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.
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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.