umtaz Shireen (1924–1973), born a hundred years ago on September 12, is highly regarded for her Urdu short stories and literary criticism. Her Apni Nagariya, Megh Malhar and the Footfalls Echo are highly valued in Urdu literature. Her translation into Urdu and collections of her critical essays - Me’yar, Nuri Na Nari and Zulmat-i-Neem-Roz are also landmark publications.

Her short stories stand out in Urdu literature due to her distinctive style.

Mumtaz Shireen’s mastery of Urdu, English, Persian, Hindi, Kannada, Turkish and French was a factor in her

Mumtaz Shireen inspired many to explore, research and inquire. She unlocked some closed doors and introduced the Urdu literary community to some new debates. She also supported emerging writers.

Mumtaz Shireen maintained high standards and exhibited a refined attitude that impressed fiction writers, readers and critics.

Shireen introduced new perspectives to the Urdu short story, from experimenting with technique to developing unique styles. Her stories are significant because she employs a rich vocabulary, reflecting most modern trends and movements in international short story writing. She had a keen awareness of contemporary issues and challenges. Hser use of dialogue and her command over tone and style stand out prominently in her short stories.

Mumtaz Shireen did not always conform to textbook conventions. Still, she consistently wrote with a sense of balance and moderation. In her critiques of short stories, inspired by modern literary movements, she wrote about various techniques observed in world literature. However, rather than rigidly applying Western literary standards, she sought to create a balanced fusion of Eastern and Western traditions. This blending enabled a highlighting of our literary heritage while at the same time harmonizing Urdu literature and global literary traditions.

It can be argued that despite her significant and diverse scholarly and literary contributions, she has not received the recognition she deserved. After the emergence of Pakistan, she not only highlighted the distinctive features of Pakistani literature but also made valuable efforts to defend the country’s ideological foundations. She believed that certain ideals were essential for the intellectual growth of an artist. Pakistan held a profound significance in her system.

Mumtaz Shireen exhibited exceptional scholarly insight in appreciation of Urdu literature. She not only wrote beautiful short stories incorporating modern trends but also expanded the scope of Urdu literature by translating some of the world’s best short stories.

In her fiction, Mumtaz Shireen went beyond the conventional ideas of her time. She addressed topics that resonated with readers, presenting a world with which many were familiar. From this perspective, her unique contribution to the Urdu short story is indisputable.

Besides her short story writing, Mumtaz Shireen excelled in literary criticism. She broached groundbreaking debates on trends and ideologies and provided exemplary models of practical criticism. This gave her a unique position in Urdu criticism.

She received further recognition as editor-manager of a highly esteemed literary journal, adding another dimension to her stature. A distinctive feature of her short story translations was her commitment to preserving the essence of the original.

Shireen’s letters to notable people of her time, contemporary writers and friends reveal various aspects of her personality besides documenting literary history, trends, issues and activities of the era. Some of the letters also carry personal information showing her tolerant and hospitable nature.

The contributions of Mumtaz Shireen and her husband, Samad Shaheen, to literary journalism are unforgettable. Their journal, Naya Daur (New Era), first published in Bangalore in 1943. Later, publication was revived from Karachi.

Mumtaz Shireen’s incomplete autobiography, Hameen So Gaye Dastan Kehtay Kehtay, too, reveals some less known facets of her personality and are helpful in understanding some of her literary criticism. The publication of her very first short story had left a lasting impression on her readers. Her early critical essays had a similar attention grabbing effect.

Mumtaz Shireen’s boundless curiosity, extensive reading, and keen interest in latest literary trends and experiments made for evolution in her writing style. Her stories, both in terms of thematic content and technique, highlight her unique individuality. Her work has a sense of peace, comfort and contentment. It celebrates the successes of humanity, the foundation of relationships and the creation of a structured, consistent and organised system based on human values.

Throughout her challenging journey in theoretical and practical criticism, Shireen contributed immensely to Urdu literary criticism, providing both reflective and practical insights of the highest calibre. In addition to other subjects, she devoted special attention to the critique of short stories. In this regard, she conducted a thorough and organised study of the renowned short story writer Saadat Hasan Manto. When Mumtaz Shireen began writing criticism, little attention was paid to critique of fiction.

Embracing the influence of modern intellectual movements, she presented a balanced fusion of Eastern and Western critical perspectives that remains rare. She also mastered the evaluation of short story techniques and critiqued the masterpieces of modern Urdu short story writers, drawing on Western trends.

Shireen had an exceptional ability to understand and analyse an artist’s mind. Her work introduced Urdu short story to new techniques and highlighted new possibilities for short story writing in Urdu. She posed scholarly questions about the art and technique of the short story, opening new avenues for its development.

In determining literary priorities, Mumtaz Shireen presented ideas grounded in progressive trends, allowing the Urdu short story to transcend the world of sentimental expression.

In the final years of her life, Mumtaz Shireen’s creative output had declined. However, those close to her were aware of her ongoing literary projects and her continued engagement with creative work. She kept up with newly published critical and creative books and discussed those in private gatherings. Given her deep connection to literature and literary activities, she was expected to make significant additions to her life’s work. Untimely death denied her that opportunity.

Mumtaz Shireen is one of the cherished women in Urdu literature. She enjoyed mastery over both English and Urdu, writing fluently in both languages. She left a lasting mark on both creative writing and literary criticism.

The writer is a Lahore-based writer, critic translator and researcher. He is currently translating Mumtaz Shireen’s short stories and unfinished autobiography. He can be reached at: razanaeem@hotmail.com. He tweets @raza_naeem1979