elles-Lettres: Writings of Hijab Imtiaz Ali will allow the readers to step into an evocative world of writings by the renowned Hijab Imtiaz Ali (Ismail). The anthology, translated from the original Urdu by Sascha A Akhtar, brings to life the delicate prose and narratives that define Ali’s work.

The book begins with Haider Shahbaz reminiscing about the norm-breaking works of Ismat Chughtai and how the latter interacted with Ali. He mentions Chughtai’s autobiographical essays, Kaghazi Hai Pairahan, where Chughtai recounts her journey to Lahore in the early 1940s to attend court proceedings regarding the obscenity charge against her short story, Lihaaf.

During this winter trip, she met several writers, including Hijab Imtiaz Ali. Chughtai had tersely dismissed Ali as “a little melancholy, a little sullen” (as translated by Naqvi and Memon). Shahbaz clarifies in his words that critics have often labelled Hijab’s work as quintessentially romantic, portraying her as an escapist and frivolous writer.

He mentions that Hijab’s body of work includes horror stories, wartime propagandistic diary entries, psychoanalytic novels and a metaphysical book on science and theology.

Akhtar’s translation of Hijab Imtiaz’s Adab-i-Zareen as Belles-Lettres challenges these assumptions so that a wider audience could enjoy her work. So whether you are a long-time admirer of Urdu literature or a newcomer to this rich tradition, Belles-Lettres offers an enchanting glimpse into the world of one of its most beloved writers, now accessible through Akhtar’s thoughtful and compelling translation.

Shahbaz’s foreword is followed by the translator’s commentary and her journey towards translating this work. Talking about the decline of Urdu language, Akhtar says that this ‘death of the language’ is not just the loss of a means of communication but also the erosion of a rich cultural heritage and literary tradition.

With the rise of English as the dominant medium of instruction in elite schools, many urban, affluent families have become disconnected from Urdu. Of course, this shift has led to a misconception that Urdu literature is no longer vibrant.

She says this overlooks the thriving Urdu-speaking intellectual community that has been around for centuries. Urdu newspapers, such as the Daily Jang, and literary journals have long fostered engaging discussions and endured the test of time and geography.

The book spans a range of themes, from the joys and sorrows of love to the complex tapestry of societal norms and individual aspirations.

Akhtar elucidates that the presence of Tahz b-e Nisw ñ and Phool highlight the ongoing relevance and vitality of Urdu literature in the subcontinent. Akhtar also talks about Hijab’s early years and her time in Hyderabad–Madras, Taj’s murder and her literary journey, brimming with quotes from interviews and articles, with clear, elaborate explanations of Hijab’s work.

For instance, in Three Questions, Hijab laments the withering of the deepest wishes, contrasting them with the flourishing roses, the visible moon, and the lush wheat fields that symbolise hope and contentment.

Despite the natural beauty and abundance, the dreams remain unfulfilled and desolate, untouched by nurturing forces. Through vivid metaphors, the piece conveys the universal sorrow of unattainable aspirations and the stark gap between external vibrancy and internal desolation.

Then, Je Ne Sais Quois delves into the beauty of twilight. The piece talks about the glow on the farmer’s face at dusk and the shadows of trees at the river. As temple lanterns light up and daylight fades away, the poem captures the magic of the evening.

It makes the reader contemplate the forces that bring the weary labourers to life, suggesting a subtle connection between nature, light and the human spirit.

One Morning in Autumn stands out as a favourite, for it talks about silent sadness. With a vivid mental picture, the piece sets a sombre, reflective tone, reflecting the subdued emotions between the two characters. The lack of conversation emphasises their deep, unspoken understanding, portraying the importance of a connection that transcends words.

The focus on the thrashing breakers and the woman’s quiet attempts to play her lute also create a sense of introspection and quiet companionship. It deeply resonates with the beauty found in peace and quiet and the subtle, tender moments between loved ones.

Ali’s stories, rich with cultural nuances and emotional depth, take a deep dive into human experiences and the beauty one can find in everyday, mundane moments. Akhtar’s translation preserves the lyrical quality of the Urdu text, keeping intact the depth of the original, allowing English-speaking readers to fully appreciate Ali’s literary genius.

The book spans a range of themes, from the joys and sorrows of love to the complex tapestry of societal norms and individual aspirations. Each piece of writing goes on to show Ali’s profound understanding of the human condition and her ability to express it with grace and sensitivity.

Belles-Lettres

Writings of Hijab Imtiaz Ali

Edited and Translated by Sascha A Akhtar

Publisher: Oxford

University Press, 2023

Pages: 128, Paperback

The reviewer is the head of content at a communications agency