Being compiled and edited regularly from Bradford, UK by veteran writer and Community Leader Maqsood Ellahi Sheikh and printed in Islamabad by Yasmin Adil, the annual literary magazine Makhzan is a bridge between the poets and writers residing abroad with those living in the subcontinent in particular and with masses at large where ever Urdu is read and spoken. One of the ways why it is different from the other literary journals is because of the fact that poetry and short stories written by Urdu writers from USA, Asia, Europe and UK are being analytically reviewed by leading Indian and Pakistani critics. Each year, the list of the contributors and critics gets longer. Makhzan VI is the latest (sixth) yearly issue and apart from the short stories and poetry, background notes on the events and experience that inspired these writers to put pen to paper, it carries critical appraisal carried out by a critic from the subcontinent on each submission.

This year contributions from Turkey have been received as well. A separate chapter has been reserved titled Urdu in Turkey. This section introduces Turk nationals Dr. Jalal Sweden, Dr. Khaqan Qayyum Jo, Dr. Salma Benli and Dr. Noriey Balk. Introduction to the work carried out on Urdu language and literature in Turkey has been given by A. B. Ashraf. For example, it is a happy surprise that Dr. Jalal did his doctorate on Allama Iqbal from Ankara University. His Masters however was from Oriental College, Lahore. He translated in Turkish language, Iqbal’s ten long poems namely Shikwa, Shama-o-Shair, Walida Marhooma Ki Yaad Mein, Khizer-e-Raah, Tuloo-e-Islam, Zauq-o- Shauq, Masjid-e-Qurtaba, Saqi Naama and Iblees. Similar introductions of others have been given. So, many would be surprised that Urdu language and literature has been focus of some Turk literary persons also. On the other hand Shams ur Rehman Farooqui is however skeptical about the creation of new cities of Urdu in the globe in the future. His article titled ‘Urdu Ki Nai Bastian Aur Urdu Ka Phaoilao’ is referred to here. He questions as to how many who read and write Urdu are living in the world? Maximum are present in Britain, Farouqui says. He argues that Urdu language shall grow maximum for another twenty to twenty five years in case the average age of an Expatriate writer or a poet is forty today. Each year the age of growth of such literature shall decrease by a year or two. Then Shams discusses three languages that had some influence on Urdu language. Firstly, Sansikrat that could not become popular as it did not find place outside its home, which is India and that too in the olden days. Secondly Farsi though official language of Iran and used in some of the Asian Republics with other names now, had seen its heydays in the Central Asia till the eighteenth century. Thirdly Arabic with all its dialects like in Farsi though is the main language used in the Middle East but literature in Arabic is written in the pure form of Arabic language as is used in the Holy Quran. Shams add that Urdu too has its dialects in India. It is written in Hindi script and spoken as Hindi language there. Its dialect is different in East UP if compared with that as in the Western UP. As it happened with the official cold shoulder given to Farsi in the past thereby losing its popularity, Urdu has met the same fate in India. So, basically Shams is not very hopeful about Urdu’s future in India as well as abroad with the fading ages of the present generation. In this reviewer’s humble opinion the situation in Pakistan is very bright as far as the future of Urdu language and literature is concerned. The number of writers and poets we witness appearing each year is commendable. This reviewer shall only refer to a letter written a century ago by Maulana Haali to Maulvi Merhboob Alam when the latter started the newspaper ‘Paisa Akhbar’ in Lahore. It says that those who criticize Punjabi Urdu should note that Urdu is slipping from their hands and has gone to Punjab. If this situation lasts longer then like Arabic finding its influence in Syria and Egypt, we shall see Lahore as the home for Urdu rather than Dilli or Lakhnou, Haali concluded. Whether the latter prophecy is true or not but because of apathy of Hindu dominated India towards this language in India and on the contrary encouragement given to it in Pakistan, Lahore has become the home for growth of Urdu literature.

Asif Jillani in his article titled ‘Urdu Zaban Ko Maskh Karney Mein Akhbaraat Ka Kirday’ criticizes the role of journalism in Urdu language messing up in the newspaper reporting. He is not happy about use of many English words even in the headings of a report. He quotes a heading that says ‘Free Hand Milney Key Bawajood Hakoomat Ney Koi Legislation Nahin Ki’ whereas he contends the Urdu words for ‘Free Hand’ and ‘Legislation’ is available.

The major portion of this heavy literary document is however based on the critical appraisal of the submissions of the Expatriate writers and poets. As a sample, this reviewer shall quote a story and its appraisal The short story ‘Nanhi Mufakir’ (page 62) meaning ‘child philosopher’ has been written by Bano Arshad from London who is niece of famous novelist, humourist and Radio Pakistan’s broadcaster late Shaukat Thanvi. Her father Arshad Thanvi was also a writer, poet and a journalist. Bano is Masters in Geography from Karachi University and holds a diploma in Education from London University. Her short story has been analyzed critically by Dr. Anwar Sadeed from Lahore. Bano says that when she was a child she heard cries from her neighbourhood as ‘Thekedar Saheb’ had died. That incidence had left a deep impact in her psyche and now after many years she penned it down in the shape of a short story with a small girl of eleven as its central character who faces the same dilemma. She looks for her mother and goes to the neighbour’s house in search of her. She asks her mother as to what was all the hue and cry about. Her mother’s answer is simple that somebody had died. At which she asks what is meant by death. Her mother snubs her as that it was not the appropriate place to answer her inquisitiveness. On way to home she slips into the male area where she looks at the death body and thinks that Thekedar was sleeping on a cot. In the front yard she sees people holding white cloth. She does not realize that it was coffin. On return she asks Gulshan Bua, her maid the same question. Gulshan Bua tries to be rationale and says that God had called back Thekedar to Him. She wonders as to why God sends a man on earth only if He has to call him back. In the same mood she also dislikes her brother who snatches her balloon and then destroys it. When her father returns from work, she tells her father that when dead, she shall ask God as to why He calls his people back and if this world was a playing field for Him! Dr. Anwar Sadeed concludes in his analysis that the death scene in her childhood was saved in the corner of writer’s psyche that gave birth to the short story in which the basic question of life and death haunts an innocent mind. The story therefore gives the touch of both satire and innocence simultaneously. This reviewer therefore feels that asking the author to give the backdrop of the story as well as analysis by a critic has managed to intrigue reader’s interest in going through the submissions of Makhzan IV.

Ahmad Faqih lives in Sweden. He was born in Lahore. He was a civil servant from 1973 to 1979. During 1979 Martial Law he was removed from his job and took political asylum in Sweden. Making use of his stay abroad he has written four books in prose and three in poetry format. He has contributed a Nazm in Makhzan IV. It is titled ‘Zindiagi Ki Saari Zarkhezi Nafi Key Nam Sey Hei’ (page 262). It means that the fertility of life is based on negation. About the philosophy of his poetry, the poet says that any creation is influenced by either the creator’s experiences or those of the ones around him. The ‘Inteshaar’ that is the fracas in the mind therefore converges in the shape of a poem. Ali Muhammad Farshi from Rawalpindi, a poet of Nazm, himself says that the title of this poem is a shocker. The theme of the poem is that one shouldn’t expect anything from the birds whose wings are tied. In his introduction to the poem Faqih says that in the presence of Market Economy in the Global Village that plays the role of a bandit for the deprived ones, such disorder instigates him to say something and in doing so, he gets satisfaction. Iqbal’s couplet is of relevance here that says ‘Dar Dasht-e-Junoon Man Jibreel Zabun Saidi/ Yazdan Bekamand Aawerey Himat-e-Mardaana’. Farshi concludes that the poet has negated the negative way of life. If the expression used by Faqih ‘Nafi Key Nam’ only if seen in Iqbal’s perspective, makes some sense. The poem takes its inspiration from Iqbal, concludes Farshi.

This reviewer has only discussed one short story and one piece of poetry as a sample. There are eighteen short stories discussed and sixteen pieces of poetry. A separate chapter comprises a survey of four questions from UK, Pakistan, Germany, Kashmir and India. Another chapter discusses sex. A major portion comprises letters from intellectuals across the globe. Overall Makhzan VI is an exhaustive and a bold contribution in the growth of Urdu literature. Let us hope that Maqsood Ellahi Sheikh has a long life to continue serving our national language through this endeavour.
(4 May 2007) Unicode