With their intricate interplay, of the diverse identities that shape Pakistani society, art and literature serve as crucial tools in challenging the narrow definitions of Pakistan, particularly those imposed by the West.
Pakistan
Pakistan’s politics is so complicated that it can be hard to determine either a trajectory or even a throughline. If Tahir Kamran’s enormously-detailed Chequered Past, Uncertain Future is any indication, this is not due to any failure of imagination. Kamran is focused mostly on the country’s often fraught relationship with democracy, but leaves one with much the same impression about foreign and domestic policy and issues of Pakistani identity.
South Asian fiction based on the Partition of 1947 is generally concerned with specific incidents of trauma and violence. Urdu writer Ali Akbar Natiq’s Naulakhi Kothi, recently translated into English by Naima Rashid, adds a different dimension to the existing ways of narrating fiction. Its story begins several years before the partition and ends several years later, thereby using partition to frame a much longer narrative.
Kashmir has always been the point of connection between South Asia, Central Asia and Xinjiang. Winding their way through the mighty Himalaya, Pamir and Karakoram Mountain ranges, traders, travelers and officials created a series of close historic economic, cultural and political ties that have bound the region together.
Post-independence India had a big problem–about 40% of its land wasn’t, well, India. Instead, this land was in the hands of the princely states: Rulers who had signed agreements accepting the rule of the British Empire, while getting a relatively free hand to rule their local jurisdictions. And these weren’t small states. Hyderabad—whose ruler made noises about independence, at least initially—had a larger income than Belgium, and was bigger than all but twenty UN member countries.
Taha Kehar’s recent novel, which unfolds over a protracted party on a single night, revolves around six estranged friends, family members and a “mystery guest”. In order to fulfill the final request of the titular, but recently-deceased, Nazia, her sister Naureen has invited five people to celebrate her death rather than attend a funeral, as a means to reconcile them to her memory and resolve issues that remained at her demise.
The Idle Stance of the Tippler Pigeon opens with Nadia, an office worker married to unemployed and intoxicated Mubashir. Her menial office job just about pays the rent for a small shack in Gulberg, Lahore. During the day, she is at the mercy of her lecherous boss.