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“Sad Generations” The war of story and imagery Novel

“Sad Generations” The war of story and imagery Novel fazil Jafari believes that it is not necessary to know the literary ideas and beliefs of its creator before criticizing or at least voting on any creation. Neither the author’s social background nor his literary beliefs should stand in the way of criticizing any work because of the currents of textual criticism that emanate from Miraji. Then there has been the realization of the fact that from Shams-ur-Rehman Farooqi to almost all the critics of Urdu that in any work of art the author presents a reflection of his social background consciously or unconsciously. As far as the sad races are concerned, one of its virtues is that it does not feel the echo of Abdullah Hussain’s literary beliefs anywhere, but on some occasions he has expressed his semi-philosophical views. In most places throughout the novel, the psychology of the characters has been analyzed in terms of their social background. The number of races would be much higher than it is today. Despite some technical flaws in the very early chapter of the kitabghar novel and the slow flow of the story in future chapters as well as the author’s inappropriate speeches in the last part, the charm of narrative in some places still keeps the reader’s attention away from these flaws. As long as the author himself does not make any technical mistake or unreasonable imagery to break this spell. The study of sad races is like traveling on a stormy and dark night when intermittent lightning flashes travel a long way and the traveler wishes that this lightning would always shine forever. Can only invent a few sentences to describe the sunset scene and for that

It is also a condition that they be an integral part of the story. 

Abdullah Hussain may not have seen these words of Bedi, but in the sad generation he has focused from the beginning to the end only on the narrative narrative and as far as the concentration of the story and its centrality in fiction is concerned. In sad generations, storytelling is secondary to imagery. Imagery is not a defect. It is through this that the author forms his desired area or era in the story and if it is not, then even in the best story. The charm that keeps the reader gripped by itself cannot be created, however, it should not be the case that after every half a row, two pages should be devoted to imagery, and even for minor and minor incidents, all attention should be focused on the imagery. Be given One of the disadvantages of doing so is that the reader’s mind becomes entangled in the scene instead of moving forward with the events. It has to be said that if its imagery is separated from the sad races, then the thickness of this novel will be less than half. Abdullah Hussain, on the other hand, knew the art of writing interesting prose in any case and this quality of his is evident only in the narration of scenes. At the beginning of the novel, there is a description of Roshan Agha’s invitation to the palace or Naeem’s participation in the First World War and his brief stay in Cairo, France and Sir Kat Camp or a literal depiction of the captivating scenes of these cities.

Silently in the light of the sacred fat in the garden of the bright palace

Food was being eaten The tall white trees stood still. Beyond the tables

A fountain was silently gushing water in the dark. Naeem raised his head from the meal

Seen The whole atmosphere was magical.

The sun was shining brightly in the Egyptian sky and the earth was as dry and hard as the years

Have not seen the shape of water. The race course was in the shape of a very large circle with three

The camp was spread over a quarter of the area. To the south were brown, dry, rocky hills

Whose stones had been inclined to the constant heat of the sun and rapidly blackened, and had the same color on them

The mountain goats used to graze. Cairo was spread to the north and west

Bedouin donkey carts and camel carts dressed in rustic Arabic costumes on wide paved roads

They used to sell vegetables and milk. To the east was the desert and the shining sand

There were mounds behind which the sun shone every morning on Cairo and on the race course camp.

And tired, dusty, tired soldiers would rise on their faces

This and many such fine examples of imagery are found on every third page of Sad Generations. Abdullah Hussain has used them frequently but the reader reads the novel only for the sake of the story and the unavailability of the story. His nature becomes cumbersome.

The geographical background of the sad races covers Delhi and Roshanpur as a whole, but in some places Calcutta and finally Lahore and its environs are also presented as background. All major and popular Urdu novels have a tradition of clearly presenting the location of the story, but in the sad races no external information has been provided about them other than the names of the areas, which has led to the location of these areas. To be better understood. If the novel had the name of Madras and Meerut or any other city instead of Delhi and Roshanpur, it would not have made a clear difference in the overall impression of the story. The other thing that is more important to me is that fiction cannot be fiction unless the flow of time is neatly presented in it and in a novel time is more involved than fiction, according to Fazil Jafri. “In short, time is identified by its attitude towards fiction while in the novel, time itself is the character” (1). Flows on the chest of time and finds its surface . That is, the flow of time or time is necessary for fiction in any case. Has made successful attempts to break the historical traditional mythical structure of Intezar Hussain is our only fiction writer who completely integrates the past with the present. They do not confuse in temporal time, here the story travels on its historical letter. As far as Abdullah Hussein is concerned, he has scattered the whole story of sad generations from the first decade of the twentieth century to some time after the partition of the country. Forty-five years of time gives a great canvas to any novel in which the novelist can very easily and skillfully present the flow of time to the reader. It does not seem to be moving forward again and again. The author himself informs the reader that five years have passed now or six years have passed today or his marriage will be three years tomorrow and so on. In this connection, the name of God’s town comes to mind. There is very little time span of God Basti among the sad generations, but the example of Shaukat Siddiqui’s artistic skill with which he has kept the time period of only four or five years in the whole novel, is found in very few people From a great fiction writer like Abdullah Hussain, the reader does not expect him to stand up again and again like Munshi Parin Chand or Sohail Azimabadi and start his speech and he has to sit holding the hand of Baran again and again. In fact, it is common for all writers who are influenced by Idealism to make speeches in their writings. The things that are left out of their correctional articles, they somehow bring in their stories and call it a verbal character. I do not want to add my name to the list of nonsense by denying the social and correctional services of the objectivists. Abdullah Hussain was not an idealist at all, but in the last part of the sad generation, he himself descends into the novel. Dr. Ansari, Anis-ur-Rehman and the role of the old professor during the migration are all incarnations of Abdullah Hussain who is born in the novel as required for the extraction of his semi-philosophical idea and unnecessary and long speech without palace. Let’s start. Apart from them, the main character of the novel is Naeem who does not engage in philosophical discourse anywhere in the novel but after passing one third of the novel, the semi-philosophical spirit of Abdullah Hussain gets embedded in his body and he thinks the same and Says what the author wants. Despite Naeem’s attainment of Nirvana after passing through the age of heart, his detachment from life during the migration and finally being killed by the rebels does not in any way correspond to the nature of a person who has attained Nirvana.

“What do you base your imagination on?” You can’t put imagination into action without a reason. The mind and the thoughts

You need more than luck to succeed in affiliate business

You can think and save your mind from destruction. Thoughts are based on nothingness

Can’t put on If you ever do that, your thoughts will speed up instead of moving in a particular direction

Will scatter here and there and shatter the brain.

Anis-ur-Rehman’s speech is almost double that of Dr. Ansari’s speech. See also his words. It is so useless and this feeling is very frightening.

We walk, floor to floor, face to face, talking

On the other hand, even if we get tired and sad and peace disappears from our heart

Is. Then the desire for silent forests arises.

And look at the sayings of the old professor whom Naeem meets during the migration.

“Before that there were ideals and there was wandering. If I were to describe in detail, you would say that it is wandering

Was life But no, that was just wandering. I found out much later. Ideal Original and correct

Ideals are formed in a completely normal state. In the minds that are strong, great and senseless

There are those who have only imagination and have highs and lows. People on whom someone

There is no pressure.

These eloquent statements of Dr. Ansari and Anis-ur-Rehman are still acceptable as they both express these views while talking to Naeem but there is no justification for the words of the professor. He is uttering such philosophical words at a time when the senses of those with the strongest nerves are weakened after seeing something lying in front of their eyes. Apart from these characters, most of the characters of the sad races are quite natural and Presents practical pictures of ups and downs. Ezra Colonial is a symbol of a woman in the landlord system of India whose psychology has been presented in great detail by Abdullah Hussain. In fact, the whole Roshan Mahal is a symbol of the landlord system where people want the welfare and freedom of the country on the condition that their own home be protected from the flames of destruction. Niaz Beg is a symbol of a pure farmer who spends his whole life just caring for his house. Although the roles of Ali, Najmi, Pervez, Khalid, Masood etc. are not very important, they are complete in their own right. Of course, Abdullah Hussain has worked hard to improve their personality.

 

For the fiction writers of the last century, the tragedy of Partition of India and the formation of early Pakistani society and its psychological background have come to the fore in the form of a great artistic experience. I have used it directly or indirectly. In the last parts of Intezar Hussain’s “Basti” and Qara-ul-Ain Haider’s “River of Fire” and in Shaukat Siddiqui’s “God’s Basti” the formation and psychology of this early Pakistani society has been analyzed. The good thing is that these people have seen this new society not with any ‘ideology’ but with their own eyes. As far as the sad races are concerned, this novel started at the beginning, ie Abdullah Hussain started writing it after studying the psychology of this new pakistani society for full nine years but he was the only one in this new pakistani society. He could only describe the psychology of the family who migrated from the ‘Roshan Mahal’ of Delhi to the ‘Raj Manzil’ of Lahore and for that too they are satisfied with only ten or twelve pages. The structure is left out of the narrative, which could have added to the subcontinent, albeit not the universality of the novel.

Best novel faiz and loneliness

Best novel faiz and loneliness when the snare of poetry enters its siege and the wave of sarsari carries it wave by wave, when does the heart want to get out of this condition. Breaking this magical silence with a conversation is like scattering flower petals instead of enjoying the beauty and fragrance. Speaking or writing on Faiz’s poetry is like scattering petals.

Then why am I writing on Faiz? Perhaps I would like to come out of this trap and see the grace that was an extraordinary human being in his own right, who was a true intellectual both intellectually and practically, who maintained human dignity even in the worst of circumstances and the same of knowledge and wisdom. Stay on the level where only the truth is written. Faiz did not apologize for his pen and written words. Not from anyone, not from the elders, not from the contemporaries, not from the readers.

This wisdom is expressed in poetry, and with the condition of a true poet, it also creates some dimensions from the light of thought, where poetry becomes inspiration. Such poetry is free from the bondage of language and place. We are talking about the spirit of the age. novel in urdu says this soul is not present in modern poetry, then it remains nothing but lifeless words. It neither awakens the mood nor shakes the mind, nor does it evoke the invisible atmosphere that requires a great deal of art to feel. How poetry enters an invisible atmosphere is difficult to grasp. Just read Faiz’s poem and enter this siege.

 

From the heart will be the dead thing again, O heart, O heart

This is the beloved of loneliness

This is a guest for an hour, will go

When will this cure your love?

The savage shadows will rise in anger

It will go away, the rest of the shadows will be left

All night long your blood will be bad

War is over, no game, O heart

Enemies of life are all, all killers

This hard night too, this shadow too, loneliness too

There is no similarity between pain and war, O heart

Bring on the flames

Where is the flame of rage?

Where is that burning flower?

There is heat, there is movement, there is energy

There are two salient features of Faiz’s poetry. Resistance against imperialism and the system of exploitation. The love that is from the living lover. Romance is involved in both. In this way, the two sides are not divided into cells, but are connected to each other in most of the poems. So their resistance also seems very natural. Then they have their own dictionary which is the same in all kinds of emotions. Whether it is the bitterness of the situation or the sweetness of love, poetry and aesthetics are present in his poetry, but a very beautiful combination of the two can be felt.

 

In many such poems, he also addresses his beloved. His poetry transcends the scales of internal and external, and his belief in everything he writes involves his inner truth and sincerity. Thus, his poetry does not become a spot statement or slogan. For example

This stain is lightened, this night is enchanted

That was the wait, not the magic

This is not the magic you desire

Gone are the days that will be found somewhere

In the desert of the sky, the final destination of the stars

We became strangers after so many orbits

Then after many meetings they will become acquainted

In the poetry of Faiz, the depth from which the external sorrows emerge from the inner world, is the effect of the magic that awakens the poetry.

 

Faiz, who read in a very simple way, had a profound effect on the listeners. Faiz’s poetry is as influential in secret as it is in listening. Where did the intensity required for influence come from in Faiz’s poetry and how did it come continuously? An in-depth study of both Faiz’s poetry and prose is necessary to understand this mystery. Will the blessings still be fully revealed? Although much has been written about them. He has also written about those who have spent night and day with him and also those who have only seen, heard or read him.

 

Some things are written equally by everyone. Faiz spoke very little. He seemed satisfied in every situation. A faint smile was always on his face. No turmoil, no anxiety seemed to emanate from their caste. Faiz who was a poet, Faiz who was an intellectual. If his identity is revealed, then there is not only one dimension in his writing and poetry. If there is only one aspect, it is journalism. A major aspect of poetry is the poet’s own existence.

 

The canvas that emerges on the canvas, like a three-dimensional picture, is the poet’s own inner self. Faiz’s poetry is great poetry because in it all the colors are emerging on the canvas of his existence which simultaneously affects the heart and mind and also awakens the mood. Whether it is of happiness, of sorrow, of optimism, of despair, it keeps its reader under siege. In this siege of condition, the poet is completely alone when he suffers and writes. If I am confused about my point, then read Faiz’s poem “Loneliness”.

 

Loneliness

Then someone came to heart! No no

Tere will be a way, it will go somewhere else

Dark night, the dust of the towers began to disperse

Dream lamps began to stagger in the halls

Every passerby up to the sleeping path

Stranger footprints obscured by alien dust

Blow up the candles, increase the wine and the enamel

Lock up your sleepless doors

Now no one is here, no one will come

 

This article is not on this poem “Loneliness”, nor do I consider Faiz to be a loser. I consider Faiz to be the great poet who has incorporated every experience he has into poetry in such a way that it affects every sensitive individual and thus becomes a part of the collective consciousness. The sufferers and the sufferers live in the same society. Those who write under the pressure of circumstances write both of them. They also challenge the tyrannical forces that are spreading darkness.

 

We also invite the oppressed and the oppressed who are ready to accept this darkness. But how many people come forward to support the writer? Think, count. It is a matter of mixing voices in the sound of slogans, sitting in a ceremony and praising, but in the lonely corner in which that poet, that intellectual is writing sorrows scattered around him, who is there?

 

Except for his loneliness. Faiz has endured this loneliness all his life, whether in the form of a prison in his youth, in the form of exile in his last years or in the form of the silence of his compatriots while living in his homeland. Even if they talk to whom? Those who could only shout slogans, utter eulogies and then turn to those who support the forces of oppression. Faiz was a very sensitive poet. He wrote:

 

Others did not leave any navigator

 

No less reprehensible than your own Faiz had made his loneliness his strength. He kept himself locked in it all his life but he was not unhappy about it. He had this understanding which he wrote in his letter. “Sorrow and unhappiness are two different things. It is quite possible for a person to endure sorrow and be happy.” He lives because his pain is not cured by dying but by living. That is why he has been given the look that he can see beyond his own caste and beyond his promise. With this, every suffering is being borne.

Both were sad in the hope of enjoyment

You and your party, me and my loneliness

See Faiz’s thoughts in one of his letters:

 

“Before we went to prison, we thought captivity was a brave and lofty thing. Now it turns out that there is no article of courage or high morale in it. There is only pain and indescribable pain and the right feeling of this pain, I got from a captured bird of prey which we have been taking care of for some days. This is a small thank you that arrived at our bathroom a few days ago and was grabbed by our servant prisoner; that evening he somehow got out of the basket and flew to a tree in our yard.

 

His rope became entangled in the branches; his leg was broken in several places. Now he can neither fight nor hunt; one day his voice, which used to kill birds, sparrows and hawks, now they gather around him and laugh at him with one voice. And what are the voices? We see that the proud, shining eyes of sugar are blurred with pain at this humiliation. Birds can’t cry, but it fills the heart to see the helplessness of this helplessness; it will probably die in two or four days. ۔ It is only man’s destiny to live with his pain and his wounded heart because the cure for his pain is not death but life. That is why the faith and the vision that can be seen beyond its essence and beyond its covenant has been given In these words of Faiz, one can recognize the intellectual who looks beyond his age, whose sensitive existence is dissatisfied with his age. He wants change and is committed to paving the way for a better future. When his thoughts are expressed, he becomes a threat to the reactionaries. There are conspiracies against it and the common backward minds become allies of the reactionaries.

 

In such a case the intellectual becomes lonely with his truth. Being alone does not mean that he is alone. This loneliness can be in the company of a few people and even in a crowded place. The situation of Faiz Sahib’s personal loneliness has been described in great detail by Major Muhammad Ishaq, who spent months and years of captivity with him under the title “Rudad-e-Qafs”.

 

Faiz Sahib was imprisoned on March 9, 1951 and released in April 1955. Thus the days of their captivity become a little over four years. During this period he spent the first three months in Sargodha and Lyallpur jails and then till July 53 in Hyderabad (Sindh) jail with the rest of the prisoners in the Rawalpindi conspiracy case. In July 1953, we were all divided into small groups and sent to Lahore, Montgomery, Machh (Balochistan) and Hyderabad jails. For Faiz Sahib, Montgomery Central Jail was chosen along with my Captain Khuzrahiat, but since he had gone to Karachi for treatment, he went to Montgomery in 1953.

 

Staying together from here. I was arrested in May 1951, about three months after Faiz’s arrest. That is why God’s people kept hearing whispers. During this time, Faiz Sahib was not allowed to meet his close friends. Nor could he write to anyone. There were all sorts of rumors about him and weird weird tales about how he was treated in prison. When I first met him in Hyderabad Jail, I was satisfied. The same smiling forehead, the same shining eyes, the same Gautami smile whose light was spreading everywhere, and then that world-conquering love, which Listen and feel this experience from Faiz too:

 

Everyone in Bazm was happy with the milk of Sarbzam

Enlightenment burned us in vain

Feeling we have ‘Run out of gas’ emotionally

The mosque did not keep us confused

Knowing all, seeing all, understanding all, suffering and not compromising is the identity of an intellectual. The sorrow of awareness is the destiny of those who continue to enjoy grace and keep writing.

What was it like to change clothes?

Faiz never gave a respite

 

If Faiz did not change his clothes, then the chalk of an entire era was reflected in his poetry. This covenant is not limited to the geographical boundaries of any one region, it is not limited to borders, languages ​​and nationalities. It is the pledge of a creator who shares the thoughts of his contemporaries. Who feels their pain in every corner of the globe where people live.

 

Appreciates their good deeds, is depressed over their bad deeds. Beirut, Palestine, Iran, Chile, Russia, Faiz has loved the people of every country, befriended their poets and writers. Read his writings and join his caravan to fulfill his promise. It was this companionship that made modern thought a part of his speech. He writes:

In the company of rich people of speech, many new passages of expression, many new forms of lyrical speech kept appearing in the mind which kept provoking them to turn into poetry. For example, an attribution poem that was written from time to time for several months, some of it was closed in Moscow, some in Sochi, some in London and some in Karachi. This poem actually came to mind from the company of Pablo Roda and was written in his memory. “Rang hai dil ka mare”, “Ahastha” and one or two poems are a reflection of Nazim Hikmat.

Faiz himself has said what he had to say about himself. With great ease, he expressed such universal feelings that his poetry did not need to be interpreted. Read, feel and enter the siege where loneliness feels good

Best novel by Agha Shorash Kashmiri

Best novel by Agha Shorash Kashmiri

Best novel by Agha Shorash Kashmiri  he was a famous poet, journalist, politician and orator of Pakistan. Agha Shorash Kashmiri was born on August 14, 1917 in Lahore. His real name was Abdul Karim, but Agha Shorash became known as Kashmiri. Agha Shorash Kashmiri was a collection of personality traits. He was a master of journalism, poetry, rhetoric and politics. Agha Shorash was born into a middle class family and barely matriculated. Your political-scientific-literary training begins when the newspaper “Zamindar” comes to your house and the movement of Shaheed Ganj Mosque was halfway through. Abdul Kareem was already full of enthusiasm, he was a proponent of rebellion and freedom, he was a swordsman, he used the pseudonym Ulfat and had started a revolt in time Ali Khan was. The movement was Shaheed Ganj and the spirit of insurgency was the jinn of doing something. Maulana Zafar Ali Khan’s politics, journalism, rhetoric and love of Khatam-un-Nabi Agha became embedded in the mood of rebellion, mixed with blood.Visit best urdu novel

 

Insurgency is now considered the unique preacher of the subcontinent. The whole of India became known by his name. Agha Sahib became a political figure while the Muslim League was striving for a separate homeland. At that time, Agha Shorash had joined the elected leaders of the Kashmiri Majlis-e-Ahrar. He became the editor of a daily (Azad) of the Majlis but after the formation of Pakistan, Agha Shorash remained in the field till his last breath for the survival and stability of the beloved Kashmiri homeland. The Agha had become in the mood for insurrection, sharply criticizing the wrong policies of the rulers and presenting his point of view in a forceful manner with arguments.

The Movement for the End of Prophethood was a great asset of Agha Sahib’s life. During his political struggle, he endured the hardships of Omar Aziz’s precious twelve and a half years of imprisonment with generosity and dignity. He was not in Tehreek-e-Pakistan but his services in building Pakistan are unforgettable. Whether it is the stage of constitution making in Pakistan or the revival of democratic values. Whether it is Pak-India war or martial law in the country.

 

The insurgency will be seen as a patriotic leader standing firm in the field. Qadir al-Kalam was the uncrowned king of the political stage of the field of journalism. In 1946, he was made the secretary general of Majlis-e-Ahrar-e-Islam. And his scholarly, literary and political journal Chitan is undoubtedly an excellent addition to Urdu literature.

Dr. Syed Abdullah, Ehsan Danish, Sardar Allah Nawaz Khan Nawaz Durrani, Hameed Nizami, Majid Nizami, Shaheed Hussain Suhrawardy, Maulana Abu Ali Maududi, Mufti Shafi Usmani, Zulfiqar Ali Bhutto, Nobzada Nasrullah Khan and others in the circle of friends of Agha Shorash Kashmiri. Others included: “Faizan Iqbal”, “Faces”, “Pen Faces”, “Speaking and Not Talking“, “Art of Speech”, “In this Bazaar”. Shorash Kashmiri met Khaliq Haqiqi on October 25, 1975 in Lahore, Pakistan. check here

 

Selected words from Iqbal

  • Tomorrow in the atmosphere of Quds before the morning call
  • I saw some familiar faces, we are drunk
  • There was Sheikh Mujaddid Hum Kalam from Hakim Sharq
  • Listen to all the wise men of knowledge
  • Bawalkalam Azad was dominated by busy speech
  • Mir and Momin point to contemporary ghazals
  • Slightly different from the shades of pink branches
  • They were the sons of Waliullah
  • In the shadow of the standing cypress were the mullahs
  • Whose sayings contain verses
  • The present dervishes were lost in thought
  • Shibli Ahad Afrin, a closed circle
  • I went to Murshid Iqbal and asked him this
  • Do you know about the thirteen fortunes or not?
  • He said with a broken heart, “I know.”
  • The eggless egg is the sleeve kingdom of Piran Haram
  • In the name of God and Mustafa
  • Now there is no one on the path of God and Mustafa
  • Now Kyrgyz are laughing at Shahbaz’s honor
  • that is the capitalism of the believer
  • More than that, what a revolution of thought and action
  • this land belongs to Allah, not to the kings
  • Who can explain the constitution in the dark night?
  • Alas, the believer himself is deprived of certainty I am doing this ugly duty
  • O Lord of Glory, goodness of superiority
  • Now I am praising the oppressors
  • Faqih city is angry with Murree Nawa insurgency
  • But I am doing what I am doing
  • Life has passed here in this tension
  • Like a thirsty man passing through the desert
  • Thus bitterness increases with days
  • As Dashnam has passed on dear ones
  • This is how friends betray and leave
  •  if they have gone through every path of gain and loss
  • Even so, owning one is still beyond the reach of the average person
  • As if a foot has passed through the Ka’bah
  • We are sinners who go this way
  • A voice comes and goes
Best Novel national language

Best Novel national language

Best Novel national language: the basis of hypocrisy or the source of stability each language represents a civilization and is a cultural phenomenon. Urdu is also the name of a civilization. A civilization that unites all the cultural groups of the beloved homeland like pearls in a garland. They are wrapped in a cord of feeling. The specialty of Urdu is not only that it is the most spoken and understood language in the country, it is also important that through it the different cultural groups of the country, with their individual phenomena, interact with each other in its wide circle. Can be close, can be harmonious. Thus emerges the scenario of unity which is our national identity and our hallmark.

Politicians have their own needs and interests, bureaucracies have their own problems. They both have their own attitude towards creating Urdu as the national language which keeps creating obstacles. There has been a lot of talk about it, it still happens, so there is no point in repeating it over and over again. The common man, however, can easily understand the fact that no matter what cultural group he belongs to, his strength and interests depend on his inclusion in the national mainstream. This involvement provides him with great opportunities both socially and economically. It opens up new avenues for him by removing many obstacles. Therefore, without any confusion or prejudice, he should understand that Urdu language is not the basis of hypocrisy for him, but the source of stability.Click here best urdu novels

One of the hallmarks of nations on the path to development is that whether it is a reference to their collective identity or a cultural phenomenon, it highlights their stability. This is possible only when the nation as a whole does not suffer from the disease of hypocrisy. Now what is this disease of hypocrisy? Hypocrisy is a disease that when a nation suffers from it, the relationship of the individual is cut off from its gathering. He remains a captive of his own caste. He becomes indifferent to his gathering from within, but he seems to be connected to it, but also anxious for it.

 

Hypocrisy afflicts a nation when its teachers and politicians neglect their duties and pursue their own interests. We do not need to go far to verify the veracity of this statement, it will suffice to examine our own national situation. Not only this, but also in the field of education or knowledge there is an abundance of ambitious and wealthy people.

Only thirty-five years ago, only those people were seen in this field whose nature was characterized by self-sacrifice and contentment. The purpose of his life was to spread the light of knowledge and to light new lamps of thought and consciousness. These people were not very prosperous financially, but their respect and dignity in the society was such that even people with high positions and very rich people did not stand in front of them with their heads held high. Could not

The rate at which good deeds are slowed down in a society is twice as high as the rate at which evil deeds are promoted. As a result, hypocrisy spreads like a contagious disease. At the moment, we are in the same situation at the national level. The situation is really sad, but it is also true that darkness has not yet completely overwhelmed us. Somewhere a ray wakes up, a flower blooms and cracks here and there in the darkness.

A voice comes tearing apart the snatches of indifference and a feeling of warmth runs through our national existence. The hope of life awakens again. Whoever of us has this experience and whenever, he should share it with others responsibly. It is essential for the spread of national consciousness, awareness of collective conscience and positive thinking. We have recently experienced this when the issue of national language was discussed. Many people commented or reacted to it. They included young researchers, teachers and students. How gratifying and encouraging it is to realize that in this modern world, where there are no more parrots that have spoken out about civilization, literature, language, history, and nationalism, there is no Maya’s voice is also heard. Not only is it audible, but many voices provide its gummy stuff to keep it from sinking and stabilizing.

 

Imagination on a national level is really a big thing. Because it becomes the greatest and most effective means of achieving the strength and stability of a nation. But it is also a fact that there are always opportunities for disagreement between living people and living society. Disagreement is not a bad thing, if it is aimed at the wider collective interest and reaching the best possible outcome. So if the question arises in the mind of a young person that there are less than 10% of the people in this country whose mother tongue is Urdu, then is it fair to impose this 10% language on the remaining 90%? Is?

Or if they feel that Urdu, like English, has its own elite and its own tantana, and non-speakers of the language are kept out here, or if anyone thinks that Urdu belongs to madrassas Therefore, now it is not the language of Pakistan but the language of terrorists, so we should listen to any such reaction or question with a cold heart and consider it without any annoyance. Before expressing one’s opinion, one should think about all its aspects and speak with the collective national interest in mind.

It is not correct to say that the language of 10% should be applied to 90%. Coincidentally, the census is being conducted in the country these days. New figures will be released soon. According to previous statistics, there are less than 10% of people in the country whose mother tongue is Urdu. These are ground realities that cannot be denied.

However, it should be seen that in the context of giving Urdu the status of national / official language, was its population ratio taken into consideration? Of course not. Because the proportion of such people in our country has never been seventy or eighty percent whose mother tongue has been Urdu. Therefore, numerical superiority can never be the justification for making Urdu the national language.

This can be seen not only in our country but also in many other countries where different cultural groups are found. For example, Russia, China and the United States. In all countries that are multicultural or multilingual, the national language is usually not determined by any numerical superiority. On the contrary, it is seen that the national language should be the medium through which communication between different sections of the society and all the cultural and linguistic groups is possible easily and widely.

Based on this principle, Urdu is rightly considered as our national language. From Karachi to Quetta, people in every part of the country speak and understand this language the most. In most parts of the country, people with different linguistic backgrounds do not use this language for expression and communication under any external pressure, but this process happens spontaneously.

Urdu is not popular in the country due to the power of government machinery, but because it is the easiest and most effective means of meeting the need for expression and communication at the national level. No other language spoken in the country fulfills this need so easily. All these languages ​​are respected. Their participation enhances the diversity and prestige of the national mainstream. By colliding with each other, nothing can be achieved except anarchy. Every language, however, has an elite. This is the mother tongue class which has a kind of elitism at some level. Even today in France and Germany, this language elite is also seen there. English is the most spoken language in the world today, but it still has an elitism. We have the difference between American and British English and the attitude of English speakers towards it. We’ve been a British colony and we’ve had some good English speakers and writers from the British, but they can still be seen in the historical context of British behavior today.

At one time the language of the subcontinent’s elite and power was Persian. Nevertheless, such elitism was expressed in relation to the Persian writers and speakers of India. Visit here for more info and The words of a poet like Bedel are considered as Hindi style. Not only this, with the help of Insha’Allah we are also able to get the most out of this. The purpose of presenting all these examples is simply that what is called Urdu elite and its tantra, that class and behavior is found in more or less every language.

Therefore, it is not right to be offended by Urdu on the basis of such a reference. Secondly, the time has passed when the Urdu language was “Urdu Maali”. Now it is “Urdu Mohalla”. Today it is the language of the people without any discrimination. Thirdly, Urdu has opened its heart not only to power and elites, but also to poets and Sufis. The fact is that the color of his temperament is the most prominent and dominant part of his character today. Even these facts must be taken into account honestly.

To say that Urdu is the language of madrassas, therefore it is related to terrorists, is more noteworthy. Madrassas are not here today, they have been there for centuries and not in hundreds, but in thousands. There is no denying the fact that these madrassas have played a vital role in the survival of our civilization and language in the age of slavery. He has produced great people not only in jurisprudence but also in literature, philosophy, history and politics.

Today, if some of them have become tools or facilitators of terrorists, then we must recognize them and speak out against them. All madrassas should not be sworn in. It is also important to remember that terrorism is a global problem right now. Terrorism in Afghanistan, Libya, Syria, Egypt, Turkey, France and the United Kingdom has nothing to do with Urdu. The torment of terrorism, of course, we are also suffering, but its roots are not with us, that is, they are not in our language or civilization. That is why we should not do such things for Urdu or any of our other languages. This mental attitude will lead to corruption and fragmentation in our country. It will spread hypocrisy. At the same time, for national stability, we especially need national harmony and solidarity.

It is not just a matter of Urdu, whatever the language, its nature is not to create distance, it is the essence of bridging the gap. By bridging the gaps and alienations, it allows humans to get closer to one another. Gives them the opportunity to get to know, understand and share each other’s feelings. When man invented the language, his purpose was to reach the other person like himself by crossing the horrible and deadly deserts of silence. Language has a connection in its nature, not separation.

Kitab Ghar

Kitab Ghar

kitab ghar first and most effective novel of kitab ghar is Mustansir Hussain Tarar’s novel ‘Khus-o-Khashak Zamana‘. It is the first formal postmodern novel, both intellectually and spiritually. In this first post-modern Urdu novel, where the notion of despair and alienation has been brought to the fore by capturing the political and social applications of ethnic, national, cultural and all major narratives, the intellectual elite of these narratives And the problems created by them have been identified keeping in view the violent mentality. Even the small local statements of caste and community that are thought to bring economic and political security to our group life, even in such statements they have some elite who have their own financial and Due to its political status, it reflects all the tendencies to distance oneself from the people of one’s own caste and community. At the same time, if the same ‘Chaudhry pin’ of caste and community does not succeed in adapting itself to the needs of the new age, then it gradually dies its own death. The Kashmiri community living far below the last line has been described as one who, despite their poverty, backwardness, helplessness and neglect at the social level, continues their hard work and dedication. As they thrive on low-level businesses, they become big business owners and businessmen in the cities. The most important thing about this novel is that the characters who are left for the future of humanity till the end of the novel have the likeness of a girl who is from the neglected and socially disrespectful community ‘Sansi’. Belongs and the other character is the reward, which has no confirmation of birth, ie racial, religious and cultural background which has no background

The novel of kitab ghar is “Water is dying” written by Amna Mufti. In this novel, the great narrative of religion, history and sociology, that is, man is the greatest of all creatures, compared to the natural flow of rivers and the earliest creatures inhabiting their banks, from water fairies to ghosts and insects to natural life. Haq has been sued for endangering settlement projects along these rivers. The ancient natural course of the rivers has been turned into an unnatural flow by human beings due to political and economic constraints, due to which non-human beings are in grave danger of extinction. They want a terrible world war to break out, man to be wiped off the face of the earth and once again nature to establish its monopoly over the artificial world of man. The characters of this novel, Irfan, Israr and Nazneen are busy trying to find the secret of this world and they themselves become a part of this world for a short time. The plot of this novel is quite complicated due to such untouched characters, the slightest carelessness can take the reader far away from the theme of the novel, this is the artistic quality of this novel.

Novel of kitab ghar is Anis Ashfaq’s novel Dakhiyare, in which the great narrative of Lucknow’s cultural and civilizational remains is told in the history of a semi-madman. Greater and magnificent Lucknow, which compared the cultural city of Delhi in northern India to the state’s Shia identity through literature, meetings, fairs, stalls, bazaars, squares, houses, palaces, coaches, mosques and imambargahs. Was and maintained its aesthetic values ​​from time immemorial. With the end of the Nawabi system, its decline begins. Poverty puts a price on everything from palaces to imams, but the poverty of the inhabitants of this city does not diminish, nor does it diminish their livelihood. The main character in the novel, through the elder brother, portrays the cultural values ​​of the past Lucknow in the wounded cultural environment of Lucknow, on the one hand, as a symbol of protection with a sad heart, on the other hand, in the continuous human populations around the city He has also lamented the shrinking of this city due to its exaggerated growth. The beauty of the art of this novel is that there are no complaints in the sprawling city

major novelof kitab ghar is Safdar Zaidi’s ‘Bhaag Bhari‘. This is, in my opinion, the second major postmodern novel after ‘Khus-o-Khashak Zamana’. The novel strikes at the traditional animosity, major cultural and religious rhetoric between Islamic Pakistan and Hindu India. What the two countries do in the cultural politics of their statements. The goal is for both countries to acquire the atomic bomb capability. Jihad against infidelity and Mukti against Pakistani Muslims, the two religiously motivated groups succeed in their endeavors and drop the atomic bombs of the two countries into the air to spread the news of each other’s destruction.

To save the cities of the two countries, a superpower uses its technology to divert the bombs of the two countries to the glaciers. The melting of the glaciers’ ice causes all the major and minor cities of the two civilizations to be inundated. And for some as a baby gets older, he or she will outgrow this. According to the international arrangement, the great heritage of the common civilization, the Taj Mahal, is carried one by one to England. also check  The reason for transferring this symbol of love to England is also to state that civilizations with violent religious and cultural narratives are not capable of monopolizing any symbol of love. It is a simple narrative novel but its untouched and unique story gives this novel a prominent place.

Most important novel of kitab ghar is the book of death written by Khalid Javed in which after the birth of a normal human being he is subjected to social moral pressures, ridicule of his illegitimacy or questioning of his paternity, parental quarrels. And then the separation, the consequences of parental training and lack of interest in their own special nature, the serious psychological disturbances resulting from sexual deprivation, the internal fury, the spreading fistula of hatred and revenge and the difference between desire and reality. Helplessness is included. Together they arrange for him to be taken to a lunatic asylum.

The whole story is told by Professor Walter Schiller, an archeologist, who discovered it in the form of a draft from the ruins of a 200-year-old insane asylum. It aims to raise awareness of the individual and collective aspects of social life two hundred years ago. But the story goes that even after two hundred years, there are still characters who, like the characters in the novel, lose their desire for a normal life by sacrificing the well-known social narratives of their environment. Helplessness is such that the main character of the novel cannot kill his father in spite of his strong desire to kill him, similarly he cannot put it into practice despite his strong attachment to suicide. The “book of death” is a kind of self-talk in a world of semi-insanity, which becomes a precursor to sexual and other mental and psychiatric illnesses as a result of being deprived of the means to reach reality or desire. That is why he sometimes wants intimacy with a tiger and sometimes wants to pee in the mouth of a gentleman. Ever wanted to trample women around the world underfoot? Therefore, his violent mental state is not under his control. In the Urdu novel, it was not possible to present the ever-changing mental state of a lunatic and his explanations. That is what makes this novel unique

best novel  of kitab ghar is Mirza Athar Baig’s ‘Situation of Beauty’. In this novel, the plot is divided into different headings and the artificial connection between them is deliberately kept loose so that the reader does not get lost with his own artificial unit of each heading Let me enter mentally. Mr. Baig has tried to break down all the narratives that our social relations are accustomed to in our everyday language, and through new concepts to answer questions about every scene, situation, thing or discussion. Fill in the blanks. In this way, the artificial balance, which is in line with our everyday language, creates wonderful possibilities by reshaping it, which the reader is not aware of at all, so they bring the unwritten into the easy writing.

For example, in ‘The Story of Upset Fear’, the main character of the novel sees different scenes as he gets in his car. The meaning of is formed by one’s own idea or point of view, thus the character transforms the duality between reality and idea into another possible reality. Thus the situation presented under the heading ‘Salvation from the Great Savior’ has distorted the various religious, political and national narratives on how the opposing narratives take advantage of the public ignorance against each other, which is merely Interested in cutlery sweets. The novel also contains a “round table story” whose historical journey, despite being one thing, also documents the humor and mood of its owners or holders. Similarly, the situation of film and theater has been simultaneously linked to the situation inside and outside the film and theater. This is the most unique novel in terms of technique and content

Kitab Ghar Novel Collection

Kitab Ghar Novel Collection

kitab ghar novel collection Pakistani Writers and Writers Pakistan Books Kitab ghar Information. Pakistan is a country with about 200 million inhabitants. The official languages ​​of pakistan country is urdu because mostly peoples speaks urdu. Given the difficult political and religious situation in the country, Pakistani writers and writers have made their fortune abroad, often in the United Kingdom. Often these authors from Pakistan also have a different nationality.

In the ten years from 2010 to 2019, several novels came to the fore in the Urdu world, covering topics related to political, social, domestic, historical and cultural issues. The following precautions are considered in the classification of ten of these novels:The novel should not be the story of three or four generations in a simple narrative style but should be mature and living characters.The plot of the novel should be a bit complicated so that the grip of the novelist himself fails a bit in the realm of human character.A new angle has been adopted in terms of technique and style or language or in presenting the story.Under the influence of big statements, real and emotional issues and problems of the characters have been highlighted.The existing culture of helplessness in identifying small statements has also been captured.The characters are often detested by the kitab ghar novelist’s ideology.

Characters tend to react to their ideology on any ethnic, group, national, cultural or religious basis.The presence of one or more of these features is considered essential for the classification of the following novels.

DESCRIPTION:

Writer:  Zubair Ahmad  (Pakistan)

Zubair Ahmad sorrow for Pigeons Stories from LahoreBook Type: Stories from Lahore

English translation: Anne Murphy

Publisher: Athabasca University Press

Released: July 15, 2020

Size: 128 pages.

WRITER ZUBAIR AHMED
COUNTRY PAKISTAN
PAGES 128
LANGUAGE URDU AND ENGLISH
NOVEL WRITTEN
ROMANTIC STATUS

 

 

Most well-known Pakistani writers and writers write their kiab ghar, stories and non-fiction books in English, which allows them to reach a relatively large audience. In addition, there are also authors who write in Urdu or Punjabi, the two other official languages ​​of the country. The work of these authors is less well known outside the Netherlands.

ZUBAIR AHMAD:  SORROW FOR PIGEONS NEW EDITION

Zubair Ahmad sorrow for Pigeons review and information of this book of stories from the city of Lahore in Pakistan. The English translation of the stories of the Pakistani writer Zubair Ahmad will be published on 15 July 2020 by Publisher Athabasca University Press.

Zubair Ahmad sorrow for Pigeons Review and Information

If the editors read the book, you can find the review and rating of the sorrow for Pigeons on this page. The book is written by Zubair Ahmad. In addition, information about the publication and ordering options are included here. Moreover, on this page you can read information about the contents of this book with stories about Lahore by the Pakistani Punjabi writer Zubair Ahmad.

Flap text of the book of stories from Pakistan

In this poignant and meditative collection of short stories, Zubair Ahmad captures the lives and experiences of the people of the Punjab, a region divided between India and Pakistan. In an intimate narrative style, Ahmad writes a world that hovers between memory and imagination, home and abroad. The narrator follows the pull of his subconscious, shifting between past and present, recalling different eras of Lahore’s neighborhoods and the communities that define them.

 

These stories evoke the complex realities of post-colonial Pakistani Punjab. The contradictions and betrayals of this region’s history reverberate through the stories, evident in the characters, their circumstances, and sometimes their erasure. Skillfully translated from Punjabi by Anne Murphy, this collection is an essential contribution to the wider recognition of the Punjabi language and its literature. Also check

Zubair Ahmad  is the author of two Punjabi poetry collections, three short story collections, and a collection of essays. He lives in Lahore, Pakistan. kitab ghar also have some famous novel is Ali Akbar Natiq’s Nolakhi Kothi. All the characters in this novel are also traditional because in dozens of novels written on partition, it was not possible to change the historical events or their reality. However, there is an English character of this novel, William, who has given this novel a special significance in the history of Urdu.

That is, there is hardly an Urdu novel in which an Englishman, who lives in his own mansion and struggles before and after the partition to prove himself Indian and to show his ability to connect with Indian soil, But unfortunately his patriotism was always considered suspicious in India and then in Pakistan, even though he was a government official. Even his own family members leave him and go to England. By showing heartfelt love and affection of a foreigner for another country, Natiq has highlighted this aspect of human values ​​in his novel. Another great novel by kitab ghar is Musharraf Alam Zauqi’s novel ‘Le Sans Bhi Aastha‘. In this novel, one of our religious and social taboos has been the subject of secret sexual intercourse. He takes care of himself.

The short story is that the situation of incest arises but it does not involve any sexual desire of the father but he is shown helpless in the face of the situation.

Through a character professor, Zouqi said that due to the change in human society, civilization, values ​​and times, in the modern age in which we live today, in the most frustrating and boring moments of mechanical life, man goes through new experiences. There is also the sexual desire of mahrams.

At the end of the novel, Noor Muhammad and his childhood friend Rehman Kardar both break away from the well-known narrative of religion and society and are sincerely satisfied with the fact that father-daughter sexual intercourse is their specific evolution. I do not cause any kind of guilt, remorse and guilt. For both men, the social status of Nigar’s daughter, now 18, is like that of a granddaughter. This is what makes this novel stand out.