Gambat remembers the late writer with Book Fair from 16-19 January 2026

By Ramesh Raja

Hafeez Sheikh was a pioneering Sindhi short story writer and journalist whose work transformed personal struggle into enduring social critique. Born on 10 December 1931 in Gambat town, Khairpur Mirs district of Sindh, he rose from severe economic hardship to become one of the most distinctive realist voices in South Asian regional literature. Hafeez Shaikh introduced my city Gambat into the circles of literature and journalism and Dr. Raheem Bux Bhatti through GIMS Hospital worldwide.

Forced to leave school at an early age due to poverty, Hafeez Sheikh worked as a shoe shiner and shop assistant before resuming his education through extraordinary perseverance. He completed his higher studies in Karachi and later earned an MA in Journalism from Lahore, a journey that profoundly shaped his literary and political consciousness. His career in journalism included work with Nawai-e-Sindh, association with the Associated Press of Pakistan (APP), service as Personal Assistant to Muhammad Ayub Khuhro, and later administrative responsibilities as Divisional In-Charge in Family Planning.

In 1951, while residing at Mitharam Hostel, Hafeez Sheikh played a formative role in establishing the Sindhi Adabi Sangat, a leading literary movement advocating progressive, human-centered writing. His fiction, deeply influenced by his journalistic training, exposed social injustice, institutional violence, class inequality, and the emotional costs of authoritarian systems.

His most celebrated short stories—“Ammaan, I Will Not Go to School,” “Two Shadows,” “Congratulations,” “The Writer,” and “Twatto”—are landmarks of Sindhi social realism. “Ammaan, I Will Not Go to School,” now taught at universities, remains a powerful indictment of fear-based education, portraying how authority, when fused with violence, destroys the very spirit it claims to discipline.

Hafeez Sheikh’s work came under the close and incisive scrutiny of critics such as the respected Rasool Bux Palijo. In 1970, while writing the dedication for the second edition of his short story collection “Saagar Ji Lehran Te” (On the Waves of the Sea), Hafeez Sheikh wrote:

“I dedicate this to Sindh’s renowned critic Rasool Bux Palijo, who did not even have the fare to travel from Thatta to Karachi, yet after reading my short story ‘Mubarkoon’ (Congratulations), he borrowed five rupees from a friend and came all the way to Karachi. He sought me out and when we finally met face to face, he said:

“Bullshit….What the hell are you doing….you have ruined the face of such a fine short story. It was a living, breathing piece of writing—why did you sink the boat like this?’

I replied, ‘Why are you so angry? Sit down, let us talk. It is possible that you are right, and it is also possible that I am right.’

We held our sitting at the Iranian Hotel over six-paisa cups of tea. After two hours, when we had completed three rounds of tea, I said to him, ‘You are right. When Mubarkoon will published again, I will change its ending.’”

Later, when Mubarkoon was published in Urdu, its ending had indeed been changed, and it appeared under the new title “Gaariyan Garakandiyan Rahyoon” (“Vehicles Kept Crashing / Rolling On”). This mode of criticism was itself a test. There was a contest between my ego and the writer’s love for his craft—and in the end, my ego bowed its head before suggestions of Palijo.

Hafeez Sheikh rejected romantic escapism in literature. He wrote with stark honesty, drawing directly from lived experience. His narratives are grounded in everyday life, rural landscapes, emotional silences, and moral contradictions, giving voice to those pushed to the margins. Critics often describe his stories as autobiographical—not because they recount events, but because they carry the emotional truth of a life lived in resistance.

Hafeez Sheikh died prematurely on 9 November 1971 and was buried in Hyderabad Cantonment. His physical grave may have faded, but his intellectual legacy endures.

Revival Through Memory: The Hafeez Sheikh Book Fair

In recent years, Hafeez Sheikh’s legacy has been meaningfully revived in his hometown through the Hafeez Sheikh Book Fair, organized by Sindh Fikri Forum Gambat. Now an established cultural tradition, the book fair reconnects contemporary readers with progressive literary values and critical thought.

The initiative is led by committed cultural organizers Awais Mangi, Salih Narejo, Darban Ujan, Rafiq Sindhyar, Umar Ali, Adnan Soomro, Soorih Sindhi, Mohsin Khuhro, Adnan Latif, Kaleem Ullah, Mehdi Hassan, Kashif Ujjan, and their colleagues, who have transformed Gambat into a vibrant site of intellectual exchange.

The fair also enjoys consistent support from Gambat’s literary community, including Sah Shaikh, Altaf Bhatti, Nazeer Sirohi, Ramesh Raja, Raz Ali Gul Bhutto, Ghohar Shaikh, Basharat Narejo, Bhawan Sindhi, Dr Yaar Markhand, Manzoor Ujjan, Lutuf Sahito, Ali Gul Khuhro, Sana Jakhar, among others—reflecting a collective commitment to sustaining literary culture in Sindh and its surrounding regions.

Why Hafeez Sheikh Matters Today

Hafeez Sheikh’s writing remains urgently relevant in a world grappling with inequality, authoritarianism, and cultural amnesia. His work reminds us that literature is not decoration—it is conscience. Through words rooted in truth and compassion, he challenged power, questioned norms, and insisted on human dignity.

Today, Hafeez Sheikh is remembered not only through his stories but through living cultural practices that continue to inspire dialogue, reading, and resistance. In remembering him, Sindh reclaims a voice that never ceased to speak.

Read: Diplomacy vs. Biodiversity: The Houbara Bustard’s Dilemma

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The author of this article, Engr. Ramesh Raja, is a Civil Engineer, visionary planner, PMP certified and literary enthusiast with a passion for art and recreation. He can be reached at engineer.raja@gmail.com  

The post Hafeez Sheikh: Sindh’s Unquiet Conscience first appeared on Sindh Courier.

In a world growing increasingly intolerant, Amar Jaleel is a reminder that the role of a writer is not to soothe but to ignite; not to flatter but to expose

By Nasir Aijaz

In the quiet town of Rohri, Sindh, in 1936, a child was born who would grow up to challenge not only the boundaries of literature but also the boundaries of thought in a society increasingly hemmed in by dogma and fear. That child was Amar Jaleel—a writer, philosopher, journalist, and, above all, a fearless truth-teller whose words have stirred hearts, provoked minds, and even sparked fury across the years.

Amar Jaleel is not just a literary figure; he is an intellectual institution, revered for his contribution to Sindhi literature, progressive thought, and freedom of expression in Pakistan. In a land where silence is often considered safer than truth, Jaleel chose truth—and paid the price with grace.

A Childhood in Changing Times

Born in British India, Jaleel grew up witnessing the chaos and dislocation caused by the Partition of 1947. The experience of national division and the accompanying trauma left an indelible mark on his consciousness. The spiritual and cultural richness of Sindh—its Sufi heritage, pluralism, and poetic traditions—also deeply shaped his worldview.

Jaleel was a bright student, eventually pursuing higher education and embarking on a career that spanned both civil service and broadcast media. He worked with the Pakistan Broadcasting Corporation and in academic institutions, but even as he served in official roles, his heart and soul remained committed to literature.

The Writer Awakens

Jaleel began writing in his youth and quickly established himself in the world of short fiction. Over the years, he penned hundreds of short stories, essays, and columns, primarily in Sindhi, but also in Urdu, making his voice heard across linguistic and cultural boundaries.

Unlike traditional storytelling that follows linear plots and neat resolutions, Jaleel’s stories often feel like philosophical dialogues or inner monologues—open-ended, symbolic, and profoundly unsettling. His works are characterized by irony, minimalism, and allegory, often exploring taboo subjects with a stark, unflinching eye.

He writes not just to tell a story but to ask questions—questions about faith, freedom, morality, and the meaning of life itself. His stories frequently confront the manipulation of religion, the misuse of power, and the decay of human values.

When the Govt. Imposed Ban on his Stories 

Though Amar Jaleel was threatened many times by different governments for his writings, his short story, ‘Sard Lash jo Safar’ (The journey of a cold dead body) was banned by the first-ever democratic government of Zulfiqar Ali Bhutto in 1970s. The story was about the sad incident of Kandhkot where the Hindu community was being looted and rapes were reported but the police became a party with the accused and refused to register FIRs. Later on, the Zia regime banned many of his stories.

“God Went Missing” — A Story That Shook a Nation

Among Amar Jaleel’s many stories, none caused as much public uproar as “Khuda Gum Thee Wayo” (God Went Missing). Although written decades earlier, the story drew massive national attention when Jaleel read it aloud at the Sindh Literature Festival.

The story is a metaphorical narrative, depicting a man searching desperately for God, only to be told by various gatekeepers of religion that God is not available to ordinary people. The tale is not a critique of religion itself, but a satirical, symbolic indictment of how institutional religion often distances humanity from the very values—compassion, justice, love—that the divine represents.

However, many took the story literally, accusing Jaleel of blasphemy. Social media campaigns, death threats, and legal challenges followed. Religious hardliners demanded an apology and even his execution. But Amar Jaleel stood firm. He never apologized. He never retracted a word. In a society where many bow to threats, he remained unbent—a symbol of courage and principle.

In interviews, Jaleel clarified that the story was not against religion or God but against those who exploit religion to control, silence, and oppress. The real loss, he argues, is not of faith but of the human values that faith should inspire.

A Style Rooted in Truth

Jaleel’s literary technique is deceptively simple. His language is clear, often conversational, but layered with deep symbolism. His stories are short, sometimes no more than a few paragraphs, but they carry the weight of philosophical essays. Readers come away not just entertained but challenged.

He draws inspiration not just from Sindhi folklore or Sufi poetry, but also from existential philosophy, psychology, and political theory. His characters are rarely heroes; they are often ordinary people trapped in moral dilemmas, existential crises, or systemic oppression. The real protagonist in Jaleel’s writing is conscience.

Journalism and Public Discourse

Beyond fiction, Amar Jaleel is a respected columnist and commentator. For decades, his columns have graced the pages of Sindhi and Urdu newspapers, where he discusses everything from political corruption and social injustice to cultural decay and religious intolerance.

He never hesitates to call out the military establishment, extremist clerics, or opportunist politicians. His columns are infused with a sense of historical awareness and moral urgency. While some consider his tone harsh, others see it as necessary in a country where euphemisms often hide atrocities.

The Legacy of a Rebel Writer

Amar Jaleel’s work has earned him literary acclaim, though he has always been ambivalent about awards. To him, integrity matters more than recognition. His impact, however, is undeniable. In Sindh and beyond, young writers, poets, and thinkers look up to him as a beacon of moral clarity and creative freedom.

He remains a central figure in progressive literary movements, an advocate for secularism, and a critic of blind nationalism. His stories are now taught in academic institutions, debated in public forums, and cherished by readers who yearn for truth in an age of conformity.

The Man Who Refused to Be Silent

Amar Jaleel’s life and work remind us that literature is not just about aesthetics—it is about ethics. His pen is not a feather; it is a flame. He is a writer who refused to be silent in a culture that rewards silence. A philosopher who demanded answers in a society that punishes questions.

Additional Information  

Amar Jaleel (Qazi Abdul Jaleel) from Rohri, a legendry thinker, short story writer, novelist, creative columnist, Radio and Television playwright, Educational Technologist, specializes in teaching through electronic media. Amar Jaleel has authored 20 books. He is recipient of National Award, Pride of Performance (Pakistan) and Akhal Bharat Sindhi Sahat Sabha National Award (India). Life Fellow, Pakistan Academy of Letters. He writes since 1955. Amar Jaleel started writing stories when he was 11 years old and a new land was created for Muslims. His school, named “Rattan Talao”, was set on fire by the newcomers in Karachi. Ever since, the childhood memories of that horrific scene at his school, where he used to sing with his school fellows, continue to haunt him. He played for his NJV School Karachi and also featured briefly in first class cricket as wicketkeeper-batsman. His columns appear in various Sindhi, Urdu and English-language dailies of Pakistan, he started his career at Radio Pakistan, Karachi before being transferred to Islamabad, where he worked in different positions at radio and educational institutions, also worked in Alama Iqbal Open University, he is known as a popular columnist for Dawn and The Nation and working with Sindh TV channel as anchor of program “Classroom”. He has written hundreds of short stories in Sindhi, he has also written one novel in Sindhi titled Naith Gongey Ghalahyo “نيٺ گونگهي ڳالهايو” (Thus Dumb Spoke).

The mixed flavour of all three ‘Rs’ — romance, resistance and revolution, in his writing made him an iconic figure for the youth of Sindh. The index of his popularity never declined since the days of the tyrant Ayub Khan and Amar Jaleel remains the favourite and most quoted writer among young readers today.

Some of Amar Jaleel’s best known books are: Sindhu Muhinje Saah Mein”سنڌو منهنجي ساھ ۾, Dil Jee Duniya, Indra ‘اندرا’, Jadanh Maa’n Na Hoondus جڏهن مان نه هوندس, Tareekh Jo Kafan’تاريخ جو ڪفن, Munhinjo Dus Aasman Khan Puchho’منهنجو ڏس آسمان کان پڇو, Tiyoon Wujoodٽيون وجود,, Raani Kot jo Khazano رڻي ڪوٽ جو خزانو, Jeejal Mohanje Mao جيجل منهنجي ماءُ’, Chandd Wisaami Wayo. ‘ چنڊ وسامي ويو’, Adab Aen Siyasatادب ۽ سياست’, Sarad Laash Jo Safar’سرد لاش جو سفر, Lahndar Sijj Je Laaam ‘لهندڙ سج جي لام’, Sindh Naamo’سنڌ نامو”, Sindhu Baqa Ain Maan Fana Ahyan سندو بقا ۽ مان فنا آهيان., Aatam katha, He Sindh muhnji ta naahy, A Professor with a Fake Degree, To define Sufism, Wither Sufism, Enigmatic History in a Nutshell, Betrayed, Antithesis of Sufism, From Nowhere to Everywhere, The Evil Within Us.

Final Thought 

In a world growing increasingly intolerant, Amar Jaleel is a reminder that the role of a writer is not to soothe but to ignite; not to flatter but to expose. His courage has come at a cost, but it has also built a legacy that no fear can erase.

Amar Jaleel is not just the voice of Sindh—he is the voice of the human conscience.

And as long as there are readers willing to think, that voice will never be silenced.

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AI-augmented article

Additional information courtesy: Sindh Hall of Merit (Facebook)

Read: Bhittai and the Ancient Maritime Trade of Sindh

The post Amar Jaleel: The Flame of Free Thought first appeared on Sindh Courier.

Born on July 6, 1954, Dr. Ghulam Muhammad Lakho passed away on 03 March, 2025

Muhammad Habib Sanai

With the demise of Dr. Ghulam Muhammad Lakho, Sindh has indeed been deprived of one of erudite and devoted historian, who through his writings has been enlightening and enriching us.

On the evening of March 3rd, at around 8 PM, he departed from this world following a fatal heart attack. Throughout his life, he dedicated himself wholeheartedly to academic and scholarly pursuits.

Early Life and Education

To learn about his early life and education, let us turn to his own words. A few years ago, he shared his story in an interview with Akbar Jiskani, Editor of the monthly Gul Phul, stating:

“I was born in a big village of Mitha Khan Jokhio in District Nawabshah (now in Naushehro Feroze). Previously, my ancestors had lived in the nearby village of Hot jo Wahan for ten generations. In 1952, my family moved to the village of Jokhio, where I was the first child to be born. My relatives were poor, but since I was the first child of family, they took an interest in my education.

“Along with traditional religious education and Persian studies, I was admitted to a primary school in the village, where I completed the fifth grade. I completed my Matriculation at Govt. High School, Dolatpur Safan, did intermediate at Govt. College Nawabshah, graduation (BA) at Mehran College of Moro, and then had MA in English Literature (1980) at the University of Sindh. Thereafter, I also obtained another Masters in History (1982).

“Here, it would be appropriate to mention that after completing my Intermediate, my parents reduced their financial support. Therefore, to continue my education, I had to work as a clerk at Al Noor Sugar Mills. Additionally, I worked as a news editor for the Sindh News daily for a few months.”

Employment

Dr. Lakho began his career as a Lecturer in English in the Sindh Education Department I 1982. However, after a few years, he was selected as a Lecturer in History at the Pakistan Studies Centre, University of Sindh, Jamshoro during 1987. He later joined the History Department at the same university, where he rose to the position of Professor and Head of the Department. He retired from service in 2014.

He earned his PhD in 1999, with his thesis titled “A Study of Institutions, and the Social and Political Conditions of Sindh during the Eighteenth Century.”

Literary and academic pursuits

In the introduction to the third issue of his compiled book, “Galhiyoon Munhje Sindh Joon” (Tales of My Sindh)—an anthology of articles, speeches, and interviews of Pir Hussamuddin Rashidi—he expresses his passion for literature and history in the following words: “In the year 1972, I got admission to Intermediate at Govt. College Nawabshah. That year was of great importance in the modern history of Sindh. Abdul Razaq Soomro of Moro was martyred in Hyderabad. The government of Zulfikar Ali Bhutto was preparing a new Constitution. A bill about the Sindhi language was passed in the Sindh Assembly. An unnecessary conflict arose over the language issue.

“Amid these conditions, hundreds of new magazines, periodicals, etc., started appearing. Against the backdrop of that unrest and renaissance, I began reading literature in the company of my friend Ghulam Ali Bagani. In this way, while studying Sindhi literature and collecting magazines and books, my mind was enriched, and gradually, I developed a passion for Sindhological studies, which remains alive to this day.”

His very first write-up, entitled “Transfer of Sindh under Suzerainty of Iran,” was published on the children’s page of the Sindhi daily Aftab, Hyderabad, on February 13, 1976. His first book, Sindh Sadiyan Khhan (Sindh Through Centuries), was published in 1980, while his last and 22nd book, Sindh Papers, written in English, was published just a few weeks ago.

Dr. Lakho authored, compiled, translated, and edited more than twenty books in Sindhi, Urdu, and English. Besides, he also wrote hundreds of essays, articles, and research papers.

A brief introduction to his works is presented in the following paragraphs.

Original Work

As mentioned earlier, his first original book, Sindh Sadiyan Khhan (Sindh Through Centuries), was published in 1980. It presents a concise account of Sindh’s five-thousand-year history in a nutshell.

His second original book, Samma Sultanat (Kingdom of Samma), was published in 1987 by the Sindhi Adabi Board, with its third reprint issued in 2005. The Samma dynasty has ruled Sindh from 1335 to 1520. Dr. Lakho believes that the Samma period is a crucial era in Sindh’s native history, as the Samma rulers played a significant role in shaping Sindh as a nation-state. They made great efforts to promote literature, economy, and art. Additionally, they established law and order, which contributed to the growth of agriculture and trade.

Dolh Daryah Khan is his third original work, a biography written for children and published in 1990. It has now been updated and included in the book Sindhi Barano Adab, published in 2023.

His fourth original work, Sindh je Tareekh jo Tareekhi an Tahqeeqi Jaaezo, published in 1997, is an anthology of 33 essays and articles written over the years and categorized into five thematic sections. Overall, it is a comprehensive study of Sindh, encompassing its history, archaeology, literature, and other cultural aspects.

His fifth original work, and perhaps his magnum opus, Kalhora Dore Hukumat (2004), is based on his PhD thesis. It was reprinted in 2021 with minor revisions. Dr. Lakho had intended to add an additional chapter on the religious conditions of that period but refrained, fearing that “writing on that topic in this age would be like sitting on a bed of thorns.”

His sixth original book, Sindh ja Mushhoor Manhoo (Famous Persons of Sindh) (2009), is a collection of profiles of renowned personalities of Sindh, written for children. Recently, it has been reprinted as part of a combined volume of three books titled Sindhi Barano Adab (2023), after being revised and supplemented with material that had been previously omitted by the earlier publisher.

His seventh original work, Sindhi Barano Adab (2023), is a combined volume of three books. The first part of the volume, also titled Sindhi Barano Adab, is a collection of four essays, six historical stories, two Russian stories, and an interview with Dr. Lakho. The other two books included in the volume are Dolha Darya Khan and Sindh ja Mushhoor Manhoo.

A few weeks ago, his final and eighth original work, Sindh Papers (2025), was published. It is a collection of his English essays, prefaces, and letters.

Translations

Dr. Lakho has translated numerous essays and several books into Sindhi. His translated works include:

1. Sindhi Adab (1981) – Originally written in Urdu by Pir Hussamuddin Rashdi.
2. Taareekh ja Sabaq – A Sindhi translation of Tareekh Kia Hey, originally written in Urdu by Dr. Mubarak Ali.
3. Muta’leo Sindh jo Vol. 01 (1992) – A collection of seven translated essays.
4. Muta’leo Sindh jo Vol. 02 (2004) – Another collection of translated essays.
5. Sindh-Kutch Lagapa (2010) – A translation of an essay written by M. H. Panhwar.

Compilations

Dr. Lakho also compiled several books, including:

1. Galhiyoon Munje Sindh Joon (Tales of My Sindh) (1992) – An anthology of articles, speeches, and interviews of Pir Hussamuddin Rashidi. Its third edition, featuring a comprehensive introduction by Dr. Lakho, was published in 2020.
2. Maqalaat Rashidi (2002) – A collection of Urdu essays written by Pir Hussamuddin Rashidi.
3. The Samma Kingdom of Sindh (2006) – A collection of essays written by various scholars about Samma period. As stated by Dr. Lakho in his preface: “This book is divided into three parts. In the first part matter from two important books printed in India have been reproduced… The Second part is based on modern research which includes twelve research papers. The part stands as a miscellany which deals with four topics. Four appendices have been added at the end to enable the reader to accept or reject the conclusions or opinions expressed on merits.”
4. Sindh: Glimpses into Modern History (2008) – A compilation of 41 essays presented during the two-day Pir Hussamuddin Rashidi International History Conference held in October 2008.
5. Sindh Shanasi (2017) – An anthology of articles, speeches, and interviews of M. H. Panhwar, mostly translated from English into Sindhi by Dr. Lakho.
6. Sindh Studies (2018) – A collection of 18 English writings by M. H. Panhwar.

Edited Works

He has also edited the following works:

1. Sindh jee Taareekh, Sindh ja Mughal Nawab (2008), written by Muhammad Siddiq Musafir.
2. Tareekh Masoomi (2008)
3. Sindh Arab Dor (2009)

At present, it is unknown how many of his works remain unpublished. He was a prolific writer and a regular contributor to Quarterly Mehran and other periodicals and research journals.

Other affiliations

During his lifetime, he was associated with numerous institutions, including the Institute of Sindhology, Jamshoro, Sindhi Adabi Board, Pakistan Historical Society, the Editorial Board of the Journal of Pakistan Historical Society, and Sindh Archives.

His books are available at following websites:

https://books.sindhsalamat.com/author/492

https://lib.sindh.org/kitaab?_token=4OU9JmbD9LDeCqIe09rKDYIXmjV7h7CMZjKRe3Ha&category=&language=&keyword=everything&title=Ghulam+Muhammad+Lakho&magazine=

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Muhammad Habib Sanai is based in Hala town of Sindh. He is a freelance writer and contributes his research-based articles to various newspapers and other publications.

Read: Shaikh Ayaz – A poet and prose writer who revolutionized Sindhi literature

The post Demise of a dedicated Historian first appeared on Sindh Courier.

Habib Sanai

March 2, 2025, marks the 102nd birthday of the renowned poet and prose writer Shaikh Ayaz, whose literary contribution remains unparalleled and timeless.

To fully understand and appreciate Ayaz’s contributions and stature, one must consider the profound transformations brought about by the revolutionary twentieth century. During this era, every field and sphere of life underwent significant change, fostering new norms and sensibilities that demanded special attention and adaptation.

Sindh was under British colonial rule, during which the British introduced various reforms in governance, the economy, and education, primarily to serve their own interests. However, these reforms also brought certain benefits to the local population. New job opportunities emerged, and access to education enabled many to break free from the entrenched dominance of feudal lords. Urban centers began to develop, fostering economic and social progress. Additionally, improvements in communication and transportation connected people to diverse cultures, ideas, and nations, broadening their horizons and contributing to societal transformation. While the British agenda was self-serving, these changes inadvertently laid the groundwork for modernization and greater social mobility in Sindh.

During that century, two world wars were fought, huge empires collapsed, and new nation-states emerged. Advances in communication fueled globalization, bringing people closer together and allowing new literary trends to reach even the most remote areas.

In this milieu, Ayaz emerged on the literary scene. The influence of both internal and external conditions on him is best reflected in the words of a renowned fiction writer Amar Jaleel: “His entire literature is testimony to what happened in the world during the last 60 years, and how the lives and sensibilities of the people were affected by the upheavals in the history…Second world War, genocide of Jews, partition of India, massacre of Muslim and Hindus during the years of the partings of ways; curse of One Unit and resultant disintegration of Pakistan and the holocaust in East Pakistan, and birth of Bangladesh,; controversial execution of Zulfiqar Ali Bhutto, recession of Sindhi language, literature, and the people of Sindh in their own province dominated the themes, and became the core and cru of his prose and poetry.”

All his life Shaikh was misjudged, and misinterpreted equally by his friends and foes – Amar Jaleel 

Shaikh Ayaz, according to a journalist Shaikh Aziz, “revolutionized almost all genres of Sindhi literature and is rightfully called the doyen of the 20th Century Sindhi writers and poets….He began composing poetry as a zealous youth in 1940. This was an era of reawakening in Sindhi literature, as in the literature of other major languages of the subcontinent. In fact this was when Sindhi literature emerged from its early and mediaeval expressions and subject and started responding to new cultural and social demands…In his prose and poetry the themes are interwoven in a superb manner giving a true picture of life…”

Shaikh Ayaz is regarded as the most prominent poet after Shah Abdul Latif Bhittai. As Siraj puts it, “After Shah Abdul Latif Bhittai, Shaikh Ayaz is the next most outstanding and important poet and a literary phenomenon. His contribution to Sindhi literature, both quantitatively and qualitatively, stands out as a beacon of excellence and brilliance.”

Ayaz is credited to fuel the nationalist movement with his poetry, yet he was not a racist, as rightist circles attempt to portray him. At this point, it would be appropriate to quote journalist Hasan Mujtaba, who says, “He wrote an Urdu poem during the language riots in Sindh. It read: “Yesterday. I saw Bhittai bleeding in the streets. When I saw him from close, it was Khusro.” Ayaz remained perturbed about the situation in Karachi: “The stars gaze at the flames of a gutted bus at the roundabout of Orangi. The pool blood of the innocent takes me back to Dhaka. Ayaz’s poetry chronicles history.”

Ayaz faced harsh criticism in his final years for showing sympathy toward religion. But Amar Jaleel is of the opinion that “All his life Shaikh was misjudged, and misinterpreted equally by his friends and foes. During the closing years of his life he was subjected to cruel criticism by some of his once die-hard admirers. The poetry Ayaz composed during the years he was consciously preparing his eternal departure from this world, was absolutely different from the poetry he had produced in 1940s. It was dissimilar to the poetry he created in 1950s. It was in contrast to the poetry he wrote in 1960s and 1970s.”

Sobho Gianchandani has also defended him by writing that “Whatever he did and wrote, it was with honesty and from the core of his heart…last half of this century has been reverberating with his songs. He has awakened, influenced and developed thousands of Sindhi poets. For a long time we could not be able to produce another Ayaz. He has actively played his role as history maker poet, writer and revolutionary.”

His poetic Brilliance

Muhammad Ibrahim Joyo, in one of the prefaces he wrote for Ayaz’s poetry collections, has succinctly highlighted his poetic brilliance and distinctive qualities:

“Alliteration of letters on such scale is not conscious effort by poet but it is the result of the toil of whole life. If such spontaneous alliteration occurs in one line of any poem written by German Poet Rilke or Dylon Thomas or T.S Elliot, then happiness of western critics would be out of bounds. In Sindhi poetry such feat is seen in the poetry of Bhittai on numerous places, and also this uniqueness of alliteration is found in the poetry of Ayaz… The poetry of Ayaz is a miracle of the Sindhi language. Such miracles emerge only after long intervals, and when they do, they serve as both the harbinger and catalyst for the transformation of the language and its era.

“Another distinct feature of Ayaz’s poetry is that, despite the flexibility allowed in the metrical system, not a single letter is omitted when reading his verses. It is rare to find an Oriental poet who has not utilized this permissible omission of letters in recitation.”

Works

Shaikh Ayaz authored more than 55 books of poetry and prose. Sindh Culture Department has published his oeuvre in 22 volumes. Although Fahmida Riaz translated his Sindhi poetry into Urdu and published it as Halqa Mere Zanjeer Ka (1974), Ayaz himself composed poetry in Urdu during his early literary career. Interestingly, his first published poetry collection was an Urdu anthology titled Bui Gul Nala-i Dil, released in 1952. Another notable Urdu poetry collection of his is Neel Kanth aur Neem Ke Pate (1988).

He also translated Shah Jo Risalo into Urdu (1963), bringing the timeless poetry of Shah Abdul Latif Bhittai to a wider audience. His works have been further translated into Punjabi by Ahmed Salim and published in anthology titled Jo Bejal ne aakhiya. Additionally, several writers, including Latif Noonari, Saleem Noor Hussain, J.M. Girglani, Hasan Mujtaba, Asif Farruki, Manoj Kumar, and this writer have translated his poetry into English.

Death

Shaikh Ayaz passed away in Karachi on December 28, 1997, and was laid to rest in Bhit Shah near the Karar Lake.

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Muhammad Habib Sanai is based in Hala town of Sindh. He is a freelance writer and contributes his research-based articles to various newspapers and other publications.

Read: Altaf Shaikh – The Ibne-Battuta of Sindh

The post Shaikh Ayaz – A poet and prose writer who revolutionized Sindhi literature first appeared on Sindh Courier.

[Lekhraj Tulsiani was a prominent voice in Sindhi literature, well known for his short stories. Born in Sindh in 1919, Tulsiani’s early life was steeped in the rich cultural diversity of this region, then part of undivided India. Tulsiani’s world was dramatically altered by the partition of India in 1947. Sindh became part of Pakistan, and like many Sindhis, Tulsiani was forced to leave his homeland and migrate to India. This experience of displacement undoubtedly shaped his writing, and themes of loss, identity, and resilience can be seen in them.]

Manjri

By Lekhraj Tulsiani

The atmosphere of a moffusil court-of-law is not expected to be attractive. That of the Mirpur Khas court is no exception. A commonplace building, with no beauty of construction, no high tower, no big round pillars, no imposing dome.

As you enter the courtyard, there is nothing but dust to greet you and an air of desolation hangs all around. But in the midst of that desolation, there is a simple spot where one could rest for a while. In front of the court-house there are half a dozen large trees; four neem and two tali. That is the best resting-place in Mirpur Khas court.

Look at the trunk of each tree, its branches, its twigs—they are not trees, they are monsters! And the wind of Mirpur Khas! When the branches of those trees wave in the wind, monsters appear to be dancing!

Under one of the neem trees, Manijri was seated. She was a low-caste Kolhi girl, but there was magic in her eyes, a magnet in her limbs! The eyes of every passer-by were attracted to her. But today clouds of sorrow had gathered on her round face. The luster of her eyes had dimmed and her red lips appeared colorless. She wore a tattered skirt and her blouse could hardly conceal her brimming youth. Her chunni was waving in the wind. Her long hair, tied up with twine, fell disheveled about her face, and as she pushed it back an alluring delicacy was revealed. What natural grace! No need for any artifice or blandishment!

Opposite Manjri, about a hundred steps away, under a tali tree sat a young man, handcuffed, a policeman standing by with a musket on his shoulder. The youth did not appear to be over twenty-four years of age. He had a brown, sunburnt face, strong arms, and broad chest. He wore a dirty shirt and a coarse printed loincloth.

Manjri was glancing at him every now and then and lowering her eyes again. At times a long sigh escaped her. All her world was centered on that young man. Was he not enduring these difficult days on her account?

The young man, too, was looking at Manjri at frequent intervals, but there was no trace of suffering on his face. His looks were giving a message to Manjri: ‘‘Don’t lose heart, dear; even the scaffold would be my wedding couch, Manjri!”

At the call of the court, the policeman took the youth inside the building. After some time the naik loudly called thrice: “Is Musamat Manjri present?’’

Manjri, who was absorbed in her thoughts, was startled. She arose, collected her wits, and moved towards the courtroom. There was a strange fascination in her gait. The naik stared at her and twirled his moustache.

Manijri was a low-caste Kolhi girl, but there was magic in her eyes, a magnet in her limbs!

She entered the courtroom like a nervous deer, and all eyes as they were drawn to her grew wonder-struck. A voice said whispering, “What an attractive woman! Who would say she is a mere Kolhi girl? Look, how the woman walks—like a proud pea-hen!”

Manjri hesitated before the witness-box. The magistrate pompously ordered: “Get into the box, woman. What are you looking at?”

Manjri did not hesitate any more. She had come resolved to save Isro. Although she had no idea of the intricacies of law and the cross-examination of advocates, her firm resolve acted as a solace. She entered the witness-box and the court clerk administered to her the oath that she would speak the truth, nothing but the truth.

While making her statement Manjri faltered a little at first but soon got herself under control.

She began: “My parents were in debt to Mangal. In lieu of that debt, I was married to him. Mangal was an opium-eater and a debauchee. Every evening he used to take opium and come home in a semi-conscious condition. Every night he used to oppress me, and on my refusal to satisfy him he used to beat me up. He thrashed me more and more violently every day. After three months the house became hell for me. But I was newly married and bore everything with patience.”

“One midday I was carrying Mangal’s food to the field where he worked. Isro’s plot of land was near that of Mangal—just across the boundary. Isro was in his field, digging a water-course with his shovel. He had nothing on his body but his loincloth. He was exhausted digging with his shovel, and drops of sweat shone on his body. Broad chest, powerful shoulders and large sharp eyes. He was young and attractive. I stopped short. On the previous night, Mangal had beaten me severely and my limbs were aching. I called out to Isro and began chatting with him at random. He was not particularly interested in me. I induced him to come over to the shade of a tree. The water-course was running on one river and on its bank was a row of bushes. That’s how we knew each other, and our intimacy increased with each day. Isro never came to my house; I managed to meet him somehow or other. . .”

She faltered and added after a while, “In this case which Mangal has filed against Isro for seducing me, Isro is not to blame. He is faultless. It is all my fault and I am prepared for the punishment.”

One pleader remarked, “The whore has turned blind with love.”

Another said, “Can’t you give her credit for making her statement so boldly and frankly?”

The Magistrate smiled faintly and said to the advocates: “The time has come when women seducers should be punished instead of men seducers.”

The next day he delivered the following judgement:

“Although Musamat Manjri states—and there is a certain amount of sincerity in her statement—that it was she who seduced Isro and that Isro is not to blame, still from the legal viewpoint Isro is the culprit, because according to law man alone can be the seducer. Isro, the accused, has not defended himself and has confessed his illicit relations with Manjri—and on that account too he is the guilty one. But out of mercy, the court allots him the punishment of two months’ rigorous imprisonment only.”

Manjri’s eyes were involuntarily filled with tears. The lover for whom she had done so much, for whom she had shamelessly made such a statement in the open court—she had failed to save that devoted lover. She drew a long breath and looked at Isro. He was smiling faintly.

As the policemen were conducting him out, he passed by Manjri and whispered: “I am a man; the period of imprisonment will pass quickly, dear.”

In that single sentence, Isro poured out his whole heart to Manjri.

One pleader said to another: “Look, the slut is shedding tears for her illegitimate love.”

The other solemnly replied: “Friend, such love can’t be called illegitimate. This poor girl’s tears are also priceless, arising from the depth of her soul.”

The policemen took Isro away. With bowed head and faltering steps Manjri walked out of the court like a defeated soldier.

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Courtesy: Kalampedia (Posted on March 24, 2024)

Read: Sindhi Literature: Masoom Ilteja (Earnest Request) – A Short Story

The post Manjri: A Sindhi Short Story by Lekhraj Tulsiani first appeared on Sindh Courier.

Ayaz Gul’s poetry holds a profound place in Sindhi literature, echoing the spirit of an era

By Nisar Banbhan

Poetry is the voice of the heart’s deepest yearnings, a mirror to the soul’s hidden sorrows. When these pure emotions rise, they manifest as words, turning the poet’s silent suffering into a lyrical tale of longing. Poetry, rich in both depth and melody, is an art that transcends mere expression. Literature, like a river in endless flow, carries fresh waters with every wave. And within the vast, flowing stream of Sindhi literature, countless names have shaped its evolution. Among these, one name shines with unmatched brilliance—Ayaz Gul, the poet cherished by yesterday, today, and tomorrow. Ayaz Gul’s poetry holds a profound place in Sindhi literature, echoing the spirit of an era. The wave of modernity that swept through Sindhi poetry after the partition revived its form and imagination. Among the pioneers—Sheikh Ayaz, Adal Soomro, Imdad Hussaini, Ustad Bukhari, Ibrahim Munshi, and Wafa Nathan Shahi—Ayaz Gul stands out as a radiant torchbearer. Sheikh Ayaz, celebrated for liberating the ghazal from foreign influences and grounding it in Sindhi tradition, paved the way for poets like Ayaz Gul. With his innovative genius, Ayaz Gul introduced new dimensions to modern Sindhi poetry. His brilliance lies not only in form but in thought, as he brings forth fresh ideas and concepts, captivating the youth and inspiring them to write with the same fervor.

Ayaz Gul has explored every poetic form—songs, ghazals, kafi, and poems—infusing them with his emotions, thoughts, and observations

A master of the Sindhi ghazal, Ayaz Gul infused new life into the genre. After Sheikh Ayaz, it is Ayaz Gul who is revered as one of the finest poets of Sindhi ghazal. His verses, vibrant with love, resonate like the intricate hues of Andalusian tapestries. Born on March 6, 1959, in Sukkur, Ayaz Gul is celebrated by both the literary elite and the common folk. A poet of the heart, his essence embodies love, kindness, and sincerity. Today, a new generation of Sindhi poets follows his path, experimenting with style while drawing inspiration from his artistry.

Ayaz Gul, with his vast experience and keen observation, has given Sindhi ghazal a new identity. His poetry reflects every shade of life, every nuance of society, capturing the joys, pains, and struggles of Sindh. Ayaz Gul’s poetry strikes a deep chord with the youth, who find in his words the pulse of their own hearts. His verses echo through university corridors, on the lips of students weary from their studies, who seek solace in his songs. On quiet nights, when a student hums Ayaz Gul’s or Haleem Baaghi’s lyrics from the rooftops of hostels, even the silent rocks of Jamshoro seem to tremble. Ayaz Gul, without a doubt, is a poet for all ages, whose verses continue to inspire generations.

A master of the Sindhi ghazal, Ayaz Gul infused new life into the genre. After Sheikh Ayaz, it is Ayaz Gul who is revered as one of the finest poets of Sindhi ghazal

His journey as a poet began early, fueled by a love for words and literature. After completing his primary education in Sukkur, he chose teaching, sharing his knowledge in the Sindhi Department of Shah Abdul Latif University, Khairpur. The year 1971 marked a pivotal point in his career, as he poured his heart into writing, shaping the landscape of Sindhi literature. Ayaz Gul has explored every poetic form—songs, ghazals, kafi, and poems—infusing them with his emotions, thoughts, and observations. Music, too, has a special place in Ayaz Gul’s heart. His room is adorned with audio and video cassettes and photographs of artists who have immortalized his verses. For poetry, like a jealous lover, demands undivided attention and does not tolerate distraction. Those who treat poetry as a fleeting fashion are quickly forgotten, lost in the storms of time. But those who dedicate themselves to the craft, nurturing it with hard work, study, and observation, elevate poetry to an act of devotion. Ayaz Gul is one such poet—through persistence and struggle, he has carved a unique place for himself. The images, colors, and depths of emotion in his poetry resonate with the soul, enriching life with their presence.

Read: The Exiled Memories

As the eminent Dr. Tanveer Abbasi once remarked: “Ayaz Gul will forever shine like the fourteenth moon in the history of Sindhi poetry.”

For me, Ayaz Gul has always been more than just a poet—he has been my guide and mentor, helping me discover my potential and encouraging my growth. I consider myself truly fortunate to have Ayaz Gul as my teacher, the one who connected the dots of my life. He is not just a mentor but also a benefactor, offering the cool shade of kindness and warmth. His guidance has grounded me, and his presence brings a deep sense of friendship that blooms within me, uplifting my literary spirit. Among poets, he holds a special place in my heart, and my bond with him strengthens my sense of self-worth. On September 28, 2024, after many years, I had the honor of spending time with my beloved Sain Ayaz Gul in Sukkur. The memories of that day are etched in the soil of my mind. It was as if I had relived the innocence of my youth, in a university brimming with grace and beauty. That day, I saw my Sain Ayaz Gul in the prime of his youth, weathered by life’s storms yet standing tall, a figure deserving of admiration. I left that day with all my prayers for him and the unshakable belief that he holds me close to his heart.

Read: Ayaz Gul’s two books declared ‘Best Poetry Books of the Year’

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Nisar Banbhan is a seasoned professional with nearly 24 years of diverse experience, including 3 years in journalism, 21 years in a public sector organization, and a longstanding career in writing and freelancing. He specializes in content creation, scriptwriting, screenwriting, lyricism, poetry, short stories, and the crafting of articles and columns in both Sindhi and Urdu.

The post Ayaz Gul: The Eternal Luminary of Sindhi Poetry first appeared on Sindh Courier.

Sindh celebrates today (October 4, 2024) 171st birth anniversary of Mirza Qaleech Baig, who was a prolific writer and is known as doyen of Sindhi literature.

Mirza Qaleech Baig was born on October 4, 1853 and passed away on July 3, 1929  

Muhammad Habib Sanai

Tradition of writing poetry in Sindhi is oldest one and since more than five hundred years, Sindhi is used for lyrical composition. From sixteenth century, some religious scholars tried to compose books on religious matters by using rhymed prose, which is called Sindhiyoon by later scholars.

It was in British era (1843-1947), after introduction of present Perso-Arabic or Naskh script in 1853, the government announced prizes etc. for writing books in Sindhi, therefore, Sindhi prose received great impetus. In initial phase, Sindhi prose consisted mostly of school books, however, in the second phase, numerous writers appeared on the horizon of Sindhi literature, who enriched Sindhi prose by their translation, adaption and writing original works of fiction and non-fiction.

Amongst these earlier writers, the most prominent and iconoclast is Mirza Qaleech Baig, whose works number nearly 457. In the words of Professor Annemarie Schimmel “we cannot but admire his tremendous undertaking to bring together the literary treasures from East and West in his mother tongue.”

As narrated by Mirza Qaleech Baig in his autobiography ‘Saao Pan Ya Karo Pano’ (Green leaf and Black Paper), his father Fareedoon Baig was not Sindhi speaking by birth, but was born in Tiflis (Tbilisi) of Georgia. In a battle fought during the year 1797, along with other fellow Georgians, he lost his parents and was captured by Persian forces and brought to Persia, where he lived for a few years first in Tabriz and then in Isfahan. However, he was gifted to Talpur rulers of Sindh and came here at the age of ten. He was Christian but became Muslim in Sindh. There was already another fellow Georgian Khusro Baig, who had come here in 1805, and was adopted as son by the then Talpur ruler Mir Karam Ali Khan. Later on Khusro Baig became father in law of Fareedoon Baig. According to Mirza Qaleech Baig, both were literary persons and used to write poetry and prose in Persian, which was literary and court language of Mirs.

When Talpur Mirs were dethroned in 1843 by British, Mirza Qaleech’s maternal grandfather was also imprisoned. He was also to be taken to Calcutta (Kolkata) along with other Mirs, but on Mirs’ request, he was made responsible for looking after the families of Mirs.

Soon they were displaced from Pakka fort of Hyderabad, therefore, they settled at Tando Saindad near Hyderabad. In the war and also during displacement, they lost their valuables and were facing severe hardships. Unfortunately, their katcha (made of sunbaked bricks and mud) homes caught fire, which raged for three days. In this fire, their remaining valuables were burnt to ashes. After this mishap, they shifted to Tando Mir Mahmood, near Phuleli canal. But once again they had to relocate to Tando Thoro, which is still the home town of Mirza family.

Mirza Qaleech was born in Tando Thoro on 4th October, 1853. He and his elder brothers attended maktab of Akhund Shafi Muhammad for basic education. Later his brothers were admitted at English government school. After sometime, he started to attend Sindhi School in Hyderabad, which was three to four kilometers away from their home. He writes in his autobiography that early in the morning after having breakfast and taking meal for lunch, they used to first go to the Autaaq (Meeting place for Males) of Akhund Wali Mohammad and studied there for few hours, then around ten, they would go to School.  They used to return home in the evening.

During School days, Qaleech developed interest in music and playing instrument such as Surando and Sittar. He used to recite Marsia in Muharram Majlis.

Mirza Qaleech writes that instead of playing games, he was more inclined toward reading and writing. He started composing poetry at the age of 7 or 8 years, which he used to recite before his maternal grandfather.

While Qaleech was preparing to appear in the Matriculation examination, he was made Persian Teacher in place of his brother who had joined new service in another city. He wanted to do Matriculation with major of Arabic, but at that time, the government announced a prize of sixty rupees for those who will do matriculation with Sindhi subject. So he chose Sindhi and won the prize.

Before matriculation, his father died due to dysentery. For meeting the expenses incurred on his treatment, his family had to sell a golden watch owned by his father for Rs.300.

Qaleech went to Bombay and got admission at Elphinstone College, where Prof Mirza Hairat, Mr. Wadia and Mr. Baba became his mentors. Mr. Wadia taught him English prosody, whereas Prof. Mirza Hairat not only taught him Persian prosody, and Turkish Language, but guided him in realm of literature through daily discourses. He also learnt Sanskrit on his own.

During BA, his mother died, but he was not informed. He knew about her death only when he came on vacation at home. This incident devastated him. When he returned back to Bombay, he could not sustain interest in his studies. He failed in the examination of BA. This was shocking for his fellow students and teachers. This episode also increased his depression and trauma. Soon he became very ill and came back to Sindh as advised by doctors.

After recuperating, he returned to Bombay, but once again became unwell, and failed in second attempt for BA. He wrote about these destitutions in English poems, which are included in his English poetry anthology titled “Leisure hours”. This book has recently been republished by Mirza Qaleech Baig Chair of University of Sindh, Jamshoro.

After coming back from Bombay, Qaleech lived in Karachi for two years with his brother. At that time, his main passion was reading and writing mostly poetry in English and Persian. He used to borrow books from Frere Library and General Library near High School, Garri Khata. Mr. Murray was librarian of Frere Library and Mr. Dayaram Gidumal was librarian of the General Library, who was later replaced by Mr. Motiram Shoqiram. Dayaram and Shoqiram were most influential writers and reformers of Sindh. His English poetry was published in English newspaper “Sindh News” and Persian one in newspaper Mafrah Quloob. The Editor of English paper was Mr. Jeffrey, who was expert in his field, but was a habitual drunkard. Mirza Qaleech has written that he became his family friend. When Mr. Jeffrey got drunk, he discontinued to work for paper, so on the insistence of his family members, he used to pen leading article and also other write ups for Sindh News. Mr. Jeffrey died during drinking bout.

Read: Jamal Abro – The Torch Bearer of Modern Sindhi Short Story

In Karachi Qaleech also developed friendship with Dayaram Gidumal and Hassan Ali Effendi. Dayaram was establishing a college, where he offered him post of Persian Professor, but he refused, because he was interested in joining Revenue Service. He also helped Hassan Ali Effendi in establishing Sindh Madressatul Islam School.

Soon he joined Revenue Department as trainee Head Munshi and was posted at Taluka Kakar, Mehar Division (which is now sub division of Dadu District). After a few months, he was posted as Mukhtiarkar (Tehsilsadar) at Tharerri Muhbat of Mehar. After serving for 30 years, he retired as Deputy Collector at the age of 55.

Love for Writing

As he narrates in his autobiography, from reading books he developed passion for writing books. He started writing books during school days. During the service, he used to write after finishing official work. Qaleech tells that he used to write three books at a time, one at the early morning, one in the afternoon and one at the night. He got tired after two hours writing. After retirement, he devoted most of his time to writing.

This encyclopedic author wrote on almost on every topic. According to Dr. Ghulam Ali Allana “he is the first Sindhi writer who introduced Novels, Dramas and Essays in Sindhi Literature.”

He translated, and adapted hundreds of books of fiction and non-fiction from English, Persian, and Urdu to Sindhi. Prominent among them are novels by Christopher von Schmidt (Basket of Flowers), Sir Arthur Conan Doyle’s Adventures of Sherlock Holmes, Benjamin Disraeli’s Henrietta Temple, Jonathan Swift’s Gulliver and Daniel Dafoe’s Robinson Crusoe, Dramas of Shakespeare (Two gentlemen of Verona, Romeo and Juliet, Hamlet, and As you Like it) and Lord Lytton’s Night and Morning, in Non-function, Booker T. Washington’s Up from Slavery, Roger Bacon’s essays, S. Smile’s Self Help, James Allen’s As a Man thinketh etc.

He also translated few Persian books such as Chachnama and Al-Ghazali’s Keemiyae Saadaat as Alchemy of Happiness in English.

His original works in Sindhi include numerous novels, dramas, educational books and books on history of Sindh and Sindhi Language, dictionaries etc. His novel Zeenat is counted as first original Sindhi novel, which is also renowned for its advocacy for Muslim female education. It has been translated into English by Zunera Yousif.

In English he also wrote History of Sindh in two volumes, and two volumes of English poetry and also some other books.

With the support of his family members, Sindh University has established Mirza Qaleech Baig Chair, which has republished his numerous works in Sindhi and English.

Library of Mirza Sahib

On 15 June, 1955, Pir Hussamuddin Rashidi along with Muhammad Ibrahim Joyo visited the house of Mirza Qaleech Baig at Tando Thoro, Hyderabad. Both were taken around Mirza Sahib’s library. Rashidi sahib has written an article about this visit, which is included in his book Galhyoon Goth Wanan jooon (Tales of Hamlets). At that time, books and manuscripts were housed in 8 to nine cupboards. He regretted that a lot of precious material had been damaged. He thought that there should have been rare manuscripts and books about the history of Sindh etc., but either these have been damaged or stolen. Rashidi wrote that there were four photo albums, numerous files of newspaper clippings, articles, and other materials. There were 20 to 30 notebooks, which contained very precious information about Sindh and also the personal diaries of Mirza Qaleech, who started writing diaries in 1860. Rashidi opines that these diaries would be valuable sources for writing the history of that period.

Rashidi sahib informed that there were 150 unpublished books, some of which were published by the Sindhi Adabi Board later. Rashidi has briefly introduced some important unpublished books, such as a collection of English essays, a Collection of Persian, Arabic, and English poems and prose under the title of Abkarul Afkaar, a book of memoirs, Gurji Nama, etc.

Under the able stewardship of Dr. Nawab Kaka, Mirza Qaleech Baig chair of the University of Sindhi is publishing books of Mirza.

Read: Ali Baba – One of the doyens of Sindhi fiction

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Muhammad Habib Sanai is based in Hala town of Sindh. He is a freelance writer and contributes his research-based articles to various newspapers and other publications. 

The post Mirza Qaleech Baig – A Doyen of Sindh Literature first appeared on Sindh Courier.

Muhammad Habib Sanai

Hundred years ago on 2nd May, 1924/27 Ramazan, 1342, a child was born in the family of Allama Ali Khan Abro, a distinguished educationist and exegetist of Quran in the village of Sangi, Taluka Mehar, who is now renowned as Jamal Abro, an eminent Sindhi Short Story writer. He wrote only 16 short stories, but become the torch bearer of Modern Sindhi Short story after partition. His story collection entitled Pishoo Pasha is always in demand, therefore, to date its seven editions have been published. Besides, almost all of his short stories have been translated in Punjabi, Urdu, and English. Punjabi Translation was rendered by Mohsin Abbassi and was published by Pakistan Punjabi Board, Lahore in August, 1999; Urdu Translation was published in 2006 by University of Karachi and its English translation of ‘Pirani’ and other stories was first published by Peacock Publishers, Karachi and then by Oxford University Press, Karachi in 2018. Some of his stories are also translated in German and other languages.

Though he developed his interest in literature in the school days, but his first short story entitled Hoo hur ho (He was Hur), was published in weekly magazine Toofan in 1949. Up until 1959, he wrote 13 stories, which were included in his first and only anthology Pishoo Pasha, whose first edition appeared in the same year. However, after publication of that anthology. He could write only four more short stories, the last one Maau ji Jholi, in 1987, about ethnic riots erupted in Karachi and Hyderabad and, this story, according to Asif Farrukhi, “brings home the message, ‘it is wrong to kill a living creature. Life is sacred’”.

Actually, he was afflicted with a rare disease of hands, so doctors had advised him not to write with hand. Despite that, he wrote the following five volumes of his autobiography cum memoirs, which were published by New Fields Publications, Hyderabad.

1. Disee Doh Akhiyan seen (Saw the crime being committed) in February, 1998.
2. Thoohar Me Garha Gul (Red Roses in Cactus) September, 1998.
3. Oonhi Galh Israr je (Deep talk of mystery) April, 1999
4. Eendo n he wanjaro (Sailor won’t come back) October, 2001
5. Mar pia Meehn Wasan (Let the rain fall) December, 2004.

Besides penning numerous essays, he has also taken in hand following works, but could not complete them.

1. Dictionary of Arabic Quranic words, now exactly used in Sindhi.
2. Translation of Mother by Maxim Gorky in Sindhi.
3. Timmon ja Karnama translation of Adventures of Tom Sawyer.

His son Badar Abro has compiled an anthology entitled Aaouon ba Jaagi Pawandus (I may get awake), which is very comprehensive book about his life and works. It contains his all short stories, 10 essays, 06 prefaces, 10 interviews and 15 articles about him read in a programs conducted in his honor, One monograph written by Idrees Jatoi, the comprehensive critical study of life and works of Jamal Abro written by Rauf Nizamani, 36 write-ups about him written by numerous writers and scholars of Sindh and some letters by him.

How other writers and scholars assess his literary output

According to majestic Sindhi writer and poet Shaikh Ayaz “I don’t know who made the distinction that poetry dances while prose walks. While reading ‘Pirani’, I felt that even prose can dance. In the beginning, Pirani enters with a musical note and little bells begin to tinkle in the air. Suddenly there is a piercing cry and one can see the story dancing on red-hot coals … like Soviet Russian writer Isaac Babel, who wrote only one book entitled Red Cavalry, and was got killed by Stalin and become immortal, Jamal has got immorality in Sindhi Literature.”

Gul Mohammad Umrani, who has edited Jamal Abro’s anthology of Short stories translated in English entitled Pirani and other stories, writes in his preface that “His short stories though meticulously planned on miniature canvas artistically crafted like diamond, ruby nuggets, have a unique brevity, which is the soul of his wit (in the words of Polonius in Hamlet of Shakespeare). Such brevity excels the art of Henry James, O. Henry and great Maupassant, to recall just a few classical masters of western fiction … Jamal’s each and every word is cautiously weighed in the sieve of deep introspective penetration, meandering through uncanny fathomable subconscious mind and is then written on a piece of paper with a pen dipped in the inkpot of eternal miseries of the masses of his wretched motherland. His characters are scum of the earth who are destined to endless despondency and infernal torture.”

Distinguished writer and critic Asif Farukhi is of the view that “Jamal Abro has written only a handful of stories but he has exerted enormous influence on the modern Sindhi short story.”

In the words of famous journalist Abbas Jalbani “Jamal Abro is among those rare authors, who, by writing a single book, earned a high reputation envied by writers of dozens.”

According to Sindhi writer and educationist Idrees Jatoi, who wrote about him a Monograph for his MA Sindhi, “Jamal Abro is the first story writer, who artistically used social realism in his stories, no doubt, he was influenced by Gorki, Tolstoy, Premchand, Tagore and Dostoevsky, but his style is his own, which is imbued with artistic narration of problems of his land and society in beautiful language …. According to one fellow writer, every Sindhi poet is influenced by Shaikh Ayaz and every short story writer by Jamal Abro. What I mean to say is that Jamal Abro is the name of big revolution in Sindhi Short Story occurred in the second half of 20th century.”

Another writer and critic Rauf Nizamani opines that “Jamal Abro is prominent name of Sindhi literature. He could be counted among those writers, whose writings and personality helps us to comprehend those changes occurred in Sindh during the fifty year period.”

In the thorough study of five volumes of autobiography cum memoirs of Jamal Abro, Rauf Nizamani has drawn a few conclusions, which would be worthwhile to share here, though briefly:

“For understanding the ideological change occurred in Shaikh Ayaz, it is essential to comprehend Jamal Abro … Combined study of both of these gigantic names of Sindhi poetry and short story, would help us to grasp the changes occurred in Sindhi literature and society.

“Though Jamal Abro deems himself as Sufi and holds a definite view of religion, but his views about diverse matters are very liberal, which seem positive and strange, because there is common perception that the religion is very self-imposing and restrictive. Reason of this treatment might be due to Sufi traditions of Sindh, but major role in his approach is played by his past upbringing, including his closeness with his father Ali Khan Abro, and attachments with Communist Party, Hari Committee and Progressive literary movement. This is the reason that despite some writers oppose him ideologically, but they don’t disown him.

“His approach towards youth generally and young writers particularly, is negative and hateful. He thinks that except Noorul Huda Shah and one or two other writers, new writers have not produced any worthwhile creations. Reasons for this attitude might be his seclusion and not coming into contact with writings of new writers. Or might be due to the generation gap, which develops superiority complex in each generation, and each one strives to prove itself as superior generation. One reason might be the harsh criticism on him and Ayaz being made by young writers and readers, as is reflected on different places in his autobiography. “

Criticism

Main theme of the criticism of his opponents and young writers is religiosity of Jamal Abro and Shaikh Ayaz. Sindhi Progressives, especially younger ones, deem becoming their religious as betrayal on their part. No doubt both became religious but not the bigots, as the majority of religious persons routinely becomes here in our area. Badar Abro, a distinguished researcher and author and elder son of Jamal Abro, has very interesting point of view. He writes about him that “2nd May, 1924 coincided with 27th Ramazan and on that day a Sindhi writer was born, who not only believed in the importance of Labor Day, but also excellence of 27 Ramazan. When he was young, his association with Hari movement was disliked by Molvi sahibs, and now when he is septuagenarian, then, youngsters are astonished that why he has become religious?”

“He was also religious at that time and now he is still friend of workers, but what can be done with the thinking that everyone wants him to be agreed with them in every respect wholly solely. Why should he do that? It is another thing that he has drank in one cup both the religious tenets and dialectical materialism, and perhaps it the reason that he has become Sufi in idiomatic sense.”

Family and career

Jamal Abro was son of renowned educationist and exegetist Allama Ali Khan Abro and also he is father of a distinguished scholar of Sindh, who is known as Badar Abro. His other sons and daughters are well educated and prominent professionals and bureaucrats. He after graduating in Law, started his law practice. But after few years he was selected as Judge. Prior to his retirement from service in 1988, he worked as Registrar, Sindh High Court, Secretary Sindh Assembly, Member Federal Services Tribunal and Chairman, Anticorruption. He was also member of Syndicate of Sindh University and Sindhi Adabi Board.

In his students days he worked in Khaksaar movement. During the famine of Bengal (1943-44) he worked there as Volunteer. He is among the founder members of Sindhi literary organization Sindhi Adabi Sangat, which has played a pivotal role in spread of Sindhi literature and language.

Awards

He was awarded Pride of Performance in 1994 and in 1998 he received Shah Abdul Latif National Literary award from Academy of Letters on his first volume of autobiography cum memoirs Disee Doh Akhiyan Seen.

He breathed his last on 30th June, 2004 in Karachi and was laid to rest in the graveyard of Gizri Defence, Karachi.

Read: Sindhi Short Story Genre

______________________

Muhammad Habib Sanai is based in Hala town of Sindh. He is a freelance writer and contributes his research-based articles to various newspapers and other publications. 

The post Jamal Abro – The Torch Bearer of Modern Sindhi Short Story first appeared on Sindh Courier.

Nasir Aijaz  

Mulchand Mangharam Bindrani, known by his pen name M. Kamal, was a multi-faceted personality, and being a renowned Sindhi poet and Dramatist, he is cherished globally in the Sindhi literature community. With a literary career spanning over half a century, he was honored with the prestigious awards.

Shri M. Kamal wrote over 40 dramas and over 800 poems including ghazals. In his writings, he always tried to depict the realities of life and gave a new look to the poetic expression. His work has been translated in 3 languages, Hindi, English and Marathi. Also, his specialization in one-act plays led him to establish a Sindhi school of drama named Mehran Kala Manch where directed some of his plays and trained Sindhi artists.

His recognition went beyond vernacular, with his work translated in 3 languages namely Hindi, English & Marathi. He was also recognized as a literary critic of his time. M. Kamal was honored with national award ‘Sahitya Akademi Award’ by government of India in 1989.

Life Journey

Shri M. Kamal was born on 8th Aug, 1925 in Kandiaro town of district Naushehro Feroze (Formerly part of the Nawabshah district) of Sindh Province. As a result of partition of Indian subcontinent in 1947, M. Kamal also migrated to India like tens of thousands other Sindhi families leaving behind ancestral abode.

Shortly before the partition, M. Kamal had married to Smt. Parmeshwari. After the partition was announced, M. Kamal left his hometown for Karachi along with family including his wife and father Shri Mangharam. In Karachi, they stayed at the residence of his father’s friend Shri Gokaldas, where he used to live during student life. Shri Gokaldas was his father’s business partner, and Kamal respected him like a father. After a few days, M. Kamal, accompanied by his family, and Shri Gokaldas, boarded a steamer for India. They disembarked at Okhha port of Gujarat state and again traveled in a boat for some distance from where they proceeded to Jaipur by road. For some time, they lived in an area in front of historic Hawa Mahal (Palace) in Jaipur.

While staying in Jaipur, M. Kamal had applied for the post of Sub Inspector in Police Department. He was selected for the post he had applied for, but the monthly salary of a Sub Inspector in those days was Rs.40, and being a low salary, M. Kamal decided not to join. But he regretted his entire life for not accepting the police job, as often he used to say, “It was my greatest mistake of my life, as I would have retired as Deputy Commissioner of Police.”

Shri M. Kamal lived in Jaipur for short period and later moved to Nagpur with Shri Gokaldas who had got a job of Accountant in a private firm – Kishanchand Chelaram Firm. Soon, M. Kamal also joined Central Railway from where he retired as a Junior Officer of Central Railways’ Commercial Branch in 1983. The railway job at that time was liked by most people. The head office of Central Railway was located in Mumbai, but as living there was not possible for M. Kamal, he settled in Kalyan Camp No: 4 along with his wife Smt. Parmeshwari and one-year daughter Pushpa, and spent his rest of life there.

When M. Kamal moved to Kalyan Camp, his father-in-Law Shri Tahalram and mother-in-law Smt. Dharmi Bai also shifted there, because M. Kamal’s wife Smt. Parmeshwari was their only child, and they wanted to settle close to her. Smt. Parmeshwari and M. Kamal’s first child was Pushpa, a daughter, and then a son Nand Bindrani, and four daughters – Asha, Meena, Tara and Vandana were born.

Following the demise of his wife, M. Kamal spent a very tough life. He was confined to bed due to ailment, and even couldn’t speak in last days of life.

Shri M. Kamal, the legend of Sindhi literature breathed his last at the age of 85 on February 3, 2010.

Memories

Shri M. Kamal was the lover of nature and literature. He loved to listen to birds’ chirping, and for that he would wake up early in the morning. “There were mango trees in our house, and a large number of birds used to perch on the trees. Dada would wake up early in the morning, make a cup of tea and taking pen and some books, would sit under the trees, listening to the chirping and taking notes from the books,” Ms. Meena, one of his daughters, recalls speaking in a documentary.

“Dada would sit for hours reading books and taking notes until our mother would ask him to come for breakfast,” she said.

Ms. Meena says, M. Kamal was fond of reading books, and for that he became the member of Asian Library, from where he would bring books. “He would also bring books for us and would sit together to ask what stories did we read, and what we learned from the books.”

“On his return from office, the first question Dada would ask was ‘What the kids are doing?’ and mother would tell him ‘They are in their room reading the books’.”

Shri M. Kamal would go for half an hour walk regularly in the evening.

Mr. Nand Bindrani, also shared views briefly about his father in same documentary. “Dada was a great writer and poet. This we realize today while reading his literary works. His demise was a great loss to Sindhi literature. Sindhi literature would have been at its height if Dada lived longer.”

Views of Scholars

Shri Vasdev Mohi (2 March 1944 – 27 August 2021), himself a well-known writer and scholar, considered Sri M. Kamal as ‘Master of Ghazal writing’. “In my view, M. Kamal was Master of Ghazal writing, because he, not only wrote a large number of Ghazals, but he had a unique and distinct diction in Ghazal writing. He used simple but impressive words in Ghazals that would touch the heart of readers and listeners,” Late Vasdev Mohi had commented in a recorded message.

“M. Kamal kept close eye on what is happening in the society, and would depict it impressively in his poetry.”

Shri M. Kamal was Shakespeare of Sindhi Literature

Another Scholar Mr. Vinod Asudani, who had translated one of M. Kamal’s books, and six plays into English, said, “M. Kamal was a great creative genius.”

“M. Kamal was the Shakespeare of Sindhi Literature who authored 40 plays and over 800 Ghazals, ever any other Sindhi writer has written,” he said paying tribute to M. Kamal.

“He should be known all over the world being a great man of letters. It doesn’t make any difference if he was a Sindhi writer, as most of the great writers of the world wrote in their own mother tongue, and their works were translated later in other language,” Mr. Vinod said and exhorted the younger generation of Sindhis to read the literary works of stalwarts of Sindhi literature like M. Kamal.

“M. Kamal had his own diction in Ghazal writing that reflected the socio-cultural aspects of Sindhi society in post-partition era,” Mr. Vinod Asudani said.

Literary Work    

Here is the list of some of the books of M. Kamal.

Sindhi Poetry: Nind Ain Jagh; Jhuriyal Jeeo; Gharandhar Barf Ja Naksh; Roshan Rahoon; Punjah Ghazal; Baah-Ja-Waris; Meranjhiro Thak; Soch Ja Pachha; Ujayal Laher; Sahmiyal Sham; Sojhro Sham Jo; Bini Pase Bahiyoon; Manu Mure Hi Natho; Aakhree Dham; Likayal Jagha; Hik Baraat; Larkhariyal Laat; Choond Ghazal; Bas Gano Thiyo.

Sindhi Drama: Municipal Councilor; Natak; Machis Kithe Aahe; Khoto Sikko; Khush Khabri; All India Police Station; Fram me Marhiyal Shaksh.

 Posthumous Publications

Inheritors of Fire (Baah-Ja-Waris, a Sahitya Akademi winner book translated by Dr. Vinod H. Asudani)

Budhijeevi (Collection of Experimental Dramas translated by Dr. Santosh Motwani)

Agneepath (Collection of Sindhi Poetry & Ghazals translated by Smt. Geeta Bindrani)

1. Kamal (Contribution to Sindhi Literature by Dr. Jagdish Lachhani)

[Acknowledgement: I owe thanks to renowned poet and artist Mr. Nari Lachhwani of Hirdaram Nagar, Madhya Pradesh who helped me to contact Mr. Nand Bindrani, who shared website link, video links and some pages from the biographical book of his father]   

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Source of material and photos: M. Kamal Website, material provided by Mr. Nand Bindrani, different video links and link of books 

The post M. Kamal – A Legend of Sindhi Literature first appeared on Sindh Courier.

By Kirat Babani

I have no big claim to make about a great tradition of humour in Sindhi literature. Perhaps it may be the case with other Indian literature as well, since humour, as a distinctive form of creative art is relatively a modern phenomenon.

But this does not suggest that Sindhi literature is barren of elements of good humour. Sindhi prose is of recent origin of which I shall speak later. But Sindhi poetry is rich and ancient. The triumvirate of Sindhi classical poets – Shah, Sami and Sachal – can be counted as great poets by any standard and cane be enumerated in the galaxy of great Indian poets. Thought their poetry is more of mystical than worldly content their writings are sprinkled here and there with social satirical references.

It is really a striking coincidence, that the first literary prose piece in modern Sindhi literature was humorous (The author remains unknown) “Wanhye ain Walhe ji Akhani” (The story of the rich and the poor man). It is a piece of lively musical alliteration, where every word invariably begins with ‘vao’ (w0. This is a fine specimen of the humour of words.

In this period many stalwarts rose on the literary scene, but prodigious among them was Mirza Kalich Beg, a highly placed civil servant in the Sindh government, endowed with an extraordinary bent of literary mind. He did not leave any subject under the sun untouched. He was a liberal, enlightened, and an unorthodox intellectual, who reacted sharply against the dead weight of the traditionally conservative class of Muslim priests, who stood as obstacles in the path of new awakening and social progress in the Muslim society. He poured scorn on them in satirical verses:

If piety means wrapping one’s body with a woolen shawl,

Then the Lamb surely would be placed at a higher pedestal.

If adorning a long beard meant symbol of priesthood,

He-goat would rank higher in the order of hierarchy.

Two more stalwarts Bherumal Maherchand and Parmanand Mewaram, contemporaries of Kalich, though inclined to an academic approach, occasionally dipped their pen for lighter moments. The former has written at least two short plays administering humourous treatment. One is about those crafty cloth-vendors, who used to load themselves with heavy cloth bundles like donkeys and roam the streets, defrauding the gullible simple women folk, through their tantalizing and wily tongues. And the other is about the tyranny of the hated social custom of dowry.

Also read: Post-Partition Sindhi Literature in India: A Historical Overview

Parmanand was another voluminous writer, who adopted predominantly a lighter vein of writing. “Chuckle you must, but prickle he will” style of Parmanand became very popular. He spun tit-bits, fables and anecdotes to bring home unpalatable truths to his readers with pleasurable wit and enjoyable humour. Being a social crusader, he loaded his writings with moral overtones. His writings appeared in his magazine ‘Jyot’. He compiled them in four volumes entitled ‘Dil-Bahar.’

The next phase of literary efflorescence comes with the advent of two outstanding modern poets on the literary horizon of Sindhi, namely Kishinchand Bewas and Lekhraj Aziz.

‘Bewas’ wrote three short plays, the outstanding among them being “Porhe Jo Parno” (Wedlock of an Old Man) a biting satire on a lustful aged man, who chooses to take in wedlock a girl, young enough to be his granddaughter.

Poet Lekhraj ‘Aziz’ went a step further to try a full length play ‘Mr. Majnu’ in humourous style, perhaps the first of its kind in Sindhi. He treated the modern them of the young generation, turning to roadside Romeos who fancy themselves as immortal lovers, but burst out at the first prickle. It is a satire on the present day cinema, which is turning out such fake Romeos by the dozen.

Before I close the pre-partition period, I must not fail to make a mention of names of two outstanding dramatists who also made a considerable contribution to this genre of writing, those of Prof. M. U. Malkani and J. N. Nagrani. The former is known as the pioneer of modern day one-act plays in Sindhi and his contribution in that branch remains unsurpassed till date. Of the numerous plays he wrote, only tow have been treated in a humorous style – ‘Tea Party’ and ‘Ladies Club’. Both of them bear English titles even in the original. The first one is a beautiful satire on the imitative tendencies of the middle class college – going girls, who take pride in their eagerness to out-smart others and ultimately come to a sorry end of exposure by ridicule. The play was a roaring success on the stage and it has been repeated innumerable times. The other play is about the proneness to gossip amongst society women, who seek perverted pleasure at the cost of their own sex, by spinning juicy stories of scandalous nature in the cozy corners of the clubs. He has hit hard the so called forward looking and “liberated” women, who are quite modern in their make-up, but so utterly crippled in their mind.

Nagrani believes in creating fun for fun’s sake. Farce is his forte. In Sindhi, he is known for his ‘Gamto’ (fake) series. He has written more than a dozen farcical short plays, caricaturizing a doctor, a politician, an actor, an editor, a film producer, so on and so forth. His effort is to unmask those individuals in these noble professions, who by their greed, cunningness and sometimes out of ignorance prove to be not the benefactors of humanity at large, but a curse on the common folk. He exposes their clumsiness, ridicules them and evokes great laughter. He has brought out some of his plays in a book form entitled “Chowrangi”. His plays remained a craze on Sindhi stage for a long time.

The great poet Parsram Zia was perhaps the first representative of such an unmatched jolly spirit of the Sindhi people. To provide a cheer to his people, he began to compose poems on day to day woes of the camp life in a lighter vein under pen names ‘Sipahia Ja Sukhana’ (Pearls of a Soldier) and ‘Sigretai Ja Soota’ (The puffs of a smoker). These humorous verses brought a little hope to the hopeless.

Even the rigours of the camp life he humorised in beautiful couplets to relieve the grimness of life:

Our shoes are worn out in the mountain terrain

We shall have to buy ourselves shoes made of iron

The Mother of ‘Pohu’ is cursing the heartless leaders

While washing the dirty clothes by the river side.

‘Zia’ was again perhaps the first one who introduced an element of political satire in Sindhi literature. In many of his poems, he has exposed the sheer cruelty of the power hungry politicians and their total lack of understanding of the human aspect of the tragedy of partition:

How generous are our leaders!

What an enjoyment they have plated for us!

If ‘Kher Sahib’ were to pass a night here,

He would make the dilapidated barrack his permanent abode.

The leaders were preaching the Gandhian morals and the poet cried out; about the black market:

Falsehood in business is moral

To adulterate milk for infants is moral

Let people go naked

To conceal cloth is moral

Then came the new generation of young writers

Anand Golani among the younger generation was in the initial years prolific. His style all through has been humour-oriented and even the most serious of his writings have a fine touch of humour. He has written over a hundred stories and his subjects have been varied. He can pick up any small incident from the roadside or a happening in the office room and humorise or satirise the oddities of life.

One of the collections of his short stories is entitled ‘Raniyoon’ (The Queens) perhaps because almost all main characters in the stories happen to be female. You will taste all hues of humour from the bitterest satire on the tragic aspect of the post-partition political situation (Khodro – Name of a refugee character) to the loudest category of humour (Tin . . . . Tin . . . . Tin) on the triviality of human nature.

Another young writer whose writings are predominantly humorous is Late Dass Talib (his real name being Gagan Bijlani). He started writing one-act-plays for stage and radio. His writings also fall in the category of broad humour, taken after J. N. Nagrani. But he imparts a little more refineness in his treatment in comparison to Nagrani, who created invariably comical characters and loud situations. ‘Talib’ wrote a novel entitled ‘Madari’ (Juggler) wherein he has treated the theme humourously.

Jeevan Gursahani an outstanding dramatist of Delhi has also touched the same aspect, yet in a subtler manner in his one-act play ‘Neelaam’ (The Auction).

Late Harikant Jethwani was yet another dramatist of repute, who has established himself as a good humourist. He had treated the above theme in one of his short plays entitled ‘Koee Achno Aahe’ (Someone is expected)

In the same context, Popati Hiranandani’s short story ‘Chhoondeende Bera. . ‘(Selecting the Berries) can be cites as bold attempt to expose the male chauvinism in a sharp satirical style. The boy goes on rejecting the girls on pointing to their facial defects – one being long nosed, the other with sunken cheeks and the third one with a flat chin and so on. And when ultimately the choice is forced on him, he gets an ugly girl. Everyone whispers in the other’s ear that he has wedded a goat.

Popati Hiranandani a versatile writer, excels everyone in humorous prose. She is forthright in not only ridiculing the male arrogance and flimsiness, but does not spare her own sex, for clumsiness and clownish exuberance and fickle mindedness of the female.

And yet there is another aspect of the subject of marriage about which Sundri Uttamchandani’s short story later on dramatized, ‘Amulha Manikan Jo Waapar’ (The Bargain for Priceless Jewels) is quite revealing. She has torn to pieces the superfluous pride of the middle class, who vie with each other, inflating themselves out of proportion and cut a sorry figure in the end. The girl’s mother is expecting people from the prospective bride-groom’s house. She wants to hoodwink them by arranging the articles in a fake way to appear as if she has a T.V. set, a telephone, a fridge etc. but the bluff is called by the touch of an innocent child and they appear to be hollow wooden boxes covered with silken covers to deceive the guests. Many diverse subjects are treated humorously in Sindhi literature.

Read also: History of Sindhi Literature

A young writer artist Sunder Agnani has written a few humourous short plays of which two need special mention. ‘Ishtihari Shadi’ (Advertising for the Marriage) has been woven round a variety of subjects successfully. The go between (match maker) fattened at the gullibility of the anxious suitors, the fake editor exploiting the ignorance of the people and the idiosyncracies of the neo-rich are blended in dramatic sequence providing great laughter. The play ‘Naar-jo-Dhago’ (The Yoked Bull) is a political satire on the so called program of family planning under the shadow of soaring prices.

Harikant’s ‘Makaan Khaali Aahe’ (House to let) has an interesting theme and has provided good comedy on stage. A landlord rejects every prospective applicant by putting absurd conditions to sublet a room and then there is the crowning irony. When ultimately he concedes to let out the room to a young man, it turns out that he has enticed the big-man’s daughter and was in search of a shelter.

Poet Moti Prakash’s multi-problem well-knit play ‘Parde-Agiyan-Parde-Puthiyan’ (Before the Curtain-Behind the Curtain) can be cited as an outstanding effort in this branch.

Lakhimi Khilani and Teckchand Mast among the younger generation of writers have made a considerable contribution in the recent times to this field. Lakhimi’s pen is more mature and refined. Apart from a few humorous short stories, he has published two short novels of comparatively good taste and quality. “Hai Muhinjee Dil” (My Poor Heart) is combination of both humour of character and humour of situation. The story is woven round the jolly college hostel life, wherein the naughty students give themselves a field day, playing pranks on their classmates and the professors, who become targets of fun and tomfoolery. The practical jokes played with the fellow hosteliers and the professors sometimes border on cruelty or indecency, but that is, as it is.

Teckchand Mast has published three books of his humorous writings of which tow are collections of skits and sketches, woven round, either some comical characters or day-to-day incidents picked up form real life that affords enough material to reveal the ugliness hidden behind social incongruities or political absurdities, we often come across. Some sketches are indeed enjoyable. His novelette ‘Shadia Ja Ladoon’ (The Allurement of Wedlock) is a light entertainer revolving round a queer character, who starts with fondness for wrestling, as a devotee of ‘Hanuman’ (God of Celibacy) and ends up into a hen-pecked husband, dancing at the tune of his wife.

Hari Himathani has also brought out his humorous sketches in a book form entitled ‘Bhanga Ja Ranga’ (The joys of Intoxication) which contains some very good character sketches that reveal much that is rotten in human character. At times he passes into unkind humour, but in certain cases it is innocent humour more particularly depicted in a lively sketch – ‘Grandpa’s Cot.’

Lastly I will mention two more poets from the younger generation of writers, who have tried their hand at humorous writing. They have also selected drama as medium of expression.

Vasudev Nirmal has done a great deal in enriching Sindhi dramatic literature throught translation of good dramas from many other languages. He has given an original work ‘Ladey Ladee Aandi, Para . . . 1999’ and has written quite a few one act plays and skits more particularly in humorous tone. The very titles of his collections of one-act plays are revealing ‘Bora Achi Mirya’ (The Deaf Have Assembled) and ‘Sasu ri Sasu’, ‘Bina Deti-Leti Shaad’ . . . . He takes subjects from domestic life and creates pleasant humorous situations. His dialogue is pithy and entertaining. He has provided plays for children’s theatre providing knowledge to children, published as, ‘Amma Tokhe Khabar Aahe?’

Kamal another poet turned dramatist has in recent times written more than half a dozen humorous plays, that have been very successfully stages and won for him praise as a humourist. His well-known one act plays are “Shafa Khana” (The Dispensary), “Municipal Councillor” and “Neem-Hakim” (The Quack). The first play depicts a fake doctor, who fleeces the ignorant people, the second is a caricature of a person, who is madly aspiring to become a councilor and is ultimately cheated by some crafty so called vote catchers.

Gordhan Bharti is a versatile writer, who has tried his hand at every literary form and has established himself as an outstanding poet at that. His aptitude for humour is enormous. He has specialized in humorous marriage songs meant to be sung in solo or chorus and even dramatized them to be put on stage in action. Some of these humorous songs have been recorded (HMV) and are very popular at marriage parties and such other occasions for fun.

Rocho Khabi is fantastic in this realm. He is known as a readymade humour spinner, because he has written thousands of poems in lighter vein and remains unsurpassed at that. Though very often he has takes to loud humour but at times fine elements of wit and satire bristle out. His perception is so sharp that he can put any little happening or idea to good for laughter. Just one specimen:

There is queue for ration, queue for Bhashan

There is queue for voting, queue for shooting

There is queue of gluttons, queue of sycophants

There is queue of rapers, queue of cheaters

Before the doctor, there is the queue of the dead,

And before “Khabi” a queue of the debtors.

SINDHI POETRY is not lacking in serous touch of satire and humour. Krishin Rahi, Sugan Ahuja and Arjan Hassid have given some of the finest specimen of political satire. Rahi’s ‘Aaram Haraam Hai’ is a lavish satire on those who play cruel joke on the simple toiling masses by preaching hard work while rolling in luxuries themselves. He lashes:

Rest is sinful, work hard, work hard

This is an insult to me, an insult to you

And to all those country men

In whose life rest and sleep is already denied.

_______________________  

Kirat Choithram Babani AKA Kirat Baban (January 3, 1922 – May 7, 2015) was a writer, journalist and progressive activist of Sindhi language and nation. He had written several books and articles, remained editor in newspapers and magazines, won multiple awards from Government and non-governmental organizations. He died on 7 May 2015 in Mumbai, India

Courtesy: Sindhi Shaan Magazine (Jan-March 2004 issue)

The post HUMOUR IN MODERN SINDHI LITERATURE first appeared on Sindh Courier.