It is undeniably a luxury to comprehend the columnist’s expedition through the lanes of his observations, his struggle while passing through the narrow sub-ways of sensitivities and the jubilation he enjoys in the wide open meadows of imaginations. Interpretation coupled with compassion is adorned in the basket of mind’s eye to make a column what a first-rate reader needs to examine. Writing a column is as intricate as composing a poem. The ability of writing may vary from person to person but the underlying current flows through the same need__ to represent the mass, to highlight their plight and pleasure and to guide them through devoted occurrences.
Sareer-i- Khama , a collection of literary columns in Urdu by Mohammad Salim Salik serves as a reflector to arrive at the crevices of mind and as such a reader is carried to the profundity of its composition and creation. ‘Dil Ki Baat’ is a chapter that discloses the account of column writing in Urdu, starting from Abul Kalam Azad’s Afkar Hawadis to the contemporary columnists like Noor Shah, Ayaz Rasool Nakzi, Hassan Zainagiri, Shahzada Bismil and Dr. Nazir Mushtaq. Salim Salik has aptly documented that Catharsis is what makes a columnist to reach to the needs of his readers.
Like all other columnists, Salim Salik has sincerely mentioned that a verse of a poet can be projected as a title of a column and the richness of the verse if felt accurately and efficiently can give rise to a column. Salim Salik advocates that one must be clear in his mind while handing a verse to explore its original writer. He owes much to his research programme that according to him has enriched him to encourage his in-depth investigation. As a columnist Salim Salik has created a specific room where his columns are framed with much intensity aided with genuine criticism. His columns are not just a random kind of stuff, but a serious peep down the spine of Urdu literature.
What makes this collection unique? I attributed many such incidents while reading this collection, but to me the interaction with Abdul Rehman Mukhlis inspires me to share my sincere views because of the reason that Salim Salik has honestly put forth his first hand experience of confronting criticism and the response. The columnist must be equipped with wit on one hand and the forbearance on the other hand. Creating a fancy column copious with flowery language tripping in the ether can temporarily please the nerves, but for enduring consequence, Salim Salik has shown the best way to rule the hearts of his critics is to understand them along with their irritation.
Yaad Thee Hum Ko Be Rangarung Bazm Aaraiyaun is yet one more astonishing instance where O’ Hennery’s famous short story After Twenty Years has been used as a background for the column, much applicable and true to the account of referring one such real incident. I strongly admit that a columnist must connect us with history as a first hand observer to sensitise the general gender. Shamim Sahab’s collection Veerane and other works have dominated this chapter not as a tool of information but as a quest to know the author. Through this type of uphill struggle Salim Salik has once again enriched us by his endless pains to make his column unique. Story behind the curtains is never a story for a reader, but for a critic and keen observer, the proceedings behind the screen is as marvelous as the final script on the page. Salim’s columns have truly depicted this art of reaching to the need of the contemporary reader. Sharing an experience through a literary column makes it commendable for the reason that the reader is provided a true account of the incident through the author’s self participation. The art of column writing requires such penetration. Things must not be copied to bore the audience, but the columnist’s point of view through his own eye makes it valid and Salim Salik has shared many such incidents in this collection, which not only has revealed his seriousness of putting the facts at fore but the way he has employed to present such firsthand experience through columns has made this collection a significant read. Many stories behind the final stories are also mentioned in the collection like Gulam Abbas’s Overcoat, Munshi Prem Chand’s Nairnang-i- Khayal, Asmat Chagatai’s confession that she writes when the world around her is vibrant. Salim Salik’s observation, learning, psychoanalysis, perspectives and perceptions are flooded with keenness, kindness and composure and all these traits has turned him into a seasoned critic. In the chapter Sarsari Tum Jahaun se Guzre Salik has once again unfolded the mystery of learning. ‘Plot’ is the secret that every story teller knows. Salik’s curiosity to know more has turned him a bookworm. Throughout this collection hundreds of authors and their work has been mentioned which is a typical example of a book lover whose job doesn’t end at buying a book and placing it on the shelf never to open it, but Salim Salik’s study of Urdu literature best suits this work. Similarly long narrative and its rise and fall and the treatment it requires has also been artfully discussed. In Behar Surat Mujay Pehchante Hein, Salim Salik has once again connected us with history by referring to a personal understanding of Hamdi Kashmir and his literary contribution.
Salim Salik has opened a debate on fiction writing in one the cahapters: Afsana Likh Raha Houn Afsana Horaha Houn. I appreciate such discourse wherein, argument has opened a space for encounter. The way fiction writing has involved journalistic reportage on one hand and a flowery language wrapped in pure literary diction on the other has spoiled the conventional line of storytelling. A debate that Salim Salik has opened has relevance. Keeping a track of the fiction writers from Mantoo to Salam Bin Razzaq one can certainly guess that the modern fiction writers have gone with the flow by creating fissures in conventional dictates. The debate is open; one can bring details in favour and against. A question that has not been answered is that what makes a short story a piece of fiction. Obeying a set of rules or to enshrine it with other forms is an extensive topic to debate upon. One thing that has come out in the column here is that one cannot surpass a particular genre by experimenting too much to make it thin both in form and formation.
Tuj Sa Kahaun Se lavoun has mentioned the reasons put forth by Professor Irtiza Kareem why the native Urdu fiction writers have not created a niche of their own. The reasons are obvious. Salik has sincerely given a due place to the reasons and has honoured the view of Omer Majid : that a modern fiction writer writes without reading others and tries to soar in the blue without observations and approvals.
The collection is undoubtedly a fabulous work not only in terms of literary history of Kashmir, but also in terms of carrying the reader to the past and connecting him with generation next. From college life, the references as presented in the book takes us back when literary clubs were active to the extent of producing master pieces. ‘Kehkashaun’ has been such an energetic literary club blessed by Bilal Hussain, Rouf Rahat, Saleem Sagar, Sajid Ahmad, Riyaz Malla, Imtiyaz Naqash, Adil Shafi and Salim Salik. Like other literary groups the group too vanished in thin airs, but I personally believe that Salim has carried the verve of such literary group forward which is evident that Salim Salik is among pioneering executive members of Jammu Kashmir Fiction Writers Guild that has kept the candle of fiction writing pulsating and vibrant till date.
The collection is a must read for the students of Urdu literature. It has all what a critical analyst requires to ponder over. The debates, discussions, critical analysis, technicalities, literary terms, exposure to first-hand experience with reputed authors and above all the language that is sweet to taste and appropriate. Apart from the structural beauty of the columns, the use of verses amidst prose has added flavour to the deliberations.
The collection is the production of Creative Star publication New Delhi. S. Tariq’s cover page has further decorated the book apart from its brilliant content aided by Mohammad Yousuf Teng, Farooq Nazki, Depak Badee, Dr. Malik Mohammad Asif and Junaid Jazib.
ABOUT THE REVIEWER
Mushtaq B.Barq is a Columnist, Poet and Fiction Writer. He is the author of “Feeble prisoner, “ Wings of Love” and many translation works are credited to the author like “ Verses Of Wahab Khar” and “ Songs Of Sochkral”
