Muhammad Hafeez Khan, a formidable luminary in the domain of Urdu novel-writing, commands a presence that transcends the need for any preliminary introduction. His craft, often evocatively compared to the seasoned finesse of a “veteran writer,” resists casual commendation, inviting a deeper, more nuanced appreciation. As I reflect on my experience of reading Khan’s “Har Eik Janam Ki Jan-e-ma,” nestled within the serene confines of the Best Western Hotel in Islamabad early one morning, I am compelled to recognize the profound literary pleasure that this novel offers, steeped as it is in the rich tapestry of historical and personal upheavals.
Set during a notably turbulent epoch in the princely state of Bahawalpur, spanning the years 1848 to 1860, Khan’s narrative intricately maps the sociopolitical landscape that marked the century’s midpoint. This period, fraught with the trials of imperialism manifested through the East India Company’s interventions, serves as a backdrop against which the lives of Khan’s characters unfold. The conscription of local youth into grandiose military endeavors under Nawab Bahawal Khan III’s regime and the subsequent socio-political ramifications are rendered with painstaking detail, reflecting the deep fissures within the state’s fabric.
In this complex milieu, Khan introduces a spectrum of characters from varied social echelons, artfully delineating their interconnected fates. At the forefront of this character ensemble are Roohilah “Hoot,” a young man from the arid expanses of Cholistan, and Yasmin, also known as Rebel, a young woman of stunning beauty from an oil-producing family of Bahawalpur. Their narrative arcs, fraught with love and tragedy, poignantly illustrate the personal costs of broader historical forces, thereby weaving the intimate with the epic.
The novel’s sociocultural landscape is enriched further by its diverse female characters, who, far from conforming to traditional archetypes, exhibit a robust agency and psychological depth. These women navigate and negotiate their existences within both the domestic sphere and the larger socio-political arena, thereby challenging and redefining the conventional roles typically ascribed to women in Urdu literature. The detailed portrayal of characters such as Hoot’s mother, his stepmother Husseina, and Rebel’s mother, among others, illuminates the intricate psycho-social dynamics that animate their lives, revealing the subtle forces of resistance and compliance at play.
Khan’s adept use of a rich, cinematic narrative technique imbues the novel with a visual and emotive vividness that holds the potential for adaptation into a dramatic series. This aspect of his writing, often dismissed by modernist critics as a detraction, is, in fact, one of the novel’s strengths, offering a visceral, immersive experience that captures the complexity of human emotions and societal changes.
Ultimately, “Har Eik Janam Ki Jan-e-ma” stands as a significant contribution to Urdu fiction, not only for its intricate narrative and profound thematic depth but also for its potential to invigorate literary discourse within English literary criticism once translated. By introducing the rich cultural and historical narratives of the Saraiki region to a global audience, Khan’s work promises to expand the horizons of South Asian literary studies, offering new critical perspectives and enriching the global literary canon with its unique voice and vantage.
File Photo: Muhammad Hafeez Khan
P.S. Muhammad Hafeez Khan, aside from his notable contributions to Urdu and Saraiki literature, has an illustrious background as a retired Session Judge. Residing in Islamabad, he has penned seven novels and three collections of short stories, showcasing his versatile narrative voice. Additionally, Khan has authored two Saraiki plays and four books on literary criticism, reflecting his deep engagement with regional and cultural narratives. His scholarly pursuits also include compiling the biographies of Saraiki singer Pathanay Khan and the classical poet Khurram Bahawalpuri, further cementing his role as a pivotal figure in preserving and interpreting the cultural heritage of the Saraiki-speaking regions.
