Echoes of Sindh: The Legacy of Drama, Fiction, and Literary Realism

It was in 2020, at the height of the coronavirus crisis, that the sad news of renowned Sindhi writer Abdul Qadir Junejo’s death spread widely. He was primarily known for his dramas and later for his short stories. Although I had long heard his name as an accomplished dramatist, short story writer, and an established figure in Sindhi literature, my first real encounter with his work was through his newspaper columns. Until his death, even in his final years, he continued to write regularly for Sindhi newspapers. I used to read those columns frequently and benefited greatly from them, particularly because of his attractive and powerful diction. He wrote some of the most popular plays that became deeply rooted in the public imagination. People may not always know the writer behind those dramas, yet they remain familiar with the memorable characters he created for PTV. These characters gained recognition across the country, particularly the famous character of Janu German, which became widely known among people of different generations throughout Pakistan.
Among Sindhi novelists, Tariq Alam Abro holds a distinctive place. Although he wrote only one novel and did not produce another, he also authored short story collections, poetry, and several other books. However, as a novelist, his identity rests on that single remarkable work. The fame that novel achieved is unparalleled because it was the first Sindhi novel written on university life. His novel reached the height of popularity, and even today, no other Sindhi novel has been published as frequently as this one, being reprinted again and again.
Tariq Alam Abro was basically a prose writer, yet in an interview, he revealed that his first literary expression was poetry. The very first time he picked up the pen to write, he wrote poetry. However, he admitted that he could not compose poetry whenever he consciously tried to do so. Whenever he made a deliberate effort, poetry did not come to him; rather, poetic ideas emerged unconsciously, and he would then put them into verse. Although he became an established name in prose writing—as a novelist, fiction writer, and dramatist—he was not equally recognized as a poet in Sindhi literature. Nevertheless, some of his poems and ghazals remain highly popular and widely appreciated.
He died young—ironically and sadly—and the story of his death was as tragic as the melancholic characters and sorrowful short stories he wrote about society. His life seemed to reflect the same sadness that appeared in his fiction. After his death, a book containing various articles and columns about him was compiled by Nasir Mirza. His wife, Razia Tariq, though not a writer by profession, contributed two pieces to that collection—one about their personal life and the other related to his literary work. Both articles moved me deeply and emotionally. The reason was her ability to honestly record her feelings: their relationship, Tariq Alam’s behavior, his words on his deathbed, and their journeys from Karachi to Jamshoro and from Jamshoro to Hyderabad. Those writings carried touching glimpses of their love story and the simplicity of their shared life.
Among the prominent names in Sindhi prose, particularly in fiction writing, Amar Jaleel holds a distinguished place. He also contributed only one novel to Sindhi literature, but he authored numerous collections of newspaper articles as well as several short story books. He is widely popular across Sindhi society primarily as a short story writer, although dramas are also to his credit. As a fiction writer, he is especially admired for his honesty, wit, and credibility, which have made him one of the most respected names in Sindhi literature
Along with Amar Jaleel, another contemporary whose name is often mentioned when discussing Sindhi short fiction is Naseem Kharal. He also died young, at the age of thirty-seven; in fact, he was murdered. Although he could produce only three collections of short stories, his contribution remains highly significant. His fiction is marked by realism, particularly social realism, and presents an honest portrayal of society. He belonged to Ghambat in northern Sindh, while Amar Jaleel belonged to Rohri. These two contemporaries are regarded as pioneers of Sindhi short fiction after Partition. In Naseem Kharal’s stories, realism is dominant. At times, especially in his treatment of human relationships and sexual life, one can find glimpses reminiscent of Saadat Hasan Manto. At the same time, he wrote extensively about rural life, social injustice, the luxurious lifestyles of landlords, and the tyranny and oppression associated with feudal power.