da Jafri needs no introduction. She is one of the most important female poets of the mid-20th Century also recognised for her prose writing.

Her autobiography Jo Rahi So Bay-KhabariRahi was published in 1995. It has nowbeen rendered into English as A World of Her Own by her son, AamirJafri. Like the original Urdu version, the translation is divided into 29 chapters.It spans over 429 pages.

The translation is particularly timely as Jafri’s birth centenary began in August 2024. The book opens with the memories of her childhood and an account of the traditions and culture of the pre-partition middle-class Badayunsociety.

The Tonkwala family lived in the Baree Haveli in Badayun. The family was deeply influenced by the abolition of feudal landowning. Jafri says it was a society where men were considered more important than women. The tradition was so entrenched that most women could not openly express their true feelings and desires. At the very beginning of her autobiography, Jafri writes:

“These men were so powerful that even a subtle movement of their eyebrows could mean a lifetime of joy or sorrow for someone.There were women who considered their decisions akin to divine commandment.”

Jafri says her mother had a pivotal role as her guide and mentor, helping shape her personality. In the Tonkwala household, the marrying daughters did not move in with their in-laws; instead, the groomsused to come and live with the bride’s family. Marriages outside the extended family were discouraged.

However, Jafri’s mother defied this tradition by marrying her elder sister off outside the family and sending her to live with her husband.

Formal education was not considered necessary for women. Yet, despite being widowed, Salma Badr-ul Hasan, Jafri’s mother, ensured that her children received a good education. In the process, she set many new traditions in the family.

The book is the story of a girl who felt restless, alone and lonely even in a crowd and who learnt about her father’s death after waiting for him for five years. To deal with her inner turmoil, Jafri turned to books.She transformed her loneliness into moments of creativity.

She wrote her first poem at the age of nine. Her mother was appreciative. Her verses soon began appearing in credible literary magazines such as Savera, Afkar, Shahkar, and Adab-i-Latif. She also developed a unique relationship with the Baree Haveli, where she found a hidden library where she would secretly read books and compose poetry. Thebooks became her source of comfort. She writes:

“I have found books to be closer to life than many people. When I was lost in a dark wilderness and sought light from fireflies, these books became my guiding stars.”

The autobiographynot only recounts her own experiences and observations but also provides rich details about the traditions, customs and practices of the times.

In a chapter titled The Days and Nights of Badayun, she writes that the city was also known as the City of Mystics and Sufis. One tradition involved the tomb of Mamoon-Bhanjay. Whena child was born in the community, the mother and child would visit the tomb, where the mother would offer two rak’at of nafl prayers in gratitude and make a small donation for the lamp oil.

The month of Ramazan was welcomed with great joy, extended prayers, fasting by both the young and the old, and iftar arrangements at mosques. Eid was also celebrated happily, though the passing of an elder was remembered on that day. Alongside recitation of the Quran, food was distributed among the poor.

The month of Muharram was similarly respected. New or brightly coloured clothes were avoided. Offerings were sent to the homes of those close to the family. The elders would narrate the events of Karbala and explain their significance to the children.

The book open with memories of her childhood and an account of the traditions and culture of the pre-partition middle-class Badayun society.

Traditional matchmaking was a delicate process. Jafri describes how marriage proposals, celebrations and invitations to wedding feasts were handled by a nayan. The nayan would take the proposal to a prospective bride’s home. If the family approved of the match, they would include a cardamom in her paan.

The nayan would then joyfully inform the groom’s family: “Today I was given a paan with cardamom.” On wedding occasions, seven types of food, known as torabandi, would be prepared. It was the nayan’s duty to deliver the food to neighbours’homes.

In addition to reflective aspects, Jafri pays attention to artistic elements in her autobiography. She paints vivid sketches of people, one of the most significant being that of her maternal grandfather, MaulviZahoor Hassan, who she says had a generous and enlightened disposition.

After the death of Jafri’s father, he showered the children with love; took care of their needs; and, upon her request, gifted her the Lughat-i-Kishwari. Jafri also fondly recalls her maternal grandmother, writing:

“Among my fondest memories of Badayun is the memory of my nani. The sound that used to wake us up each morning was that of her gentle, sweet, melodious recitation of the Holy Quran.”

The past holds great significance in Jafri’s autobiography. Despite the difficulties, deprivations and limitations that marked her early years, every memory seems beautiful and dear. The nights and days, once filled with complaints and lamentations, appear pleasant when viewed from a distance.

Badayun, known as the city of large-hearted people, is home to the graves of many scholars, Sufis and martyrs. However, women did not enjoy the same status as men. Jafri left Badayun with many unfulfilled desires, one of which was to fully explore the city.

She writes: “I never set eyes on Badayun’sShamsi Mosque. Nor have I ever visited the shrines of these scholars to pay homage to them.”

Jafri also mentions the partition of India and the subsequent riots in her autobiography. She describes the reality of the time in such a way that the entire scene unfolds before the reader’s eyes.

While Badayun was spared large-scale massacre and rioting there was palpable fear. Riots in the name of religion swept through many nearby cities and villages.

The book is a treasure trove of valuable information. One chapter, titled The Amish, provides insights into the ancient traditional American community. To engage the readers’ attention, Jafri introduces the subject with a story told to her by her daughter, Sabiha Iqbal. The thoughtful approach adds depth to the narrative, enriching the reader’s understanding of both personal and cultural histories.

Jafri discusses Pakistan’s political upheavals as well as the poetic and literary environment. She fearlessly addresses dictators such as GenAyub Khan, GenYahya Khan and GenZia-ulHaq.

In addition, she fondly and intimately recalls her contemporary poets and writers. Throughout the book, Jafri never places herself at the centre of attention. While openly describing her personality, she mentions nearly 150 other people.

In her references to these individuals, Jafri refrains from showing any bitterness, sarcasm, or derision. Instead, she portrays each person with kind and generous words, bringing out the depth of their characters.

Life brings both good and bad experiences, and one encounters both good and bad people. Ada Jafri faced her share of difficulties, but in this autobiography, she chose to focus on positive memories and the good people she had met. She writes:

“Maqdoorbhar jo raahkapattharbanayrahay

Voh logyaadaaehainaksarduaonmein”

[I have often remembered in my prayers the people who to the extent of their ability chose to be hurdles in my path]

A World of Her Own, beautifully covers many artistic and reflective aspects of Jafri’s life. It tells the story of a remarkable person who, at heart, is a poet. Even in her prose, her poetic sensibility shines through. She composed poems and ghazals, capturing various scenes, special occasions, and beautiful places with grace and eloquence.

A fine example of her poetic talent is the poem Rukhsat, which she wrote on the occasion of her daughter Sabiha’s wedding. This heartfelt piece reflects her ability to express deep emotions through her art, blending the personal with the poetic.

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