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Razia Sajjad Zaheer’s Short Story Collection Allah De Banda Le: Formalist Minimalism and a Social Critique - Prof. Shugufta Shaheen & Dr. Sajaudeen Nijamodeen Chapparban

 


RAZIA SAJJAD ZAHEER’S SHORT STORY COLLECTION ALLAH DE BANDA LE: FORMALIST MINIMALISM AND A SOCIAL CRITIQUE

 

Prof. Shugufta Shaheen,

Professor and Head

Department of English

Maulana Azad National Urdu University

Hyderabad, India

&

Dr. Sajaudeen Nijamodeen Chapparban,

Assistant Professor

Centre for Diaspora Studies

Central University of Gujarat

Gandhinagar, India

Abstract:

 

Razia Sajjad Zaheer’s short story collection "Allah De Banda Le" (Allah bestows Devotee Takes) exemplifies minimalist writing, characterized by stark narratives and subtle social commentary. Razia Sajjad Zaheer (1918-1979), was a prominent Urdu progressive feminist writer.  Her work focuses on various social and gender issues in society. This paper analyzes Zaheer's work through the lens of formalist minimalism, focusing on themes of social critique, religion, gender, and class distinctions. The stories, stripped of embellishments, compel readers to introspect and ponder societal norms and biases. Through nuanced storytelling and a progressive ideology, Zaheer challenges traditional perspectives and advocates for social reform. This paper aims to shed light on Zaheer's overlooked contributions to Urdu literature and the broader discourse on minimalist writing.

Keywords: Feminism, Urdu, Razia Sajjad Zaheer, Minimalism, Social critique, Religion, Gender, Class, and Progressive ideology.

 

Introduction

 

Minimalism, as defined by Collins Dictionary, it is a “style in which a small number of very simple things are used to create a particular effect”. A stylistic approach that employs a limited number of simple elements to achieve a specific effect. In literary analysis, minimalism refers to a subdued writing style characterized by what is left out rather than what is included. These writings are stark and free from embellishments, portraying society through individual experiences. The true essence lies in what remains unsaid, subtly implied, requiring the reader's perceptiveness to decipher meaning from the minimalist author's deliberate gaps and omissions. By presenting mundane events realistically and with sparse narrative cues, the reader is invited to uncover deeper truths about the human experience. Mark A. R. Facknitz, as cited in Benet's Reader's Encyclopedia of American Literature, categorizes minimalist writers into two distinct types: formal and social. The "formal minimalist" is portrayed as a skilled technician who favors clear, colloquial language and uncomplicated plots. They utilize narrow temporal frames, present tense, and first-person narrators while avoiding editorial or authorial intrusions. It is within this framework of formalist minimalism that Razia Sajjad Zaheer’s short story collection "Allah De Banda Le" (Allah bestows and Devotee Takes) is examined and scrutinized.

Razia Sajjad Zaheer (1917–1979), a prominent Urdu writer and a leading figure in the Progressive Writers' Movement in India, born in Meerut, was known for her progressive and feminist views. Zaheer's literary works often focused on social issues, gender equality, and the struggles of ordinary people, especially women, in society. Her writing style was marked by simplicity, realism, and a deep understanding of human emotions. Zaheer's short story collection "Allah De Banda Le" is considered a masterpiece of Urdu literature, reflecting her keen insight into societal dynamics and her commitment to social change. Razia was also the wife of another important figure of the Indian Progressive movement and renowned Urdu writer Sajjad Zaheer. Razia Sajjad Zaheer's contributions to Urdu literature continue to be celebrated for their depth, empathy, and relevance to contemporary social issues. Zaheer, with her remarkable finesse, tackles intricate issues using economical language, creating narratives that deeply involve readers in the lives of her characters and the events they face. Comprising twenty stories on various themes, the collection is united by a common thread that binds them together. This thread, evident throughout Zaheer’s work, portrays individuals on the fringes of society with raw authenticity, delving into layers of experience that are deceptively simple yet profoundly meaningful. The descriptions and events that unfold within the stories are meticulously crafted and vividly depicted with minimalistic descriptions, compelling readers to reflect and empathize with the characters' journeys.

The language that Begum Razia uses is colloquial and appropriate to the setting and characters. Mehru Jaffar in one of her article ‘Razia Sajjad Zaheer: Writings Even More Relevant 100 Years After Her Death notes’, observes that she captured different dialects spoken by different characters in society which adds to the “realistic” tone of the story. Mehru Jaffar in yet another of her article ‘The Amazing Writer and Woman, Razia Sajjad Zaheer’ comments, “As a writer she had concerned herself with the life of ordinary Muslim women and the many social and emotional pressures faced by those who are hardly able to express their pain and sorrow even to this day.”

Razia Sajjad Zaheer’s literary reputation is basically that of a creative writer. In addition to this creative skill, she was gifted with excellent rendition skills and would mesmerize her audience when she read out her stories. Her stories are an honest account of the middle class, especially women and very subtle hints at reform , as part of the Progressive movement manifesto, of which she was a fore runner and an ardent progenitor but interestingly, restrains from being didactic.

Following the principles of the progressive movement manifesto, Razia Sajjad Zaheer delves into the societal divisions based on caste, class, and gender. In her story "Neech" (Low Caste) she strategically challenges two prevalent and stereotypical myths surrounding caste and gender. The character Shamli, hailing from a lower caste background, grapples not only with societal biases based on her caste but also faces the additional burdens of being a woman and economically disadvantaged. Through Shamli's narrative, Zaheer portrays the entrenched beliefs about this triple-marginalized group, which society has unquestioningly accepted as truth. The story juxtaposes Shamli's struggles with those of a woman from a higher social class who faces similar challenges but lacks the fortitude to confront them openly. This narrative serves as a critique of the ingrained prejudices and limitations imposed by societal norms, urging readers to question and challenge these deeply ingrained perceptions. Shamli ponders,

Chalte Chalte raaste me ise jitni aurtain milin sab ke baare me ye andaza lagane ki koshish karti rahi k ekya ye bhi neech zaat hai aur agar ye hain toh kya ye bhi apne chahne walon ko daga de ka rbhagi hai.

(Walking along the road, coming across various women, I tried to assess whether they too belong to a lower caste and if so, whether they too also betrayed their loved ones and fled.)

 

Razia effectively challenges, deconstructs, and breaks down the stereotypes and societal biases by empowering the character Shamli to assert herself. She vehemently responds,

 

Wo samajhta tha ke roti kapda dega aur hokum chalayega, hum koie putariya hain ke rupiye paise se mol le ga hamein. Hamare haath paon chalet hain, hum kaam karte hain is jaise dus ko khilane ki himmat rakhte hain hum. (39)

 

(He used to think he could buy us food and clothing, and dictate our actions, as if we were mere commodities to be valued in terms of money. We have hands and feet, we work, and we have the ability to feed 10 such people).

 

Razia Sajjad seems highly critical of the postmodernist cynicism and pervasive negativity. In her short story "Nigodi Chale Aawe Hai", she launches a scathing critique of contemporary writers through her character Jillo Khala, who maintains a habitual laughter despite facing hardships in life. Begum Razia employs Jillo Khala as a symbol to criticize modern writers who tend to create pessimistic characters, either drawn from reality or imagination, believing that such characters make life unbearable for both themselves and their readers. Through Jillo Khala, Razia encourages other writers to develop well-rounded characters who, despite life's challenges, find solace in laughter, offer relief rather than contributing to readers' stress and mental strain. While acknowledging the complexities and pressures of the modern world, Razia appears to question the dominance of realistic literature and advocates for literature's dual role. She believes that literature not only reflects life but also provides an escape from its trivialities, offering courage and resilience through characters like Jillo Khala. She candidly remarks,

 

Hamre adaab me aaj kal ek lafz ka bada riwaaj ho gaya hai - Frustration Dhada dhad aise kirdaar milte hain aur qalam se pesh kiye jaate hain jo “frustrated” hain aur apni sachi ya qayali mahroomiyon ke badaulat apni aur dunia ki jaan azaab me kiye huie hain. (57)

 

(In our literature, nowadays, there is a significant trend of using the word "Frustration." Characters are portrayed and presented as "frustrated" and inflict pain upon themselves and the world due to their real or imagined deprivations.)

 

Despite Razia Sajjad Zaheer's strong progressive stance, which often aligns with communist ideologies that were critical of religion, her collection of short stories also delves into themes of religion and religiosity. This apparent contradiction raises questions about her personal beliefs and convictions. One such story, "Muajiza," (Miracle) seems to reflect Razia's belief in courage and sacrifice as fundamental aspects of faith. This belief is exemplified through the central character, Maju Shah, who chooses to sacrifice his life rather than allow the religious Alam to be lowered under the wires of an electric pole. Traditionally, the wires were cut annually during Muharram and then reinstated after the Alam procession, with permission from colonial authorities. However, in this particular year, the British deny permission, creating a dilemma for the community torn between collective pride and religious tradition. Despite efforts to resolve the issue peacefully, Maju Shah takes matters into his own hands, opting to hold onto a charged electric wire until the Alam passes. This act of self-sacrifice reflects a deep sense of faith and conviction, challenging the notion that progressives like Razia Zaheer were entirely dismissive of religious sentiments.

 

The theme of unwavering faith in the Almighty is further explored in the story "Allah De Banda Le," echoing the belief that God never intends harm for individuals. The character Faqhru, portrayed as lacking fervor and consistency in prayer, offers weak excuses to avoid praying. However, his steadfast trust in God becomes evident when he is comforted by others, suggesting that losing his most prized possession, a pair of boots he had long desired and finally obtained, was God's will.

 

Par agar koie keh deta ke Ji Allah karna yun hi tha ,tab woh bahut bigadte, “Wah Ji , Acha kaho ho Allah ka karna tha - Aji wo toh deve hai. Vase le kar kya karna hai, le to hai insaan , Cheene to hai banda- Aur namaazi bande ki to jab niyat badle hai to aisi badle hai ae ke jis ki kuch theek na hai. Samajhe hai na ke namaaz padhun hun to saath khoon maaf ho jaaven ge, jaane hai ke Allah kuch kehne ko aane se raha, wo gawahi dene se raha, bas apni saari ki karaie, agli pichli, godi samethi aur Allah ke sar thop de-Kya insaaf hai ji- wah.

 

(When someone remarks that it was God's plan for him to lose the boots, Faqhru responds in a somewhat sarcastic manner, highlighting the human tendency to blame fate or divine will for misfortunes. Allah grants and bestows.  What will He achieve by taking it back.  It is men who take. When the intention of the devoted falters, it falters to an extent which is not right at all. He feels comfortable that on praying all my sins will be forgiven.  He knows very well Allh is not going to come and say anything or give witness.  Everything from beginning to end is attributed to God's will.  What kind of justice is this!)

 

However, Razia Sajjad Zaheer skillfully integrates her progressive ideology into her portrayal of religion and belief. She argues that true religion goes beyond outward practices and that faith is inherent. She vehemently rejects the notion that outward religiosity alone is sufficient, criticizing it as an excuse to evade responsibility, take the easy way out, and blame the Almighty for all life's failures and challenges. In her story "Bada Saudagar Kaun," (Who is the bigger business man?) modern existential issues such as self-preoccupation and the materialistic mindset of contemporary individuals are starkly portrayed. The narrator admires how a husband cares for his ailing wife, but upon complimenting him, is taken aback and disillusioned by his response:

 

Baat ye hai ji ke meri bhi umar sattar bahattar se bhi upar huie .kisi bhi din khat pakad sakta hun. To yehi meri khidmat karegi warne mera kya hoga. AAp sochiye apni seva mai is se ke allawa kis se karwa sakta hun.(167)

 

(The thing is, I'm already over seventy-seven years old. Any day could be my last. She will be taking care of me; otherwise, what would happen to me? Just think, who else can I take service from except her?).

 

This dialogue reflects a mercenary attitude where care and support are viewed as transactional, highlighting a lack of genuine compassion and empathy. Razia's narrative not only critiques superficial displays of religiosity but also delves into broader societal issues, challenging readers to reevaluate their beliefs and actions in a modern context.

 

In her personal reflection on life after the passing of her husband Sajjad Zaheer, titled "Intezaar Qatam Hua, Intezaar Baaqi Hai” (The Waiting is Over, The Waiting Remains) Razia expresses her hope that their life together can serve as an inspiration to others. She fondly remembers her husband as a harmonious blend of Eastern and Western cultures, maintaining a delicate balance between the two. Appreciating Sajjad Zaheer's broad-mindedness, she remarks:

 

Jo shaks mashriqh o magrib ke fanoon ki taariq, aur in ke har mod aur rujhan ka mantaqi ilm rakhta ho, sirf wahi aisa ravaiya ekhtiyaar kar sakta hai.(169)

 

(The person who understands the history of Eastern and Western arts, and the logical knowledge behind every turn and trend, only can adopt such an attitude)

Razia takes offense at condolence messages suggesting that Sajjad Zaheer's death marks the end of the progressive movement in literature. She writes:

Anjuman Taraqi pasand musanafeen ab tak Hindustan me jo role ada karti rahi wo ab is ko zyada shidat, zyada zimmedari aur zyada lagan ke saath ada karna hai ta ke sab par saabit ho sake ke afraad marte hain idaare aur zindagiyaan qayam rehti hain. (175)

 

(The Progressive Writers' Movement in India must now take on a greater intensity, more responsibility, and more dedication, so that it can be prove to everyone that individuals may pass, but institutions and ideologies endure)

Razia, known for her outspokenness and refusal to accept oppression silently, addresses this in her story "Andhera" through the character Veera, a Russian, who questions:

Mai Naaziyon se koie sawaal nahi karti, magar mai har shareef German se ye puchti hun ke tum kyun chup rahe? Tum ne ye dahesth kyun phelne di ke aaj tumhari qaum ka har aadmi mujhe apna dushman nazar ata hai.(186)

 

"I don't question the Nazis, but I ask every decent German, why are you silent? Why did you let this terrorism spread, where today every man from your nation I consider my enemy?"

She attributes the atmosphere of suspicion, lack of trust, and doubt to the decadence of the contemporary world:

Kya wo ek bad zan insaan thi ya is mahol me zindagi basar karte huie, shak o shuba ke andhere me takren marti, ek badnaseeb insaan thi? (192)

 

"Was she an evil person or just an unfortunateone  to live in a world of suspicion and darkness, where doubts collide?"

The writer engages in a critical self-examination, using the prefix "bad" to delve into her own nature and personality. She questions whether her tendencies toward self-centeredness or indifference are inherent or if they stem from life experiences, particularly. This introspection is depicted in the short story "Andhera," where the narrator, referred to as Apa throughout the story, exhibits distrust toward her fellow travelers due to their belonging to a different community. However, by the end of the journey, they reveal themselves as avid readers and admirers of her work.

The writer's fear and suspicion may symbolize the broader loss of trust experienced by people after events like partition, serving as a self-referential commentary on the pervasive sense of distrust in society. The title "Andhera" itself can be interpreted as a metaphor for the times characterized by darkness and uncertainty.

The deliberate choice of not assigning a name to the central character, Apa, reflects the writer's intention to universalize the experience of suspicion and doubt, extending it to include others who have similarly struggled with trusting well-meaning individuals. This narrative technique suggests a collective guilt for doubting others' genuine intentions, attributing it to the cynicism and mistrust prevalent in contemporary society.

Razia Sajjad Zaheer critically examines the societal disparities with regard to freedom of movement among girls based on their social status in her story "Do Shole." She highlights the imposed limitations and restrictions on girls from higher social classes, where freedom of movement is often equated with immorality. This notion implies that girls from lower economic backgrounds are considered immoral and therefore have the liberty to move freely, while those from higher social strata are constrained under the pretext of maintaining respectability.

The narrative revolves around two young girls from different social classes, with the perspective primarily focused on the girl representing the upper class. She compares her constrained life with that of the other girl, who, despite her economic disadvantages, enjoys more freedom. Interestingly, the girl from the higher class, who society would expect to feel privileged, appears envious of the other girl's freedom. She finds solace in society's expectation of respectability, using it as a justification for her restricted movement.

The contrast between the two girls' experiences highlights the hypocrisy within societal norms, where freedom is unfairly distributed based on social status. The quoted line, “Aur phir ye bhi to tha ke wo har jagah ja sakti thi……mai shareef ladki hone ke naate kahin nahi ja sakti thi” (237). (And then she could go anywhere... as a respectable girl, I couldn't go anywhere) encapsulates the disparity and the underlying judgmental attitudes prevalent in society.

The story "Do Shole" vividly portrays societal criticism and disapproval of girls' education, reflecting prevalent prejudices and fears. Education for girls was frowned upon due to the belief that it would lead to liberation and potentially encourage interactions with the opposite gender, including exchanging letters. Ancient superstitions also played a role, with fears that education might lead to deviation from faith and conversion to Christianity, as evidenced by the harsh remarks made by women upon learning of Shamili's pursuit of education.

Ab dekho kya kya hove hai- jab laundiya kiristan ho jave gi, saya pahne gi. yaaron ko khat patar likhe gi, tab Sangari ko aate daal ka haal maloom hojave – Gazab Khuda ka bilkul hi apni auqat bhool gaye, jo laundiya ko Angrezi padva rahi hai, Ab qayamat nazdeek hai bhanno. (241)

 

(Now see what all will happen Girls will become Christian, wear white, write letters to friends, then Sangari will know the reality of life. Vexed God: They have truly forgotten their place, allowing girls to read English, the apocalypse is near, my friends.)

 

The societal outrage raises questions about whether the anger stems from the breach of norms discouraging girls' education or from the audacity of a lower-middle-class girl aspiring for education. The story underscores the deep-rooted class distinctions that hindered educational opportunities, with the lines between classes being rigid and unyielding.

A notable aspect is the resistance from women towards girls' education, while the male character in the story, representing an older generation, appears more accepting of the idea. Education was seen as a barrier to marriage, and a societal expectation imposed on girls. These societal norms and outdated beliefs continue to hinder girls' educational aspirations even in modern times.

The title "Do Shole" symbolically represents the two girls as smoldering embers sacrificing themselves for the comfort of others. The quoted lines reflect the societal backlash and regret faced by educated girls, as they are viewed with suspicion and disdain, ultimately facing obstacles in marriage due to their educational pursuits. This narrative exposes the enduring prejudices and challenges faced by girls seeking education, even in contemporary times by being labelled as modern in a negative sense.

Ladki ko padha likha ke ab pashta rahi hai, kyun ke biradari me to ab koie is se biya karne ko tayar na tha, bhala padhi likhi ladki se shaadi kar ke kaun ye qatra mol leta, ke isne na jaane kitne yaaron ko chittiyan likhi hai aur kitnon ko na jaane ainda likhe gi.(243)

(After educating the girl there is regret because in the community, no one was ready to marry her.  No one was willing to risk marrying an educated girl. Who knows how many letters she has written to boyfriends, and how many more will she write to in the future.)

The phrase "Sach sirf sach aur sach ke siva kuch nahin (Truth is only truth, nothing but the truth)" exposes the hypocrisy and double standards of the educated and elitist class, who teach uneducated individuals to lie in court. The story reveals the decadence of society through the naive surprise of an unsophisticated man when he realizes he's expected to distort the truth. This challenges the notion that education and social class determine a person's honesty and integrity.

 

In the story, the simple and uneducated man demonstrates more principles and honesty than the educated and respected members of society, who are depicted as dishonest and unprincipled. There's even a suggestion of lecherous behavior from the barrister towards the simple man's wife, adding a layer of discomfort and humor to the narrative. The statement, although unsettling, carries a hint of irony as the character realizes he's being subtly manipulated into lying despite taking an oath in court:

 

Aji Barister sahab to tum itni si baat mujhe pehle hi samjha dete ke ghar ka imaan aur hove hai aur adalat ka imaan aur hove hai. Mai to ab tak ge hi samjha karun tha ke imaan aadmi ka hove hai chahe wo ghar me baitha ho ve aur chae to wo adalat me khada hove. (257)

 

(Mr. Barrister, you should have clarified to me earlier that the honesty of a home and the honesty of a court are separate. I always thought honesty belonged to the individual, whether at home or in court).

 

An article published on Mehfilsukhan discusses Razia Sajjad Zaheer’s writings which cover a broad spectrum of topics, focusing primarily on the hardships faced by women, their intellectual struggles, domestic issues, challenges of self-expression and self-discovery, inherent inhibitions, and emotional fervor that resonate throughout her work. In the Introduction to New Urdu Fiction (2004), M. Asaduddin delves into the shift towards minimalistic thematic styles among Progressive Urdu writers post-Independence. He points out that Nehruvian ideals of progress failed to reach the masses, leaving issues like hunger unresolved amidst an indifferent bureaucracy and a progressively corrupt political environment. Additionally, Urdu, once a language of cultural richness, was increasingly associated solely with the Muslim community, leading to neglect and marginalization. This situation heightened the concerns of Urdu writers in India, who questioned the viability of a substantial readership essential for their craft.

 

In the backdrop of the political and cultural dynamics outlined above, the era of Progressivism gradually transitioned into Modernism during the late 1950s and early 1960s. The Progressives' perspective on humanity was notably limited, focusing on a minimalist interpretation of human desires and needs. They operated within the confines of realism, seldom straying from traditional plot structures and narrative frameworks.

Razia Sajjad Zaheer's short story collection "Allah De Banda Le" delves into complex themes using the barest details deliberately. The narrative style is suggestive, guiding readers along a path of contemplation regarding the state and trajectory of our society. By eschewing embellishments that might detract from the core themes, Zaheer crafts a minimalist masterpiece that encourages deep reflection and prompts readers to consider avenues for societal improvement.

 

The contributions of writers like Razia Sajjad Zaheer, often marginalized or silenced, deserve recognition and acknowledgment. Their works have the power to breathe life into forgotten narratives and bring about a renewed understanding of societal issues. It is imperative to unearth and celebrate these literary treasures, as they hold the potential to resonate deeply and awaken dormant voices.

 

Work Cited

 

Jaffer, Mehru. “Razia Sajjad Zaheer: Writings Even More Relevant 100 Years after Her Birth.” The Citizen - Independent Journalism | Indian News | The Citizen, 12 Mar. 2018, www.thecitizen.in/index.php/en/NewsDetail/index/9/13259/Razia-Sajjad-Zaheer:-Writings-Even-More-Relevant-100-Years-After-Her-Birth-- . Accessed 18 Mar. 2024.

Jaffer, Mehru. “The Amazing Writer and Woman, Razia Sajjad Zaheer.” The Citizen - Independent Journalism | Indian News | The Citizen, 14 Mar. 2017, www.thecitizen.in/index.php/en/NewsDetail/index/9/10153/The-Amazing-Writer-and-Woman-Razia-Sajjad-Zaheer . Accessed 18 February. 2024.

Pal, Joginder and M. Asaduddin. Ed. New Urdu Fictions. New Delhi: Katha, 2004.

Patrick, Hanks. Collins English Dictionary. Glasgow: Harper Collins.www.collinsdictionary.com/dictionary/english/minimalism

Sodowsky, Roland. “Performance Analytics: The Minimalist Short Story: Its Definition,

Writers, and (Small) Heyday.” Studies in Short Fiction:Vol. 33, No. 4, Newberry College Newberry, SC, Fall 1996, p.287. www.questia.com/library/.../the-minimalist-short-story-its-definition-writers also available on Scinapse, www.scinapse.io/papers/49514919 . Accessed 20 February. 2024.

Zaheer, Razia Sajjad. Allah De Bande Le. New Delhi: Seema Publication, 1984.

“Razia Sajjad Zaheer.” Mehfilsukhan, 17 Dec. 2012, https://mehfilsukhan.wordpress.com/2012/12/16/razia-sajjad-zaheer/ . Accessed 08 January. 2024.