in Pakistan.

A lot has been said about Aag ka Darya spanning several centuries. I do remember a series of novels by a Hindi writer, Guru Dutt, back in early 50s along the same lines. If I remember correctly, the names of some of those novels were Pathik, Swadheen-ta kay path par and Swatantrata-daan. Each of these novels was a tome of 5-600 pages and the same hero kept coming back as a reborn character.

Now this is a tribute

http://www.dawn.com/weekly/books/books10.htm

http://www.outlookindia.com/images/qurratualalin_hyder_051007.jpg
Prashant Panjiar
Qurratulain Hyder (1927-2007)
APPRAISAL
Streams Of Flame
Aini Apa went from '40s college girl chic to an epic transaction with history ...
Sheela Reddy on Qurratulain Hyder
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The starry litworld may have seen and heard little of the feisty, flame-haired Qurratulain Hyder in recent years, but Aini Apa continued to play her role as the grande dame of Urdu literature with aplomb almost till the end, last Wednesday morning. Barely six months ago, she was at her passionate, erudite best, presiding over a Delhi conference on the Urdu novel. Her legion of admirers listened slack-jawed as the 81-year-old mother of modern Urdu literature launched into a marathon, asthmatic speech that lasted an incredible 90 minutes. Hovering behind her was her faithful maid—her only family besides a niece—carrying her one indispensable gadget: an inhaler.

Aini, or to her friends, simply Annie, was born with a literary spoon: her father, Sajjad Hyder, was a civil servant who wrote romantic fiction under the pen name, Yildirim (Thunderbolt). Her mother, too, dabbled in Urdu fiction. Her own first story, Bi-Chuhiya (Little Miss Mouse), was published in children's magazine Phool when she was eleven. But there was nothing mousy about the child named by her unconventional, aristocratic parents after an early 19th century Persian poet, Qurratulain Tahir, executed for his non-conformism. Thanks to her father's job, she grew up all over India, including Dehradun and Port Blair in the Andamans. By the time she reached Lucknow's famed Isabella Thoburn College, and later, Lucknow University, she was already something of a celebrity with her bobbed hair and chiffon saris, "the modern college girl" from a liberal Muslim family that other students gawked at from a distance.

Unsurprisingly, her early stories were about this clash between crumbling Lucknowi tehzeeb and anglicised modernity. She introduced the "modern college girl factor into Urdu fiction", as she once put it self-deprecatingly, earning for herself the memorable nickname of "Pom Pom Darling". Then, at 21, everything changed. Her family moved to Pakistan, and she with them. The experience was unsettling, but she produced three novels in succession—Mere Bhi Sanam Khane (1949), Safina-e-Gham-e-Dil (1952) and Aag Ka Dariya (1959)—which established her literary career.

In terms of historical canvas (4th century BC to post-Independence Indo-Pak), craft (a single character traversing the entire span of history), sheer range (covering everything from tradition, culture, history, religion to modern politics), Aag ka Dariya—or River of Fire—was a phenomenal book in any language. In Urdu, it had the added power of being the first substantial novel in a language that had so far focused mostly on poetry. At 33, Qurratulain found herself crowned the sovereign of Urdu literature.

Fame had its drawbacks: "Aag Ka Dariya raised important questions about Partition and rejected the two-nation theory," explains Urdu writer and professor Anwar Alam. "It was this more than anything else that made it impossible for her to continue in Pakistan." Qurratulain escaped first to London, where she worked as Pakistani press attache, and then as a "sari-reporter" on Fleet Street and BBC.

Fame also played cupid—for a bit. K.A. Abbas, journalist, author, film producer, began to correspond with the London-based novelist. Love happened, and a tryst. But it was a disaster. Abbas, the story goes, turned up in a bright blue suit. Qurratulain, always particular about appearances, took an instant dislike to the suit, and the man. "I can't marry a man who doesn't know how to dress," was her now legendary response. But if Abbas failed, India still beckoned her, and in 1961, she returned home, not to Karachi, but to Bombay.

For the next 15 years, Qurratulain was at her peak: with a day job, first as editor of Imprint and later assistant editor in The Illustrated Weekly, and evenings of mushairas with Sardar Ali Jafri and Kaifi Azmi—and, of course, writing.Despite the full social calendar, Qurratulain still managed to produce a formidable body of work while still in Bombay. Patjhar Ki Awaz (The Voice of Autumn) came out in 1965, and won the Sahitya Akademi Award two years later. Chai ke Bagh, one of four novellas including Dilruba, Sita Haran, Agle Janam Mohe Bitiya Na Kijo, exploring gender injustice, came out in the same year. More novels, novellas, a three-volume autobiography, several collections of short stories followed in the years after she moved to Delhi (in all, 12 novels/novellas, nine collections, half a dozen translations, four books of reportage). And more awards—the Jnanpith, Padma Shri, Padma Bhushan. Not a bad innings for any novelist of worth, and yet, for Aini's many admirers, her life's work was done with Aag Ka Dariya. All the rest was icing on the cake.
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More Stories: Sheela Reddy Qurratulain Hyder
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ALSO

She wrote a great deal more than "Aag Ka Darya"

A rare talent whose passing has been recognized

on both sides of the Indo-Pak border.

May she rest in peace.

Ras

In the meantime breaking all tradition, Aini Apa’s Namaze Janaza was offered both by Sunnis and Shias twice following both the styles of Sunnis and Shias. People said that it was rare that people of both the sect have ever prayed for one person in their respective traditions.






Quratulain Haider’s death condoled across the country
By Khabrein Staff Correspondent,




New Delhi, August 22: Qurratulain Haider’s death is being mourned across the Subcontinent. The celebrated author and fiction writer who bid adieu to a life less ordinary yesterday after a long struggle for life in a Delhi Hospital is being remembered for her wonderful work.

Prime Minister, Dr. Manmohan Singh an Urdu aficionado himself condoled the death of Ainee aapa. In a condolence message, the Prime Minister said: “I am deeply grieved to learn about the sad demise of Smt. Qurratulain Hyder. She was a great teacher and scholar famous in India and abroad. She was one of the most celebrated and prolific writers of Urdu literature. Aag Ka Dariya, her magnum opus, is a landmark novel that explores the vast sweep of time and history. In her unfortunate passing away the country especially Urdu literature has lost a towering literary figure. She will be truly missed in literary circles in the country.”

Ghalib Institute organized a condolence meeting the same day Haider breathed her last. Condoling her death on the occasion Prof. Siddiqur Rahman Qidwai the secretary of Ghalib Institute said that her death has brought an end to the golden period of the Urdu language. He said that whenever the name of Urdu would be taken her name would be hard to miss. Shahid Mahilee, the director of the Institute said that she held a special place for the institute in her heart.

National Council for Promotion of Urdu Language (NCPUL) also organized a condolence meeting at its office in Delhi. While speaking on the occasion its director Ali Jawed said that her death seems to be an end of Urdu fiction. Makhmoor Saeedi also spoke highly of the renowned author.

Gulzar Zutshi Dehlawi while speaking at a condolence meeting held by Anjuman Tameere Urdu said that Aini Aapa was one of the greatest figures of Urdu fiction in the twenty first century.

Urdu Department of Delhi University also organized a condolence meeting. Ibne Kanwal, head of Urdu department said that she had a unique stature within the Urdu world, be it India, Pakistan, Middle East or America.

Gopi Chand Narang, the president of Sahitya Academy said in a press release that Qurratulain Haider’s death was a severe blow to the Urdu language. He said that such people are born once in centuries. Narang added that she would remain in the heart of Urdu lovers forever.

In the mIeantime breaking all tradition, Aini Apa’s Namaze Janaza was offered both by Sunnis and Shias twice following both the styles of Sunnis and Shias. People said that it was rare that people of both the sect have ever prayed for one person in their respective traditions.

anything by qurat-ul-haider.....geez!

Echo, although I never read anything about qurat-ul-haider, whatever little I did read of Indian regional literature convinced me beyond any doubt that it was far superior to anything being produced by Indians in English. It's a completely different world, another level of sensitivity. Particularly, in poetry.

HP:33
I hope you will excuse me not to enter into such a tangential dialogue at this hour.

In case this was missed what I wrote in my ilog & unplugged:


khir-e-Shab kay Hamsafar...
by echoboom on Aug 21, 2007 11:48:23 am
Qurat-al-Ain Hyder:

Cooler-of-Eyes Hyder
Solace-to-the-Eyes-Hyder

One was the Qurat-al-Ain in the nineteenth century of Iran from Quzvain..the most powerful Mullaani..who shunned her far less learned Mulla husband and joined hands with Mulla Mohammed Ali Baab. This woman, in full veil, thundered from the pulpit & wrote poetry so beautiful & enchanting that she & Ghalib are the only ones accorded the status, almost the highest, by Iqbal in Javed Naama in his heirarchy of individuals as the most creative and Independant of mind. Tahira, for that was the name of this Qurat-al-Ain was a champion of human rights and a female's station in a community [& not a "feminist"..UGLY word Western word..abhor it. condemn it]
and then there was:

Qurat-ul-Ain-Hyder, the one who graced this world in the 20th century was equally accomplished except that there was no Mulla Mohammed Ali Baab who could be her even a near-equal to be a consort. The intellect, courage, grace and an untainted geneology was not easy to come-by in an India ( Pakistan) where Dollar-dogs roam free with impunity and bricks &
stones embedded & cannot be loosened so that one could defend oneself against these dollar-dogs.

Just look at the name her father gave her..and how prophetic & inspiring. Not only it must have become part of her consiousness to follow Tahira's lead but also how much love is stirred & mingled in the name itself.

Solace (coolness) of the Eyes. Comfort to the Eyes. A delight to the eyes...many shades here [english language , a vulgar UNCULTURED LANGUAGE CAN NEVER EVER ATTAIN SUCH TEHZEEB, such class]

Ain: the word for Eyes is also the word for water-fountain or a natural-spring in the Oasis. Just imagine the value of this in a desert. Now because the eyes bubble with water so it is called a spring or well as well. From this is the word Ainak ( eyeglasses) and similarly in farsi it is adopted as Chashm ( Eye) and Chashma is used for a spring as well as for ainak.


I am one her thousands of lovers. Not admirers, but lovers ...aashiques. English language does not have the cultured-nuance of this powerful word.

I spoke to her in April this year and ever word she said would stay etched my mind , I hope, till my last day. She invited me to visit her and I was trying my best to loosen thew collar around my neck..the collar of being enslaved to the pursuit of prosperity, riches and Unhappiness.

" Aakhir-e Shubb kay Hamsafar*, Faiz, najaanay kyaa huay
Jaanay kahaaN gaee Ssaba, subha kidhar nikal Gaee"
.................................................................... ...............FAIZ

*Title of her acclaimed novel

translation:
where did go the fellow-travellers, Faiz, who stayed till the dying dark nights

O where got lost the morning breeze, a herald of the Dawn in its wake.
____________________________________________________________________
Her e Listen to her reading one of her stories.

http://lcweb2.loc.gov /mbrs/master/salrp/00401.mp3

Was Aag ka darya really a masterpiece? Going by the standards in Urdu language, it perhaps was. Compare that with the literature produced in other languages such as English French or Russian, the novel stands nowhere near the top. In over Four hundred years of history, Urdu language has produced just about four or five epics i.e. if you include Tilsame hoshrooba by Abdul Haleem Sharer. And they are nowhere near world class.

Most of the Urdu novels are actually novelettes or to be precise, just long-short stories presented as novels. Some of those long short stories were stretched by using the Nastaleeq script creatively. Put them through some word processor, those novels will become what they are long short stories.

Urdu had all the ingredients to produce the top class literature. First, it gathered steam under the Mughal patronage and then it became the voice of Muslim dissent in the British India. The two elements that could have been instrumental in producing world class literature.

Under the Mughal patronage, only three worthy poets Mir, Ghalib and Anees appeared on the scene. During the dissent, only Faiz reached the pinnacle.

Dissent in Russia produced some phenomenal novels, stories and some exceptional writers. Under the King’s patronage, one after another classic appeared in the English language by some top class poets and writers. Social upheavals in France produce some great writings.

Borrowing heavily from Farsi, Arabic and Hindi, Urdu had all the ingredients to allow authors to explore all possibilities but barely a handful did. Why?

One simple answer: The culture in the subcontinent did not encourage creativity. The subcontinent is an insipid society. There is a great depth in the land but the Indian culture does not encourage new ideas. It encourages followers and hates innovators.

No mater how big a social upheaval, the society encourages people to internalize the wounds. It encourages people to keep quiet, maintain a silence and as a whole the society just attempts to walk away from the problems instead of confronting them.

The literature produced in Urdu language reflects that.

Indian Literature, not in English

With healthy literary traditions in over 20 official languages, why is so much more attention paid to the small number of Indian authors writing in English?

Hirsh Sawhney


August 14, 2007 2:15 PM | Printable version

It's a sprawling, postmodern epic, a radical history of the subcontinent which draws on two millennia of history in a vivid demonstration that Euro-American civilization doesn't have a monopoly on progress or cosmopolitanism, a towering fictional achievement which summons up a country in flux and casts a steely eye over the myths of colonialism. Salman Rushdie's genre-defining Midnight's Children? No. I'm actually referring to Qurratulain Hyder's A River of Fire.

The novel is defined by a dizzying array of parables, love stories, letters, dreams and diaries, but Hyder successfully weaves this fictional universe together with a cast of characters that's not only diverse but also most intriguing. Hari, a monk in post-Buddha India, lives in a land inhabited by architects who fled the ashes of Persepolis. Kamaluddin, a 15th-century Persian thinker, has met Muslims in Andalusia who wrote Spanish in the Arabic script. Gautam, an opportunistic employee of the Raj, ends up in the kingdom of Oudh, where Muslim rulers celebrated Hindu holidays.

The group rematerializes in various incarnations and eras, and the result is an enlightening portrait of the subcontinent, one that blurs the line between insider and outsider, Hindu and Muslim, and reveals the ceaseless cycles of greed and hate that disrupt the world's beauty. Hyder is my favourite kind of writer, one who spares nobody from her scrutiny, not the treaty-breaking English who "took away the glory and wealth of Hindustan" or the "anti-British leftists" who made "a bee-line for England, deserting the toiling masses for whom their hearts used to bleed."

She first published this book in 1959, 22 years before Midnight's Children bagged the booker. So why has no one in the west outside of academia or the pages of the literary journals ever heard of this one-time Fleet Street journalist?

Firstly, her time-travelling, historical masterpiece is so bitingly anti-colonial that it isn't likely to please the powers that be, or rather were, in the former empire. Secondly - and more importantly - River of Fire was written in Urdu. Like the Kannada writer UR Ananthamurthy, Bengali writer Mahasweta Devi or Tamil writer CS Lakshmi, authors writing in the more than 20 official Indian languages that aren't English (none of which I read fluently) have found it difficult to gain the attention their talent deserves.

Ainee aapa: a recent picture

http://farm2.static.flickr.com/1376/1193232402_e9649e9048.jpg




QURATULAIN HYDER,
1927-2007: LITERATURE LOVERS RECALL AN ‘ALL-ROUNDER’


Khushwant on Quratulain:
As her boss, I suffered her and she suffered me, but with respect for each other

Arpit Parashar

NOIDA, August 20: Urdu literature’s luminary writer Quratulain Hyder — who jostled for creative space with the language's other grand dame Ismat Chughtai — passed away at her Noida home early Tuesday morning . She was 81.

After a prolonged illness, Hyder was brought to her Sector-21 home a day ago. Her adopted daughter Ameena said, “Doctors had warned us she might not survive a day.” Hyder had severe asthma and was admitted to the Kailash Hospital in Noida for a month.

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She was buried in the Jamia Millia Islamia cemetery on Tuesday evening. It was a sombre occasion attended by close family and friends. Hyder, who was not married and quite a critic of that institute, lived with a domestic help and driver at her E-55 Jalvayu Vihar home.

Born in 1927, this Jnanpith awardee was one of India’s most prolific pens — both in Urdu and English. She won Sahitya Akamedi Award for her collection of short stories Patjhar ki Awaz (The Sound of Falling Leaves) in 1968. She won the Padmashree and Ghalib awards in 1984. The Urdu Academy in Delhi conferred upon her the Bahadur Shah Zafar Award in 2000.

Known among students of Urdu literature for her novels Aag Ka Dariya and Aakhi-e-Shab Ke Humsafar, Hyder lived a quiet life for the last decade. Her nephew Jalaluddin Hyder and relatives from Canada could not make it to the burial ceremony.

Her elder brother, who lives in Karachi, could not attend either due to illness.

Her former boss at The Illustrated Weekly Khushwant Singh said, “She was a short-tempered woman. She was patronising but also very intelligent. As her boss I suffered her and she suffered me. There was great respect on both sides.

“Not many know that there was a chemistry between her and film director Abbas Ahmed in the late sixties. She followed him to Bombay after they had met at a function in Colombo. But they decided against marriage.” A student at Jamia said, “Her work resonates with her suspicion of marriages. She related thoughts that traditional Muslim society found hard to digest.”

Hyder had also worked for the weekly journal Imprint and served at the Jamia Millia Islamia for a year.

Khushwant Singh said, “When she decided to return to journalism, even a paper like The Times of India had to change its policy of not re-employing those who have once left.”

Originally from Lucknow, Hyder shifted to Karachi after the Partition. She was among those along with Ustad Bade Ghulam Ali Khan whom Jawaharlal Nehru wooed to come and live in India.

Decades after shifting to India, Hyder went on to write a famous book on the Ustad, Ustad Bade Ghulam Ali Khan: His life and music, with Malti Gilani. The book was published in 2004 and became a bestseller, giving readers a fresh glimpse into the Ustad’s private chambers.

Sukrita Paul Kumar, professor of English at Delhi University, describes her work Aag Ka Dariya as “a description of evolution of composite culture". “She describes the macrocosm of three centuries with passionate involvement in them. Even her rival in 1940s, Ismat Chughtai, who was much elder to her, was insecure when she emerged on the Urdu literary scene.”

Hyder was seen as a modernist and her “stream of consciousness” style was popular and often pitted against the "social realism” of Ismat Chughtai.

Her book Aakhi-e-shab ke Humsafar, translated to Hindi as Nishant ke Sahyatri, is a modern-day classic. Khushwant Singh said on her craft: “She was one of the most erudite women I have ever met, with immense knowledge of English, Urdu and even Hindi literature. She was an all-rounder.”

Paul described her as a “woman of conviction” who would have her way if and when she wanted to. Her driver S Haldhar said, “She told me around 10 days ago that she would die by the 19th of this month. She just survived one more day.”

Khushwant Singh had the last word: “It is a great loss to the Urdu-reading people of both India and Pakistan.”

Confound this new CHOWK!

I had written quite a long inter-act reply to HP when , stupid me, I pushed the back screen-button ( not the interact-back-button but the SCREEN one] & then immediatley cussed myself for having done that. All was lost!

In the earlier baitee-system of CHOWK ( this is baitaa system , right?) there was never such a worry. One could browse other sites with no worry. Those who are not aware
..watch out.

Maybe I'll be able to write write "that" post later. In the meantime this is something very interesting from my "saved" favorites.

So some of you will find this meeting of another aashique of hers give a personal account of his meeting her two years ago.
___________________________________________________________

On Qurratulain Hyder -

This piece was published in The Friday Times (on August 2005), Pakistan as “Writer’s Muse”

In my otherwise uneventful life, something significant has happened. It may seem unimportant to some people but it’s a big deal for me: I finally met Qurratulain Hyder, twice, in Delhi. The journey to get to Ainee Apa (the affectionate title bestowed on Hyder by her admirers in the Urdu-speaking world) took fifteen long years, for despite my familiarity with Pakistani literary circles, I never met her in Pakistan. On my recent visit to Delhi, however, fate smiled upon me.
Dr Enver Sajjad introduced me to her writings when I was in high school and since then, I have read almost every word published by her. Once, I composed a long letter to her that I never sent, thinking that it was a bit melodramatic to do so. Over the years, I internalised its contents and a part of me has been perennially nurtured by the magic of her writings. I still remember the glorious London summer when I finished Aakhir-i-Shab ke Humsafar during my college days; I looked around and discovered that the world was a different place. Henceforth, I lived the better part of my life in her books.
Ainee is arguably the greatest living Urdu writer. The Times Literary Supplement once commented that she can be counted alongside her contemporaries Milan Kundera and Gabriel Garcia Marquez, as one of the world’s major living writers. Her novels and short stories have dealt with the inextricability of Hindu and Muslim subcultures in terms of literature, poetry and music, and the historical forces of colonisation, Independence and Partition and their impact on the current of individual lives. Her first novel was published in 1947 and her magnum opus Aag Ka Dariya (translated by her as River of Fire ) undertook a groundbreaking examination of issues of identity in the context of South Asian civilisation; Darya is to Urdu fiction what A Hundred Years of Solitude is to Latin American literature.
Born in the UP in 1927, Hyder comes from an accomplished upper-crust family of writers. Educated in Lucknow, she spent a stint in London as a young reporter on Fleet Street before immigrating to Pakistan after Partition and returning to India around 1962. Ainee was awarded the Jnanpith – India’s highest national award – and before that, the Sahitya Akademi, Padma Shree and Ghalib Awards.

On my first visit to Delhi, I was invited for lunch at Ainee Apa’s house. She lives in Noida close to Delhi. Quite symbolically, the real-mythical Jamna River separates the two localities. In Noida, I buy rajneegandha flowers (much loftier than the prosaic ‘tube roses’) and standing under a jaman tree, wonder why life is treating me so well. I was, after all, buying flowers for Ainee Apa.

She is entertaining a guest who had brought some books for her to read. There is no electricity and she repeatedly apologises for the humid afternoon and her utter helplessness in getting the supply restored. Evidently frail, there is nevertheless something electric in her manners and conversation. It takes me a while to register the reality of that afternoon. Her house is full of books; I later find that each room has bookshelves and yet more bookshelves. The walls are adorned with a decade’s worth of her paintings, some of which I recognise as they feature in her books.

Mindful of her legendary irritation regarding literary small talk, which she has always considered ‘boring,’ I launch into a ‘natural’ dialogue of sorts. She hurls at me several questions on the state of Indo-Pak relations, the visa policy and my projections on the peace process. I am a bit taken aback, my cynical self not ready to offer coherent replies. Nevertheless, I conjure up answers that are cautiously optimistic or, shall we say, “moderately enlightened.” She appears amused by my assertions and insists that her generation suffered due to conflict; my contemporaries and I have to rise to the occasion. I can appreciate her point given that the world that she has lived in is no more; the composite Indo-Muslim culture is fast diminishing and the RSSs and Lashkars – illegitimate children of the historical upheavals – are better known than Mir and Kabeer.

She also inquires into the state of the Pakistani intelligentsia and I am again a little nonplussed. I lament about the middle class and how it is not playing its historical role (except for crass consumerism) nowadays. Then I mention Kamal, a character from Darya , who is disillusioned by the aesthetics and politics of the 1950s but sees no option but to integrate into the changing Pakistan. She smiles and avoids a direct answer by saying that was an old tale. Earlier in the conversation, I was chided for citing my favourite thesis of territorial re-adjustment (shifting boundaries) as a recurring theme in South Asian history. Ainee, the iconoclast, vociferously opines that medieval trends are over and communications and technology have changed our futures. I am struck by her buoyant thought process and led to question my own historical determinism. I notice that she has a terrific sense of humour, her sharp wit unaffected by her age and illness.

We lunch in the dining room amidst more of her paintings and books. The setting is quite cheerful as we talk of the Raj, vanishing Anglo-Indians and Lucknow, while the domestics sway hand-fans. She holds that Zia-ul-Haq’s era damaged Pakistan irretrievably. Pakistan, she adds, was progressing before Zia took over. She recalls Pakistan’s first female pilot, Shukriya Ahmad, the day Bhutto was hanged and how Lucknow appears desolate. I am nothing short of enchanted. She saw Bhutto on a steamer-ship in 1954 and remembers vividly how he was ‘wading’ outside the ballroom. Her memory is fantastic.

Lucknow is a constant point of reference that lurks in the shadows of her conversation. Ainee insists that I should visit Lucknow on my next trip – and I will, God (and visa) willing. I am reminded that in Lucknow, religious identities were secondary to those of the secular Lucknavi culture and even the street vendors used language such as: hazoor dekhiye ye jalaybee aap ki mohabbat mein ghulay ja rahee hai . I inform her that the ‘Lucknow nostalgia industry’ is vibrant in some parts of Karachi. She likes my blasphemous remark but wonders how I can be Punjabi, given that I speak Urdu! But I am now used to this identity crisis.

Getting rather familiar, I start discussing her books and, of course, the narrator. Her answers are delightfully original and utterly self-effacing. She recounts how her parents were born at least a hundred years before their time. Her father’s liberal outlook and her mother’s love for the arts were the inspiration for Ainee to devote her life to writing. She never got married; it was quite evident that she could not have met a man capable of complementing her. I suppose the rich inner universe makes up for the ‘loneliness’ syndrome in exceptional individuals.

When I mention a real character, the Calcutta singer/courtesan Gohar Jaan (who died in 1930) from her novel Gardish-i-Rang-i-Chaman she is most excited. I tell her that a musicologist friend has discovered some thumrees in her original voice. (These I deliver to her during my second visit, and when we listen to them she is in a state of disbelief.) She asks me to search for the music of Janki Bai, another luminary of the early 20th century. (When I later call my musicologist friend to request that he dig out Janki’s music, he is stunned when I tell him why). Ainee is fluent in the language of music; she co-authored a book on Ustaad Barray Ghulam Ali Khan and in her heyday, played the piano and the sitar with equal ease.

She corrects me when I use the term a-historical (she calls it anti-historical) noting the systematic destruction of heritage across the subcontinent. We talk about her discovery of the first subcontinental novel written by Hasan Shah in 1790 – The Nautch Girl – which she translated in 1992. She is angry that no one bothered until she unearthed the manuscript from the Patna Library. We drift back into lost eras and she remarks that Dara Shikoh was a 21st century man. Small wonder that he was beheaded in the 17th century, I respond.

On my second visit, our conversation ends when Ainee, preempting my melodrama, warns me, “now don’t you do the conventional: it was great that I finally met you as I have been dying to meet you for so many years.” She also mocks a shudh Hindi version at me. We laugh endlessly, and I tell her that all the clichés are true and need to be expressed shamelessly.

As I leave, I promise that I will return very soon to present her with Janki Bai’s music. My undelivered letter to Ainee is getting longer. . . I shall need a lifetime to complete it.

"She came to Pakistan in 1947 when India was partitioned but went back to India after a few years"
Any doubts who is running Chowk?

thanks HP for your posts. Gives an insight into how the new jagirdars were hustling for power.

Urstruly:
sorry couldn't reach you earlier.

Posting pics. is , it seems, ok on i-logs & unplugged.
But CHOWK these days is erratic & fickle..maybe some kid is having fun shifting, rearranging and finguring the formats & codes.

always run as "test" on an archived article...before posting
images.
__________________________________________________________

The AKD's contrived & manufactured "controversy" has spawned spinoff controversies & fake-editions.

AAG KA DARYA CONTROVERSEY.

Everyone with an agenda has tried to twist the Aag Ka Darya episode to promote their cause but the truth is explianed by none other but by Qurat-ul-Ain Haider herself in the preface of the later editions of the book aag ka darya.

There she explains the reasons for not accepting the Aadamji Award for this book. She clearly states in her own words that everybody including herself were thoroughly convinced that she would win the award; and everybody kept on telling her that. But as a protest against Ayub`s Martial Law she volunteered her name as a Judge on the panel instead, and that automatically disqualified her from the contest to win the award.

Please keep in mind that this particular edition that I read was published in Delhi and she does not mention anything about censor on her book. The whole controversey was about the Adamji Award.

A similar controversey happened when Mumtaz Mufti's Alipur Ka Ally was nominated for Adamji Award and the book did not get the award. Ibn-e-Insha wrote in his column "some books gain popularity because they win the Adamji Award but reason for the popularity of Alipur Ka Ally is that it did not win the award".