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Ismat Chughtai and Sadat Hasan Mantho were Urdu's most courageous and controversial writers in the twentieth century. Featuring themes such as communal violence, the Partition, sex, relationships, and more, this collection features some of their most famous short stories.
"Essays, communal violence, literature, women, non-fiction, Lihaaf trial, Bombay, Bhopal."
Autobiography of an Urdu writer.
Along with Manto s open letter to Nehru that reveals his state of mind after the Partition, this collection captures the best of Manto s literary powers. Part of the Pakistan Writers Series, which presents English translations of Urdu fiction from Pakistan, Black Margins encompasses the range of Manto s thematic and formalistic concerns.
Though Barely A Hundred Years Old, The Urdu Short Story, Or Afsana', Has Established Itself At The Forefront Of Urdu Literature. Emerging As A Discrete Narrative Genre With Munshi Premchand, It Gained Momentum With The Progressive Writers' Movement In The 1930S. The Partition Of The Subcontinent In 1947 Introduced New Dynamics Into The Genre As Writers Grappled With Emerging Trends Of Modernism And Symbolism As Well As With A Depleted Readership In India And The Challenge Of Establishing A New Literary Tradition Commensurate With A New Nationhood In Pakistan. The Penguin Book Of Classic Urdu Stories Brings Together Sixteen Memorable Tales That Have Influenced Generations Of Readers. From Saadat Hasan Manto'S Immortal Partition Narrative Toba Tek Singh' And The Harrowing Realism Of Premchand'S The Shroud' To The Whimsical Strains Of Qurratulain Hyder'S Confessions Of St Flora Of Georgia' And The Daring Experimentation Of Khalida Husain'S Millipede', This Definitive Collection Represents The Best Of Short Fiction In Urdu. In The Process, It Provides A Glimpse Of The Works Of Acclaimed Masters On Both Sides Of The Border Ismat Chughtai And Ashfaq Ahmad, Rajinder Singh Bedi And Intizar Husain, Krishan Chander And Hasan Manzar, Naiyer Masud And Ikramullah.
'Saadat Hasan Manto has a good claim to be considered the greatest South Asian writer of the 20th century... [He] incarnated the exuberance, the madness, the alcoholic delirium of his time...'--Suketu Mehta, The New York Times This remarkable anthology brings together stories about Saadat Hasan Manto, essayist, scriptwriter, and a master of the short story, by his friends, family and rivals--among others, Ismat Chughtai, Upendranath Ashk, Balwant Gargi, Krishan Chander, his daughter Nuzhat and nephew Hamid Jalal. These are accounts of grand friendships and quarrels, protracted drinking bouts, cutthroat rivalries in the world of Urdu letters, and intense engagement with issues of that turbulent age. Together, they form an unprecedented portrait of the literary and film worlds of the time, and of the great cities of Bombay, Delhi and Lahore. They also offer a glimpse of the making of a legend even as they reveal Manto as a complex man of many contradictions. A devoted husband and father, he was as comfortable at home as he was at prostitutes' quarters, seeking new material. Generous to a fault, he freely gave away his earnings and often put his family in financial jeopardy. Fiercely competitive and an outspoken critic of others' writing, he brooked no criticism of his own, at times choosing to sever ties rather than have his words tampered with. And, for much of his adult life, right until the end, Manto was an alcoholic who fiercely defended his choice to remain one. Honest, frank and personal, at times sentimental, and critical--even gossipy--at others, the pieces in Manto-Saheb constitute an unparalleled, multi-faceted biography of a genius
Selected and translated by writer, editor and translator par excellence Muhammad Umar Memon, the twenty-five stories in this book represent the finest short fiction in Urdu literature. In his Introduction, Memon traces the evolution of the Urdu short story from its origins in the work of writers like Munshi Premchand-'the first professional short story writer in Urdu'-through the emergence of the Progressives in the late 1930s, whose writings were unabashedly political and underpinned their Marxist ideologies, to the post-Independence 'Modernist' era, and today's generation of avant-garde, experimental writers of Urdu fiction. Every story in the anthology illustrates one or the other facet of the form in the Urdu literary tradition. But even more than for their formal technique and inventiveness, these stories have been included because of their power and impact on the reader. Death and poverty face off in Premchand's masterpiece
MantoSaadat Hassan Manto was born in Paraudi, Samarala, (Punjab) India in 1912 and died in 1955. In very short lived life, he produced 37 books in the Urdu language. He was an unconventional and intrepid writer. He did not follow any set rules of the society to write about the truth, and to him, it did not matter how acrimonious and dreadful it was.Manto started his writing career as a trainee in a magazine under the guidance of Baari Alig, who encouraged him to translate the European classics. Victor Hugo's "Last days of a condemned" was his first attempt. He also translated some Russian authors work in Urdu. Manto joined the Progressive Writers Association of leftist leanings, but quickly detached himself from the "Red" concept. So, Manto became a 'turncoat' in many writers forum of "Redness," and he did not care for them, but he kept his friendship with Kishan Chandra and Ismat Chughtai. Manto got the opportunity to write dialogues for the movies. He wrote stories, movie-dialogues, and screenplays for the different films. Due to financial and other reasons, many films remained incomplete, and those that were ultimately released were never a box office hit with one exception. While Manto was struggling to get his last gasp in Lahore, the movie Mirza Ghalib, which was penned by Saadat Hassan Manto, was running successfully and honored with the highest National Award by the Government of India. Manto wrote about Sugandhi, Sultana, Shanti, Siraj, and many others that the world did not treat them well. However, in his time, the world did not esteem him honorably either. Manto could not comprehend the logic to dissect India on religious beliefs. He wrote the stories about the cross-border, such as 'Aakhri Salute, Toba Tek Singh, and Teetwal Ka Kutta', which ostracized Manto in the community. Thanks to overzealous fundamentalists, and for an extended period, Manto was proscribed and indicted, yes, three times in British India and three times in the Islamic Republic of Pakistan for the vulgarity written in 'Dhuan, Open it, The Odor, Kaali Shalwar, Thanda Gosht and Up and Down and In-between, ' and all those charges originated in Lahore. However, paying even twenty-five rupees as a penalty was a consent of his guilt, though, Manto's friend, Nasir paid the fine. The people believed that Manto was very honest to the extent of being blunt. Moreover, morality got him in trouble. Manto stated about himself in this sketch, "I could tell you with full confidence that Manto, who has been charged several times for being an abrasive writer, is a very fastidious person. But, I could not resist mentioning; he is such a doormat, who keeps himself shifted and winnowed." Some decriers venerated Manto for being honest about his writings. Yes, Manto Sahib that's what you penned, 'Everybody is naked in the bathroom. It is not your job to put the clothes on them. It is the job of the tailors.' Manto was an unconventional and brave writer. He didn't rely on the purported fictional standards of decorum established by the moralistic writers. To Manto, the truth was the truth, regardless, how appalling it was, and Manto never corrupted it. Manto wrote, "If you don't discern your social order, read my stories. If you catch a flaw, it's the defect of your society, not my stories."Moreover, Manto was gutsy enough to write his own epitaph, challenging God as to who was the better story writer, Manto or Him. After all, the Omnipotent kept him under His shelter, though, he tried to be brazen. But nothing could be said about Manto's admirers. They were scared along with his family that Manto's flout could be blasphemous; therefore, his tombstone's epigraph was substituted with a verse of Ghalib.Rest in Peace, Janab Saadat Hassan Manto.