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ISMAT CHUGHTAI SHORT STORIES IN URDU PDF

Sunday, May 26, 2019


Major Urdu fiction writer Ismat Chughtai (–) came to public attention in when she was charged with obscenity for her short story “Lihaf” (The Quilt) . Read Ebooks of Ismat Chughtai on Rekhta Ebook Library. fiction writers of the non-traditional kind, well known for her stories 'Lihaf' and 'Tedhi Lakeer'. URDU ADAB: Lihaf; a Famous Urdu Short Story by Ismat Chughtai.


Ismat Chughtai Short Stories In Urdu Pdf

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PDF | Tahira Naqvi and others published Ismat Chughtai—A Tribute. fiction, as one of the four pillars of modern Urdu short story (the other. =="The Beguiling Ismat Chughtai Through Her Own Words," trans. by Tahira Naqvi, *The Tahira Naqvi and M. U. Memon: *Annual of Urdu Studies 15 ( )* ==*Naseeruddin Shah, interview, * [he adapts her stories for the stage]. Yet, there were very few scholars who could recognise Chughtai's story as a protest against These two authors, known as two pillars of Urdu literature, left their deep imprint on . of the first day of trial, including her discussion with her lawyer, in eight short sentences. The second day was for Ismat Chughtai's Lihaaf.

It is, however, a novel and not a treatise; it gains much of its power from its portrayal of a woman who is almost—but not quite—Chughtai's fictional mirror-image.

Ismat Chughtai

In one of the novel's significant deviations from the author's life, its heroine, Shamshad, never shows more than a passing interest in literature; thus the book remains the portrait of a young woman who breaks rules, not of a young artist, and is all the more realistic for its omission. Another deviation is in its depiction of Shamshad's marriage: her husband is an Anglo-Irishman who goes off to rejoin World War II when, in a fit of anticolonial rage, his wife insults and rejects him.

In real life, Chughtai had found her partner, the scriptwriter Shahid Latif, by the time she published the book.

By her own account, she told him: 'I'm a troublesome woman I have broken all the chains in my life and I would never be able to stay bound in them.

To be an obedient wife was a role not suited to me.

Her marriage seems not to have been very happy, and Latif, who probably resented her fame, appears to have receded from her life, but she never wrote of him as anything other than a companion, an equal and a friend. For a writer who constantly wrote on the boundary of fact and fiction, memory and imagination, it is surprising that Chughtai never wrote about her married years in any depth, in factual or fictional form.

Famed for her stunning evocations of women's lives 'behind the curtain' and for tearing that curtain away, Chughtai began increasingly, in her longer fiction, to focus on the lives of Bombay film stars with a boldness that even today is shocking: the casual prostitution, exploitation of flesh, and profligate use of drugs and alcohol prefigure works like The Valley of the Dolls, without, somehow, lapsing into sensationalism or tastelessness.

In her short stories, too, she alternated between the middle class Muslim settings of her early fictions and stories of modern urban life. Take, as an example of the double track she followed in the '60s, the two novels she published in , both available in English. The Heart Breaks Free, which disproves the critical contention that Chughtai's best work dates from the first decade of her career, uses her characteristic detached first-person narrator to tell the story, over many years, of a young woman who is abandoned by her husband but escapes, by staging her own death, to live in illicit happiness with a male relative.

It is set in a fictionalised version of one of the small towns of Chughtai's childhood. Interestingly, it is the conventional woman who finds happiness while the actress, a model of freedom at the time, is consumed by the flesh trade.

The two novels signal the dichotomy in Chughtai's writing: the iconoclast and the girl who, though she broke her chains, was never able to forget the homes and the women she left behind. Though Chughtai shows her mastery of the difficult novella form in The Heart Breaks Free, and in spite of the virtuoso performance she delivered in The Crooked Line, there is a general consensus that she was at her best in shorter forms.

In a literary culture that prizes the short story and has produced several masters of the genre, Chughtai remains, to this day, one of its two most renowned practitioners, along with Manto; her reputation has outlasted that of Bedi, Krishen Chander, and many others.

Although she continued to live in India and only visited Pakistan, which after its creation in became the new official home of Urdu literature and many of its writers, who migrated there , her reputation transcended national boundaries and, to this day, is as great in Pakistan as it is in India.

Added to this is the all-India reputation that grew after her death—English is the link language between the regions—with the numerous translations by Tahira Naqvi published by Women Unlimited, followed by Penguin India, often with variant versions of the same classic stories. The original edition of The Quilt, published in England by the now-defunct Women's Press in , includes, among fifteen stories from various parts of Chughtai's career, the title story for which the author was dragged into court in Despite its attendant lawsuit for lesbian obscenity, it is actually about a noblewoman who, abandoned by her husband who prefers young men, finds comfort in the arms of her masseuse.

It's narrated by the young woman she attempts to seduce.

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Compared to her best stories, it's a weak effort, and even, in places, mildly homophobic; odd, then, that much of what has been written about Chughtai by feminist and LGBT critics rests on it rather than on her magisterial feminist novel, The Crooked Line, which candidly explores homoerotic subtexts in all-female environments such as boarding schools. A story about a woman born into a forward, privileged background, ambitious by nature but muzzled emotionally by both her circumstances and her own fears.

This, along with a few others, speak about the loss created by the partition. The kind of loss that comes not from brushing against death but from the awareness that one is constantly vulnerable to it. The stories that didn't impress me were due to a strong emotional reaction, more than a reading of the story.

They featured characters with a mad temper. The venom spewing, bile rising, hysterical kind of anger that swallows any possibility of sense in a conversation or even in thought. Yet, it was accurate to the extent that I wanted to throw the book away sometimes.

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When a book moves me, it feels like catharsis but with Chughtai's stories it felt like a build up. Chughtai's writing felt uneven across her stories.

Some were flat, a chronology of events, others were impassioned and poetic. Sometimes even when I knew all the words, the syntactic processing was just a tad bit slow to break the flow. It is not very different from feeling like you are reading a bad translation. Third source of difficulty was the bad editing and proofreading.

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There were clear mistakes of gender, missing words does Urdu drop some post-positions? And last but not the least, some burden must also be put on the shoulders of Ismat Chugtai.

In some places, the writing is just not clear.Mohsin was a friend of Latif and Chughtai who was present at the time when the C Police officer came with the court order. What is most important, these translations enable us to encounter an authentic voice, who wrote out of her own lived experience, who provided a strong and compelling portrayal of that experience, who spoke for a segment of society not previously represented in Urdu letters, and who paved the way for a succeeding generation of women writers in Urdu in both India and Pakistan.

See Tahira Naqvi and Syeda S. Until the last quarter of twentieth century, the political Left, along with academia, continued to maintain silence on the issue of homosexuality in India.

Game of Thrones season 8 episode 1 review: In some places, the writing is just not clear. For Shamshad, the most important relationships are with females: her wet-nurse, her sister Manjhu, Bari Apa, and her female friends at school. His latest book, Love and its Seasons, was published by Mulfran Press in