Bald Angel

#12

I am aware of Pitrus`s Kal Saweray jo meri ank khuli, and I might be confusing the titles with Manto`s Story, the title of which was on a similiar premise. Anyways maybe you can enlighten me about the right title, the story was a narrator`s walk through the newly partioned Pakistan and a description of the optimism, Manto uses the sentence ``Pakistan Zindabad`` as a metaphor for overiding the reality of Partition with Patriotic fervour.

Rgds

W

#12

I am aware of Pitrus`s Kal Saweray jo meri ank khuli, and I might be confusing the titles with Manto`s Story, the title of which was on a similiar premise. Anyways maybe you can enlighten me about the right title, the story was a narrator`s walk through the newly partioned Pakistan and a description of the optimism, Manto uses the sentence ``Pakistan Zindabad`` as a metaphor for overiding the reality of Partition with Patriotic fervour.

Rgds

W

Okay, correction to my post...

It occurred to me that Gill sahib may be referring to Manto as ``Bald Angel`` and not to Manto`s book ``Gunjay Farishtay``. If that`s the case, I aplogize...

Sac, 21

“I don`t think its possible to translate works from one language to the other.”

Still, thank goodness for those who can translate well. If it weren’t for the English translation of Madam Bovary, I wouldn’t have read one of my all time favorite stories, or wouldn’t have known the brilliance and the profundity of Par Lagerkvist.

Btw, it’s the blunders like translating “Farishtay” as “Angel” and not “Angels” that puts one off. There I agree with you!

Are most talented young writers in Pakistan choosing to write in English rather than Urdu these days?

I read a collection of Manto`s short stories he was an interesting writer.

re saimashah#17:

I thought that`s what I wrote. Maybe I wasn`t clear enough?

re t #18:

How can I say no to you :) But ``Is tazkary mein kuch parda nasheenon key naam aatey hein........kian karey``

re freethinker #19:

I agree with most of what you say. My intention was simply to point out there were other considerations besides the literary merit of Manto`s work that propelled him to where he is. The VCR took off not because people were watching Wuthering Heights on it but because they were(and still are) watching porn.

re HN #20:

I don`t think its possible to translate works from one language to the other. There are exceptions that prove the rule but by and large its like eating Purdue chicken. There is no flavor. One might as well be eating cardboard. If there are translators who can capture every nuance of the original author, they are probably good enough to write on their own.

later
-sac

MG,

Good effort. Had hoped to tune in earlier, but have been dodging the guillotine on another thread.

Since a lot of issues regarding Manto have alreadty been discussed, i will add my two bits on a couple of issues. I am by no means a Manto scholar, so do take it as a dilletante`s raw comments.


1) Regarding Manto`s uneven body of work, and the charge against him that he diluted Urdu, is a fairly widespread charge.

I feel this has always been an issue with language writers. Manto`s historic value is primarily hinged on the fact that he wrote raw, underbelly-of-society, kind of stories ...the kind that hallowed Urdu had kept outside its holy precints. Urdu, as I understand, was jolted by the earthiness or in Manto`s case, soiled language Manto used when depicting the life on the streets.

While the jolt to the ordodoxy of Urdu is not unimaginable, the fact remains that Manto discovered, or at least more consistently probed an aspect of life that his language till then did not seem capable of accepting. In that sense, like Shakespere, he
stretched the language to better and more truly reflect the character of the world that he was depicting. And it is here that a lot of Urdu writers of the time and later, found the language of his works eschewing the ornamentary trellises of Urdu, a literary apostate. He was what the Bard from Stratford upon Avon was to them...``an upstart crow.``

2) Manto got part of the fame he did because his works consistently probed a subject...or subjects...not much plumbed in his language. But, there is no denying that being the first, and an accomplished one at that, he cleared ground for Urdu. I am unfortunately not familiar with Urdu writing enough to say this authoritatively, but Manto still has few peers in Urdu.

It is also here that a lot of translators of Manto tend to feel inadequate. Because, I suspect, like many other Indian languages, the translators have a more contemporary understanding of the language that they translate into, than the language they translate from. And in the fear that they might mess up a iconic master, they come up with word equivalents that suggest a fear and awe of the master...

In Khalid Hasan`s own translation that you quote in the very begining, is a nice example.

``In my tonsorial parlor there is no comb, shampoo, or hair -curling machine. ``

Tonsuring parlour...and hair curling machine...is like calling a radio a radiogram...and a Fridge a refrigerator. If you notice, Manto himself used more contemporary words...often vaulting over the Pure Urdu grounds into the pidgin...Hindi...laced language of the streets. But his translators are afraid to match his pioneering spirit. This is one reason a lot of translation gets so much flak...because they transmogrify the work...and actually remake a ``modern, pioneer`` in the mould of a unnatural, ``unalive`` language. Translations tend to locate the work into an older, artificial language than the real work was in its original laguage.

Sac’s observation that Manto “was primarily read for the titillation value” may be correct in view of the fact that what else was available in those days for cheap ‘kicks and thrills’. However, the fact remains that the first time I heard about “Khol Do” was in the first year of my intermediate (Faculty of Science) program. Our English Composition teacher discussed the story quite in detail in the class. I also remember that he critically appreciated Faiz’s “Chand Roz Aur Meri Jaan Faqt Chand Hi Roz” in the class line by line. He tried to prepare us to discriminate cheap works from the classy ones.

Manto’s critics and the supporters were equally prominent in the Urdu literature as I mentioned in the sketch. Maulana Tajwar Najeebababadi was one of the witnesses who testified against Thanda Ghosht and Faiz was among those who testified in favor of Manto. It’s true that those who sought cheap thrills found aplenty in Manto’s stories but they didn’t count for much as literary critics.

Regarding the motivation for him to go to Bombay and try his luck in the film industry was nothing unusual. The likes of Sahir Ludhianvi and Shakeel Badauni were there also for the same reason. Although Manto didn’t last “Aath Din (eight days)” in the film industry like his movie of the same name, Sahir and Shakeel elevated the film industry to new heights.

Undoubtedly, Manto was inspired by the French literature as sac has pointed out. He started his writing career by translating foreign literature and then in due time when the creative spark fired him, he took off on his own. One of the works that he translated was called ‘Vera’ if I remember correctly. Having said all this, it shouldn’t detract in any way from his unique style and great skills because he didn’t indulge in plagiarism.

He was truly a multidimensional personality.

Mohammad Gill

sac:

how about delivering on that parveen shakir article?... hud ho`gaee soosti ki:)

...t

#16 sac

2/ I got a different impression. An essay written by Ismat Chughtai mentioned that he went to Bombay and or got involved in film scripts since they paid better and were appreciated. Manto thought that books were on their way out as a medium. Ismat mentions that he had a family and wanted to support them well.

also, dair aye durust aye. I think it is a good think that in a world which tends to view Islamic history or the cultural diaspora of the Indian Muslim to be about a bunch of cheerless super conservative fanatics, there is a thread of irreverance and outrageousness, that we the post generation liberals can appreciate. So it is the french moi must thank? never mind.

Nice introduction to Manto.

Now that everyone and their peon has discovered Manto, it is important to keep a few things in mind.

1)Manto was primarily read for the titillation value he provided to its readers. Very few readers were interested in the literary merit of his works. Just like Madame Bovary, critical appreciation of his efforts came much later.

2)Manto deemed his work in the scriptwriting department more important than short stories or sketches. Almost everyone of his works mentions his endeavours in that area. Maybe the recognition he thought he was due as a film writer and couldn`t get drove him to his drinking problems. Drinking was emblematic more of a lifestyle than a need in the `creative` circles he moved in.

3)Manto borrows heavily from French literature which was in vogue at the time. It is claimed that he was fluent in French and he borrowed several patterns used in French literature. Use of the prostitute as a human character with conflicting emotions was a French device.

4)There was an effort on part of the purists who belonged mostly to Urdu speaking elites to deny him his due. While they wanted a monopoly on the pandans and the tawaifs, they just couldn`t acknowledge the genius of someone who was not a `ahl-e-zabaan`.

5)As Gill Sahib alleges, most of Manto`s work is largely forgettable. But the gems in there are enough to certify him as the best short story writer Urdu has produced.

The mere thought of Naqshbandi translating `Khol Do` is enough to make a grown man cry. Naqshbandi, I beg you. In the name of Ghazali and Ibne-Batuta please spare us the misery. I am willing to trade you whatever little sawaab I may have on the day of judgement in return.

later
-sac

Asif:

…it is good to note that you plan to translate Manto’s Khol DO…translations are never an easy job…one has to be well versed in the nuances of both languages, in addition to having a great deal of familiarity with the author and his/her times… wish you well…and hope to read the translated story here…

…i hope you look over the previous translations of Khol DO…there have been several…there is one by tahira naqvi and another i believ by khalid hasan and others…and have posted some other links to articles on manto in here

rgds,

t

Wonderfully written piece. I have read somewhere that Manto was reluctant to leave Bombay and he only did this as the rest of his family had left for Pakistan - is this true. Also was there no place for him in Pakistan`s film industry?

Gill sahib--I am quite `loose` (no not in that sense!!) but i think i will go ahead and translate Khol Do into English when I get some spare time after your comments. The main reason i stopped was the fear of not doing justice to the Urdu...

***

Dear Inter-actors:
Thanks for your interest in Manto’s sketch. Jahil and Azure expressed their appreciation and there was interesting exchange between temporal and punjabizulu.

Regarding temporal’s comment on Manto’s epitaph, I like to clarify that Manto had written his epitaph although I’m not sure if he left any instructions for it to be erected on his grave. I believe it was just a literary quip. Regarding his comment on ‘Khol Do’, Naqshbandi has indicated in his comments that he is considering translating this story for publishing it on Chowk. If he does so, he’ll compensate for the deficiency that temporal noted in my sketch.

Regarding Wajahat’s comments, I do not know if Manto wrote a short story or essay, captioned “Saveray Jo Kal Aankh Meri Khuli.” Pitrus had written an essay with this caption and I had translated and published it on Chowk.

And lastly, I appreciate Naqshbandi’s comments. May I suggest to him that he should go ahead and publish ‘Khol Do’s’ translation on Chowk. It is a sad story reflecting on the atrocities committed during the partition of India. Women were victimized in the worst manner as it has happened in the history of humankind ever so often. Manto wrote this story to reveal the bestiality of men when they get out of control and not restrained by the law enforcement authorities. The transition of the partition process was totally lawless. The people of Indo-Pakistan had gone berserk, out of mutual communal hatred.

Manto received a lot of unjustified negative publicity for writing on ‘normally taboo’ themes in his time. He wrote about prostitutes, the neglected part of our community, who are as human as any other human being. Their stories also needed to be told and Manto told them in a ‘down-to-earth’ manner for which he was criticized.

Naqshbandi Saheb, please do not feel restrained by any feelings of ‘religious correctness’ to translate Manto’s stories if you feel like doing so. One doesn’t need to be ‘judgmental’ always. Loosen up a little bit, now and then, if I may so suggest.

Wishing you well,
Mohammad Gill

temporal

Cheers mate, I will certainly pass along any interesting stuff that comes my way and I will start trawling through your back catalogue now.

regards & thanks

:)