At a time when the spectacle of untruth and hypocrisy, carrying a disdain for the diversity seems to have become the order of the day, one has to go beyond the obvious and look for something that is tantalisingly situated at the intersection of everything, everyone and everywhere. “This does not pertain to an esoteric activity, it is the polite and intimate conversation with oneself and the outer world initiated by the literature. It is what that paves the way for salvation and innovation which we desperately need. Literature resists all attempts of silencing the dialogue,” argues noted Punjabi critic Krantipal in the editorial appeared in the second volume of the hundredth issue of “Kahani Punjab”, a reputed literary journal of Punjabi that appeared recently.
Punjabi critic Krantipal
In his evocative editorial, he wonders why only those get prominence quickly who try to undermine the literary and aesthetic legacy. They deliberately ignore the work that lives up to the cultural aspiration of people. They conspire to efface the traces of creative impulse that produces dialogue so that conversation cannot take roots. However, the urge for stitching up a rapport with others cannot be bumped off as history bears testimony to the fact, Kranti Pal asserts. According to him, the periodical is committed to exploring new frontiers of creativity by fostering mutual dialogue. Every piece of art denotes dispassionate disagreement, and it goes beyond personal hostility. Krantipal’s views on the purpose of communication remind one of Dorothy Nevil who remarked: “the real art of conversation is not only to say the right at the right place but to leave unsaid the wrong thing at the tempting moment.”
The journal, started by a distinguished Punjabi novelist and a Sahitya Academy awardee, Ram Swaroop Ankhi in 1993, carries a perceptive article of the famous Sikh thinker, Ajmer Singh, who described knowledge as a tool of subjugation and perpetuating hegemony. He regretted that Sikh intellectuals and leftist too sided with the powers that-be shamelessly. Uday Prakash’s article, “Writer and Commitment” urges the authors not to turn their attention to illusory ideologies that cast aspersion on the invocation of diversity. Harold Painter took pains in initiating a tripartite dialogue between art, truth and politics and point out that literature discusses the stark variance between a contrived reality and fundamental dynamics of politics.
Insightful interview
The most absorbing segment of the journal is the insightful and revealing interview of a well known Urdu poet Ahmad Faraz. The intriguing conversation is conducted by celebrated Hindi author Prem Kumar whose interviews with scores of Urdu poets and authors such as Shareyar, Intizar Hussain and Muneebur Rehman evoked a good response from the literary circles. For Faraz writing itself is the act of registering the protest and asserting oneself.
Prem Kumar’s astute questioning unveils many lesser-known aspects of Faraz in the form of anecdotes, memoirs, wistful experiences and quick recall of the moments of despair and anger. People believe that arrogance and self-exaltation hardly desert Faraz, but this interview proves otherwise, as Faraz says, “I have not done anything that makes me boastful neither in life nor in poetry. I might have done some excellent work, but it is not something to be proud of. The poets and authors usually speak against the uncaring society, but I am overwhelmed with deep affection.”
The noted Pakistani poet jokingly remarks that he could not give up two things – smoking and beard – here giving up means raising beard. Though Faraz enjoys tremendous popularity, still many find his poetry hardly more than the echo of Faiz. Being asked, he told Prem Kumar that it is not only Faiz but also he owes much to Ahmad Nadeem Qasmi and Sahir Ludhianvi. He is also influenced by Hafiz, Omar Khayyam, Rumi, Bedil. Wiliam Blake, Shelly, Byron and Keats. He points out out the Partition enervated the natural flavour of Urdu as several obscure Arabic and Persian words found their way in Pakistani Urdu, and many little known words of Sanskrit, Hindi and regional languages barged in Indian Urdu. It did not go well with the natural growth of the language.
The journal carries the translation of Asok Kumar Pendidi's Tamil novel “Jigri” and an exclusive section ‘Guest Stories’ featuring non-Punjabi writers such as Sanya Parkash, Akhlesh, Kailash Banvasi, Abdul Bismillah, Robert Braco, and Privand.
A judicious selection from the last ninety-nine issues forms the content of the current issue. It showcases the critical acuity and editing brilliance of Krantipal who is ably assisted by Dr Jasvinder Kaur Veena.
