Hafeez Khan is an outstanding Seraiki critic, playwright, short story writer and an intellectual. He was born in Bahawalpur in 1956. He did his Masters in history from Bahauddin Zakariya University Multan. Later, he got another degree in law. He joined the civil service of Pakistan in Postal Service and later decided to join the judiciary as civil judge. He has written more than seventeen books so far on poetry, fiction, criticism and history, and has bagged numerous awards.
In an interview with TNS in Sahiwal, he talks about his personal life and literary pursuits.

The News on Sunday: How did you drift towards art and literature? Was it the atmosphere at home?

Hafeez Khan: There was no literary figure in my family; however my father and my maternal grandfather were both fond of reading books. My father had a significant collection of books on history, religion, Urdu and Persian poetry, fiction, music etc. After my grandfather lost his eyesight, I used to recite books of his choice. I think that that encounter of mine with the books pushed me towards arts and literature.

My father loved music. Despite being a civil servant, he patronised classical singers of his age like mastero Ustad Tawakal Hussain Khan, Manzoor Hussain Shehnai Nawaz, Mai Allah Wasayi etc. He also learnt to play Tabla and harmonium. So in this atmosphere, I started to write poems and short stories in 1965 for children’s page of daily Jang Karachi and other children magazines like Taleem-o-Tarbiat and Hamdard’s Naunehal, being a student of class four.

TNS: You have written stories, poetry, radio plays, criticism and research articles on history. What is your favourite genre?

HK: Of course my first love was short story. Nowadays, I am enjoying the pleasure of historiography. As you know I started short story writing in Seraiki in 1971 but thereafter I wrote in Urdu for different monthlies published from Karachi and Lahore. My first Urdu short story, decorated with an illustration by legendary artist late Iqbal Mehdi, was published in 1974 in a popular monthly from Karachi, followed by a series based on complicated sexual interactions of people in their daily life.

Drama came into my writings by chance in July 1975 with the opening of Radio Pakistan Bahawalpur as no other prominent writer was available for the job. I also contributed wrote plays and features for women, children and farmer’s programmes other than long plays in Urdu and Seraiki during my stay at Multan.

The first ever book of Seraiki plays Kach dian Marian containing my five radio plays was published in 1989 and a collection of my Seraiki short stories Waindi Rut di Sham in 1990. Both were awarded by Pakistan Academy of Letters conference in 1994. This anthology of short stories was followed by Andar Lekh da Saik (Seraiki) Ye jo Aurat hai (Urdu) and Hafeez Khan ki Kahanian (Urdu).

Despite being awarded by PTV in 2002 as the best playwright (Seraiki) on my Teleplay Duthey, I was no more inclined to write further serials Koi Shehren Jungle Kookda (PTV) Hik raat da sijh (Waseeb TV) and Ajj da Ganman Sachar ( Rohi TV) as I got more attracted towards research and literary criticism.

However, earlier to that, I wrote teleplays in Seraiki, Punjabi and Urdu along with two books Ruthrey Pandh and Koi shehren Jungle kookda.

My first book on criticism Nau Abadiati Khiton ka Nia Mukalma published in 2005 was based on the poetic work of renowned Seraiki poet Rifat Abbas. It was widely acknowledged. Since it was in Urdu, for the first time the subjects of Seraiki poetry were opened and introduced to non-Seraiki readers. Secondly, I adopted a different style to give my verdict in specific terms and not in a confusing manner just to please all. To start with, it was hardly digestible for rest of the critics who were following traditional duplicitous style but later on not only was it appreciated but followed. The thesis developed my subsequent books. One on Khurrum Bahawalpuri and Kaafi -- Sind wadi ki Shaoori Tareekh were also in continuation of earlier work of criticism.

TNS: You edited and compiled the verse of forgotten Seraiki poet Khurram Bahawalpuri. Tell us something about him?

HK: He was a contemporary of Khawaja Ghulam Fareed. Khurram Bahawalpuri was a stunningly talented poet who was an Octroi clerk. He was cold shouldered by the critics as they didn’t want a powerful voice that could pose a threat to the popularity of Khawaja Ghulam Fareed. I collected his poetry and published it in a book form. I am sure he will be accorded a high pedestal in due course by genuine critics.

TNS: Can you elaborate about your series on the history of Multan?

HK: My book on the history of Multan Maa’sar-e-Multan was written in about seven years. For the first time, history is written in the format of a judgment as adjudged by a historian strictly on scientific basis. I have rejected all self-created myths in a logical manner and tried to rummage around an acceptable reality. I have discarded the myth about invasion or arrival of Aryans in Sind valley. To me it was just a title of ruling elite.

Similarly, I have tried to do away with the entire self-assumed and so called sacred episodes attributed to Muhammad bin Qasim, Ghaznvi and Ghauri. I have also portrayed Alexander not as Alexander the Great rather as an invader who looted this valley, set the city of Multan on fire and sold out hundred thousand young Multanis of each gender in the slave market.

TNS: You haven’t written a novel so far. Why?

HK: Frankly speaking, I have no justifiable answer to this except a small explanation that the choice of genre depends on mood and demand. In my case, despite the mood and demand I could not complete my novel which I started in 1991 while posted at Esa Khel, Mianwali. You may call it slackness.

TNS: What are you planning to write in the future?

HK: Presently I am working on the second volume of Ma’asar-e-Multan and a television play based on folklore Sammi Rawal. One novel and a few short stories are also pending conclusion. An outline of critical account of Seraiki prose and poetry is still in nascent stage.