he first edition of the three-day Pakistan Literature Festival (PLF) was held in Lahore from February 10 to February 12. Because of its rich cultural and literary history, Lahore was strategically chosen as the launching pad for the festival. Claiming to be the first-of-a-kind, the PLF was launched with much fanfare and attended by droves of people from all segments of society. Organised by the Arts Council Pakistan, Karachi, the PLF is to travel all over the country, the council president Ahmed Shah said.

Open to all, the PLF provided Lahoris with a chance to listen to their favourite writers, journalists, poets, actors and artists talk about their work, the future of Urdu literature, the changing face of poetry, the magnificence of prose, the need for constructive criticism in literature, climate-related concerns and fiscal responsibility, among other subjects.

Language and literature were centre stage. Writings emerging from the Punjab in Punjabi, Seraiki and Urdu were discussed over several sessions held in Halls 1, 2, and 3 of Alhamra Art Centre. Book launches were also an integral feature of the festival. From books written by established writers and poets and collections of works by eminent literati to journalists’ memoirs, several unveilings made some spend a pretty penny on literature at the otherwise free-entry-for-all festival.

On all three evenings, concerts by the likes of Ali Azmat, Sain Zahoor, Ali Zafar, Asim Azhar and Sahir Ali Bagga enthralled the public. However, the mushaira at Hall 1 on the second day of the festival proved that many still prefer the sound of a verse, a lyrical enunciation, a cheeky anecdote, thoughts encapsulated in rhythm and rhyme, distinct metre and defiant lines over pop concerts. A very real threat of stampede, absolute suffocation, and breathing in the musty odour emanating from hundreds of humans packed in the entryways of Hall 1 did not prove an effective deterrent for those trying to get into the mushaira. Pressed together, stepping on one another’s toes, people made their way in – the sight was disturbingly endearing. However, once inside, youngsters, out of respect for the elderly, vacated their seats and helped women and children find sitting room. Some snide remarks were heard, but soon things settled, and people’s perseverance and almost unbudging calm forced the organisers to start the mushaira overriding suggestions for a further delay.

Dr Nasir Abbas Nayyer’s book, Naye Naqaad Kay Naam Khatoot, was launched on the festival’s second day. The panelists, Najib Jamal and Auregzaib Niazi, lauded the writer for his fresh take on literary criticism.

The session titled Seraiki Language and Literature: New Trends and Possibilities saw a reasonable turnout. Writer Hafeez Khan extensively discussed the history of Seraiki literature. He said the Seraiki literature had had to battle to survive, but with time more was being written and translated, making it available and accessible. The panellists also shed light on the need for speaking, owning and teaching Seraiki to the coming generations.

Jawaz Jafri, Fatima Hasan, Yasmin Hameed, Aurangzeb Niazi and Najib Jamal discussed changing trends in poetry in a session titled, Poetry And Its New Possibilities. Moderated by Shakeel Jazib, the session aimed to explore how poetry had evolved in sync with the changing needs of the times and how perspectives within poetic tradition had changed, and newer possibilities explored by poets throughout history. From Ghalib, Mir, and Wali Dakkani to Iftikhar Arif and Kishwar Naheed, poets of the olden times and those of recent years were referenced for bringing modernity in verse through technique, expanding on the concept of new possibilities.

A conversation with poet Kishawar Naheed revealed more possibilities. She explained, “there is much that can be written about the experience of ageing, individuality and loneliness in current times.” Naheed is of the view that loneliness has become a resident feature of human existence in recent (pandemic) years, and only a few have touched upon the subject. She added, “we need to write about and explore themes related to women’s issues and their poetry.” Known for discussing difficult subjects, Naheed said, “the man-woman relationship has changed, evolved, taken new forms. Is poetry addressing these changing dynamics of traditional relationships?”

By way of an answer to the question, she added, “nazm has evolved, changing with the times, but ghazal hasn’t. I have reassessed my poetry because there is a need for bringing in new terminology, attempting new techniques and exploring new possibilities.”

Naheed’s distinctly defiant feminine voice is vividly reflected in her new poetry. In the session titled Buri Aurat ki Katha aur Taaza Nazmein, she read out to the audience a poem following Mahsa Amini’s death that sparked women-led protests all over Iran in September last year. Naheed has also addressed inflation, currency devaluation and other economic challenges in her recent work. She realises the need of the hour, themes that resonate with the public and is using her poetry to connect with the readers of this day and age, just as she did in the ’70s and ’80s.

Many writers and poets whose careers began in the latter half of the last century were present at the festival. One was missed sorely. A condolence reference was held to honour the late Amjad Islam Amjad on the festival’s third day. Kishawar Naheed, Iftikhar Arif, Irfan Javed and Akhtar Nadeem shared memories of their time with the playwright and popular poet.

After the tribute, Iftikhar Arif’s book Sukhan-i-Iftikhar was launched. Arif recited some of his poetry amid deafening applause. The audience particularly enjoyed his recitation of his famous poem, Barhwan Khilari.

The PLF was a success. The fact that it was not a ticketed event made it accessible to the general public. From stimulating discussions to live performances, there was something for everyone to enjoy. A new platform for applauding contributions to literature and generating discourse has been created.

The writer is a staff member