Snuffing out the Moon

by Osama Siddique

2084 bce: In the great city of Mohenjodaro, along the banks of the Indus, a young man named Prkaa becomes increasingly mistrustful of the growing authority of a cult of priests.

455 ce: In the fabled university city of Takshasilla, Buddhamitra, a monk, is distressed by how his colleagues seem to have lost sight of the essence of the Buddha's message of compassion.

1620 ce: During the reign of the Mughal emperor Jahangir, two itinerant fortune seekers endeavour to swindle the patrician elite, only to find themselves utterly disillusioned.

1857 ce: Mir Sahib, a wandering minstrel, traverses the realms of human deception even as a rebellion against the British Raj is advancing across India.

2009 ce: In contemporary Lahore, the widow Rafiya Begum navigates legal complexities in order to secure her rights and fend off predatory charlatans.

2084 ce: A scholar revisits the known history of the cataclysmic events that led to world domination by ruthless international water conglomerates.

Across epochs and civilizations, these are intensely personal journeys that investigate the legitimacy of religion and authority, and chronicle the ascent of dissent. Snuffing Out the Moon is a dazzling debut novel that is at once a cry for freedom and a call for resistance.

Advance Praise for Snuffing Out the Moon

‘Criss-crossing historical periods and populating its multiple narratives with a diverse set of characters, Snuffing Out the Moon is a daringly original novel charting the past and the future of our civilization, and so illuminating the author’s view of our present. A challenging and thought-provoking read’—
Shashi Tharoor, author and MP

‘This novel stirred strange feelings in me. Its air is bleak and somehow forbidding. It is vast in scope but comparatively compressed in a space that the novelist uses expertly to draw for us the lineages of the past, the present and the future. It leaves us with the chilling vision that evil—greed or the impulse to destroy—is man’s destiny. Masterfully composed, the novel sums up aeons of history and culture with an assurance of narrative power that makes the picture of the past and the present as compelling as his imaginings of the future. Present fears are no less than the horrible imaginings, the novel seems to say. Learned and sagacious, the narrative pleases while it also awes the reader’—Shamsur Rahman Faruqi, author of The Mirror of Beauty

‘Osama Siddique’s ambitious historical novel will be of consequence not only to Pakistan but to the Indian subcontinent’—Bapsi Sidhwa, author of Ice-Candy-Man

‘Innovative, introspective and evocative, this remarkable debut novel gives poignant expression to an age-old human dilemma and one of the central challenges of our own troubled times: the choice between stultifying social conformity born of ignorance, intellectual laziness and fear, and the liberating agency that comes from doubt, dissent and defiance. Polyphonic in scope and written in the fragmentary and episodic mode, the intriguingly titled Snuffing Out the Moon deftly weaves together half a dozen different narratives informed by the rich sociopolitical, cultural and literary traditions of South Asia’s six millennia- long history. Beginning in 2084 BCE with the Indus Valley Civilization and ending in 2084 CE when the deadly politics of religious radicalism and water wars have drastically recast the face of South Asia, the novel is a gripping read. It dispenses with linear time by criss-crossing the past, present and the future in a disconnected fashion without becoming random and trivial or devoid of inner meaning and connectedness. A welcome addition to South Asia’s burgeoning trove of English-language literature, it will engage and absorb a cross-section of readers with its sparkling wit, lyrical bursts and welter of insights into human frailties and foibles’—Ayesha Jalal, historian and author of Jinnah: The Sole Spokesman

Genres: Fiction, Pakistan, Historical Fiction, Novels, Dystopia, Literature

431 pages, Hardcover

Published July 26, 2017

About the author

Osama Siddique اُسامہ صدیق writes fiction as well as non-fiction and in both English and Urdu.

(My new vlog series on books -- Kitab Dost) See https://www.youtube.com/channel/UCcED...

He has written historical fiction that encompasses multiple eras ranging from ancient history to the near future as well as the diverse themes of time, religion, philosophy, ideas, architecture, archaeology, arts, iconic figures, progress, political systems, apartheids, evil and dissent.

In non-fiction he has written about history of evolution of laws in colonial and post-colonial settings, the elites that capture and control such laws, and their impact on ordinary citizens. He has also written about laws and politics as well as the politics of laws; about laws and society and the sociology of laws; and about rights and their violation as well as enforcement.

Dr. Osama Siddique is a Pakistani novelist, legal scholar, teacher and policy reform consultant. He was a Rhodes Scholar at Oxford and holds Masters and Doctoral degrees from Harvard Law School. He has also taught at Harvard Law as the Inaugural Henry J. Steiner Visiting Professor in Human Rights. Osama is also a graduate of Government College University and LUMS and has taught at the latter for many years where he also led the establishment of and headed its Law and Policy School.

Osama works in the areas of sociology of law, legal history, human rights, constitutional law, access to justice, and law and development. He also serves on the Senior Faculty of Institute for Global Law & Policy (IGLP) at Harvard. He is also deeply interested in the areas of archeology, ancient and medieval history, literary fiction, science fiction, the natural world, mythology and fantasy.

Snuffing Out the Moon is his first novel and set in six distinct historical eras in South Asia. Ghuroob e Shehr Ka Waqt is his first Urdu novel and laments the decline and looming death of a city.

His book 'Pakistan's Experience with Formal Law: An Alien Justice' was declared the best non-fiction book of the year at the Karachi Literature Festival (KLF), 2014. It also won the American Institute of Pakistan Studies (AIPS) Annual Book Prize 2014-15.

Reviews

[Shahrukh Wani · Rating 5 out of 5]

Good novels are expected to have an intriguing storyline. But great novels are supposed to go a step further and develop a storyline, which captivates the reader’s imagination in a way that they feel invested in the book’s narrative. Osama Siddique’s Snuffing Out the Moon falls into a league of its own, perhaps calling it a conventional novel wouldn’t be accurate either. Instead of a single storyline, the book packs six luring stories, each decent enough to merit its own paperback, jumping from one epoch to another with the novelty expected from a debut novelist.

In some ways, the diversity of storylines makes sure that the plots aren’t drawn out. With each chapter, the author introduces the reader to complex characters set in various eras; from a young man in Mohenjodaro cynical about his city’s future, a landlady in modern Lahore struggling with the complex post-colonial legal system to a futuristic dystopia governed by water conglomerates. Each chapter brings with it a degree of enthusiasm but keeps the reader yearning for more as characters vanish with the turn of the chapter. This nature of the book makes for an overwhelming read. But certainly not a dull one.

Foremost among what unites these stories is geography, with each set in South Asia, in particular, the regions of Punjab and Sindh. Using this dynamic backdrop these stories set out to explore compelling, intimate journeys of rather ordinary individuals in face of faith, power and change, sprinkled at times with a bit of irony. The author puts these individuals in a state of discord with their particular surroundings, be it a revolutionary zealot in the lust of a woman content with her environment or a pair of tricksters attempting to make their way up the social ladder by deceiving the elite. Each story bursts of creativity and imagination.

If you read the book with close attention, as you should, it isn’t hard to miss that a lawyer writes it, a pretty accomplished one at that. The author uses a conventional technique in lawyer’s handbook, which is to humanise their clients – in this case, the clients being the book’s characters. In one of its more appealing paragraphs, the author describes Emperor Jahangir as standing on a rainy day “at the jharokha of the palace, a goblet of wine in one hand, the other resting on the carved stone jali”. This nuanced approach is a common theme of the book, and this so-called humanization lures the reader into rather common emotions felt by the characters of the book – be it ambition, anguish or lust.

All things said and done Snuffing Out The Moon is an engaging, vibrant piece of literature. Like all pieces of literature, it isn’t without its flaws. But its strengths - underpinned by its complexity, and its attempt to explore the South Asian culture through the eyes of fiction, makes for a seductive read. Making the book an ideal companion for drifting in and out of epochs with a burst of human despair, intelligence and at times the irony of life waiting for the reader at every page.

Debut novels are gambles, as authors often struggle to discover their voices. In the case of Osama Siddique, I can say that the gamble has paid off. I may go as far as to speculate that we may be witnessing the birth of a new authority in South Asian fiction. After all, being a lawyer can't be that different from being a fiction writer.

This is a review of Snuffing Out the Moon which appeared in Daily Times on 22nd Aug 2017.

[Nausheen Sehar · Rating 5 out of 5]

لوحِ تقدیر پر رقم عبارت بدل سکتی ہے مگر لوحِ تاریخ پر درج داستاں میں ایک نقطے کی گنجائش بھی نہیں نکلتی۔

جو ہونا ہے____کیا خبر نہ ہو،مستقبل سے ذیادہ ناقابلِ اعتبار کون ہے جبکہ جو ہو چکا اس سے بڑا سچ بھی کوئی نہیں۔

دیدہء بینا نے ماضی کی بھول بھلیوں میں جھانکا اور کہانی ساز نے ارتقاء کے زینے پر کھڑی تہذیب سے ستھوئی اور پرکا کو چن لیا۔

ٹکشاسیلا میں ہزاروں سالوں سے موجود عظیم درسگاہ کے باہر ایک جوگی موجود ہے جس کے قریب نروان اور گیان کی چاہ لیے ایک جوان بیٹھا ہے۔

اس سفر کا ایک پڑاؤ مغلیہ سلطنت کے شہنشاہ جہانگیر کا دور بھی ہے جہاں فراستہ بیگ اور سکندرِ ثانی اپنی جعلسازیوں اور عیار ذہنوں سے ساتھ لاہور کے راستے پر ہم سے ٹکراتے ہیں۔

یہ 1857 عیسوی کا بغاوت سے کچھ پہلے کا زمانہ ہے۔لاہور کی مسجد وزیر خاں کے قریب ایک حویلی کے صحن میں سامعین کے جمگھٹے میں لکھنوٴ کا ایک فصیح و بلیغ قصہ گو موجود ہے۔جسے منظر نگاری پر عبور حاصل ہے۔ جو اپنے لفظوں سے قلبِ خوابیدہ میں چنگاریء شوق بھڑکا سکتا ہے۔

تہ در تہ کھلتے ماضی کے بعد اب ہم زمانہء حال میں موجود ہیں جہاں رفیعہ بیگم ہمارے مشہورِ زمانہ عدالتی نظام کا شکار ہو رہی ہیں۔ان کی کہانی کا ایک کردار بلال حسن بھی ہے۔

ایک قدم آگے مستقبل بھی موجود ہے۔ دوہزار چوراسی کے اس دور میں مشینی ترقی اوجِ کمال پر پہنچ چکی ہے۔ یہاں ہم "نیا" سے ملتے ہیں۔ الیگزینڈر المرتضیٰ آفاقی بھی یہیں موجود ہیں۔ "پچھلوں" کے لیے نرم گوشہ رکھنے والا ہوا سوار پراشنتو آدم فاروقی بھی یہیں ملے گا۔

ہر کردار اپنے گرد موجود کرداروں کے ساتھ ایک مختلف تہذیب کا نمائندہ ہے۔ ہر تہذیب ایک نئے پیٹرن کی پینٹنگ ہے اور ان تمام پینٹنگز میں مشترک ہے ان کا بنیادی رنگ یعنی مرکزی خیال۔ ہر کہانی طاقتور کی کمزور پر حکومت اور تسلط کی خواہش سے بُنی ہوئی ہے۔
میں اپنے کمرے میں کرسی پر موجود ہوں اور "چاند کو گُل کریں تو ہم جانیں" میرے سامنے کھلی ہوئی ہے۔
جب پرکا نے ستھوئی کو اپنی شہر آمد کی اطلاع بھیجی تو میں وہیں تھی۔ میں نے ستھوئی کو ننھی قندیلوں کا پیغام پڑھتے دیکھا۔میں تب بھی وہیں تھی جب پرکا نے ستھوئی کی مورتی کو کنویں کے سپرد کیا تھا۔
نوجوان بھیکو آنند کی مارا کی تین بیٹیوں سے ملاقات کے وقت بھی میں وہیں تھیں۔ میں نے ان لڑکیوں کی دل دلگی اور آنند کی بے بسی دیکھی اور بے جرم و خطا درس گاہ کا اجڑنا بھی دیکھا میں نے۔
بِلّے کا بلال سے بِلّا بننے کے سفر میں بھی میں نے اس کا ساتھ دیا۔ پرکا اور بِلّا____بہت خوبصورت کردار ہیں۔
اسکندرِ ثانی کی پھانسی کا منظر میں نہیں دیکھنا چاہتی تھی مگر ہم نے وہ بھی دیکھا جو دیکھا نہیں جا سکتا تھا۔

کان پور محاصرے میں قتل ہونے والے برطانوی شہریوں کی موت کا کفارہ اجنالہ کے خشک کنویں نے دیسی سپاہیوں کے خون اور لاشوں سے ادا کیا۔ یہاں آنسو منظر نہ دھندلا دیتے تو میں یہ بھی دیکھ لیتی کہ میں وہیں موجود تھی۔
میں ہر اس منظر میں موجود تھی جو آپ کےقلم نے میرے اور مجھ جیسے ہر قاری کے لیے تخلیق کیا۔ میں موجود نہیں تھی تو بس اپنے کمرے میں اپنی کرسی پر موجود نہیں تھی۔
تہذیب کے رنگوں سے سجی پینٹنگز سے بھری اس کتاب کو سمجھنے کے لیے ذہن کو آزاد چھوڑنا پڑتا ہے۔ زمان و مکاں کی قید سے آزاد ذہن نے ہر تہذیب ہر دور کو کھلی آنکھ سے روبرو دیکھا اور اس میں کمال میری نظر کا نہیں۔ یہ کمال تو صاحبِ کتاب کا ہے جس نے اپنی نظر مستعار دی اور بتایا کہ اس آئینے میں اس زاویے سے جھانکا جائے تو کتنے حجاب اٹھ سکتے ہیں۔اس نظر___اس کتاب کے لیے شکریہ اور مبارکباد قبول فرمائیں
آپ کی جانب سے ایسی ہی کسی شاندار کتاب کی منتظر ہوں
آخر میں کہنا چاہتی ہوں کتاب کے مترجم بھی ماشاءاللّٰه باکمال ہیں۔ایسا خوبصورت ترجمہ ہے کہ ایک لمحے کے لیے بھی ترجمے کا گماں نہیں ہوا۔
مصنف کے ذہن و قلم کو دعائیں۔خوش و آباد رہیں
نوشین فیاض

[Jawad · Rating 4 out of 5]

ایک اچھی کتاب! خاص طور سے اگر اس بات کو ذہن میں رکھا جائے کہ ہمارے ہاں اُردو ناول کم کم شائع ہوتے ہیں۔ گو کہ یہ مصنف کے انگریزی ناول کا ترجمہ ہے مگر اچھی بات یہ ہے کہ ترجمے میں آپ کو اُردو ناول کا مُکمل مزہ مِلتا ہے اور جنوبی ایشیا کے انگریزی لکھاریوں والا مصنوعی تصنع نظر نہیں آتا۔ دو چیزیں جن پہ تنقید کی جا سکتی ہی اُن میں سے ایک یہ ہے کہ مُترجم نے چند جگہوں پہ لفظ بہ لفظ ترجمہ کرتے ہوئے خاصی مُشکل زبان استعمال کی ہے جو بہتر ہو سکتی تھی، دوسری چیز یہ کہ ناول کے شروع کا ترجمہ تھوڑاکمزور لگا جیسے مترجم ابھی پورے رِدھم میں نہ آیا ہو۔

خیر میرے نزدیک اُردو ناول میں سب سے اہم چیز یہ ہے کہ ناول ریلیٹیبل ہو اور آپ کو اپنے آپ کو پڑھنے پہ مجبور کرے، یہ ناول ان دونوں چیزوں پہ پورا اُترتا ہے اس لئے اسے ضرور پڑھیں۔

[MI Abbas · Rating 4 out of 5]

بہترین۔۔۔۔ یقین نہیں آرہا کہ اس وقت بھی پاکستان میں اتنے عمدہ ناول لکھے جارہے ہیں۔

[Sana Munir · Rating 5 out of 5]

Snuffing Out The Moon has set the bar very high for debut works of fiction from Pakistan. It is a book that encapsulates representation, activism, literary class and very profound wisdom of the novelist. For a person who finds solace in the description of ruins and relics, this book starts off as a satiating nectar and ends with the reader questioning one's choices with a prophetic dystopian future. The story was very overwhelming and I had to wait for a few days before writing a review.
I loved this book, from the beginning to the end, because
a) it read off like classical English literature. The diction is very impressive.
b) it told many stories, helped me travel mentally over time and age, made me learn a lot
c) the narrative allows mental escapade and at the same time keeps ringing with the current discourse
d) the imagery: the trees, the ruins, the streets... and of course, the setting of Lahore!
e) the discourse about the politics of water, is alarming, prophetic and scientific.
f) the humour is very tasteful
My only regret lies with myself, for not reading this book earlier. However, I feel very accomplished, having read it. I am waiting for the next book, by Doctor Osama Siddique, already. It was the first book I read in 2020. Highly recommended.

[Paras · Rating 2 out of 5]

I bought this book at KLF2018 from a struggling bookshop that had set up its stall at KLF and Maniza Naqvi herself sold this book to my sister. We bought this book helping a struggling bookshop that has been facing losses and is on a verge on closing down. My sister had heard raving reviews about the book. However for me, it was an utter disappointment.
The book focuses on trying to tell six stories at a time from different eras--Moen-jo-Daro to Texillan civilization, Mughal era, 1857, the current Lahore and an 2084 dystopian sub-continent--and not only is it too much to grasp at one time, it's exhausting to keep track of the story line in the first era by the time you're back to that era again after covering 5 other eras. The characters are too many and while you're expecting to continue reading about say Moen-jo-Daro era from where the chapter ended, it would resume from a character (or an angle) completely new, so you would have to go back and see whether you missed something before.
I struggled with this book for almost two weeks, giving it time and patience, in case I wasnt giving it the right mood it needed, but I couldnt finish it. Neither did I find any link between any of the stories (by the time I read half the book), nor could I find anything remotely relatable except that of Rafia Begum from contemporary Lahore.
Besides, the idea of a dystopian sub-continent 0f 2084 and its mechanics, although novel, was lackluster and torpid.
I understand that taking different stories/eras simultaneously is a tedious task, which is why it makes more sense that they should not be more than three at a time with minimal yet powerful characters with a lasting impact. The characters here, henceforth, were even difficult to be remembered with their names.
Although the literature was extremely rich and full of fancy words and phrases, yet it wasnt compelling enough to continue reading the book.
My apologies.

[Samreena Lodhi · Rating 4 out of 5]

A single book that starts from 2084 ends at 2084 just the difference is "The Era".

Snuffing out the moon by @dr.osamasiddique covers six eras 2084 bce (Mohenjo-daro), 455 ce ( Takshasilla), 1620 ce (Mughal Emperor), 1857 ce (Mir Sahib and British Raj), 2009 ce (Contemporary Lahore and Rafia begum), 2084 ce (Cataclysmic events) that are partitioned by beautiful poetry pages.

All these six stories can become one individual book. Every book has strong points as well as the flaws but surely, the struggle of the writer for the debut novel can't be seen by the readers eye. The only flaw is "characters vanishing with the start of new story and no connection in stories"

Plus points are far more

1) rich literature
2) strong vocabulary
3) makes you travel while reading with your imagination
4) beautiful phrases
5) beautiful descriptions
6) cultural
7) comical
8) classical touch
9) vivid imagination

Anyhow, this book is for classical plus history lovers only. Those who are more into fantasy or YA, STAY AWAY!!!

[Aurangzeb Wattoo · Rating 4 out of 5]

“Snuffing Out the Moon by Osama Siddique (2017)‬
‪Dr. Osama Siddique’s debut but innovative work Snuffing Out The Moon is scattered over centuries of transition and development of human civilization and produces some very fundamental questions regarding existence and doom, freedom and tyranny, assent and dissent, doubt and belief. The story takes a beginning from 2084 BCE in Indus Valley Civilization and travels across the centuries and ends in 2084 CE. The narrative is extended to more than 4000 years and writer gives us a fragmented and episodic work to brood over it. The writer’s imagination and vision is fertile enough to look at past to understand the present and to predict the future.” A challenging and thought provoking read” according to Shashi Throor, the novel invites our imagination to visit the Mohenjudro and contemporary Lahore and writer tells us our history with an insight into problems and questions faced by human beings living in different ages. This experimental work by Osama Siddique is also a testimony of great development and potential of Pakistani fiction.I would suggest the readers to buy the book and get ready to have a great time with this
wonderful book.

[Quratulain Fatima · Rating 5 out of 5]

Snuffing out the Moon is a delightful and thought provoking read. Siddique’s debut novel has multiple layers and can be studied from various perspectives. Based on the classical kind of diction, the book is divided into six different story lines from past, near past, present and future revolving around the indigenous geography of the province of Punjab and Sindh. It is a unique and enthralling amalgamation of history and fiction intricately interwoven by highlighting the historical architecture, diverse ecology, rich cultural heritage, indigenous literature and human intuition struggling in certain periods of time. It raised certain concerns in various human civilizations over the period of time. Apparently, six different disconnected stories from distinct eras have no logical connection but they can be interlinked through the common thread of human centrism longing for peace and the ray of hope. Indeed, this book is valuable addition to Pakistani literature.

[Faiqa Mansab · Rating 4 out of 5]

Erudite and cerebral, this is a novel for sophisticated readers, who are aware of the tropes and archetypes of literature.
I thoroughly enjoyed this beautiful novel, which takes inspiration from both the Occidental and the Oriental literatures of the world to weave a rich tapestry of six narratives. This is a large and diverse canvas of artistic merit. Osama Siddique is a writer with a deep and diverse reading history and it shows in his writing. I look forward to reading more from this writer.

[Rishika Rathore · Rating 5 out of 5]

BOOK REVIEW OF SNUFFING OUT THE MOON,
by Osama Siddique.
This is one of my favorite book so far. It is very uniquely woven piece of literature engaging varied readers by its representation of ideologies of historical insights and political instincts on the religious base of ambivalence and devotion as well.
This book comprises of these following accounts;
MOHENJODARO
THE INDUS VALLEY CIVILIZATION
Circa 2084 BCE
This journey is of the vigilant boy named Prkaa who preferred to traverse across the jungle astiringly while all of this acted as a bounce shifting him away from the great megalopolis The City Of Bricks- Mohenjodaro lying on the banks of Indus, to his unabashed hut surrounded around by denizen of animals, flora, fauna and green beauty making him more valorous and happy hearted by each passing second.
Prkaa’s parents died a long time back leaving him with Motla whom they adopted as their younger child who without any gluttony and greed is currently serving the City of bricks at a reputed position of being an Overseer Of Baths making sure that all baths in respect to bodily or soulful purification as a part of festivities showcase appendages but the veil of clan of priests who consistently moulded their tactics to something impactful ritual blurred the vision of this magnificent realm and shaped the amorphous community and minds of many in a way that they became dominating and incontrovertible not only among the surviving people but the ruler in a way too.
Prkka, Motla and their caretaker after their parents death – The noble architecture Mahweel’s accoutring pre-planned happening against the disclosure of the priest Bhogi and his combatant community of priests which was directed to disclose all of them who were dealing with the city’s problems with their palsied and degenerative approaches by playing with the beliefs of its citizens is what binds the end of this part while all of these harangues and feuds Prkka lost his love Sthui who is a priestess more than a dancer trapped in the personality of a reincarnated figurine deity of Bhogi and the city.
I love how language and conversations were socio-political, cultural yet comical enough in between the crestfallen reality of the realm of The Mohenjodaro. This part made me accustomed to a certain sense of ardentiness and curiosity which made me fall in love with it too. It was a very good read, that I even want to jump into a time machine and observe the journey on my own.

TAKSHASILLA
THE KINGDOM OF GANDHARA
Circa 455 CC
This part portrays some of the most beautiful conversations immersed in the vibes and enlightenment of Buddha in one of the Buddha Monastery of Jaulian headed by two nominal leaders yet both vary in perception; first is Buddhamitra who was mainly accompanied by his friend Gautama, his discipline Devatideva and new initiate Ananda and the other leader was Mitradeva.
This monastery was on the hills nearby the city of Sirsukh and was managed by Sanghsarva- The Satrap of Takshasilla, who finds the Bhikkus parasites sucking funds and he accused Ananda of a claim which deepened the gaps in monastery and blurred the finesse and non-avaricing perception holded in regard to the monks so that they may face ignominy. On contrary Buddhamitra’s sudden change because the deadly visions directing to a devastation wrapped in the demise named as Army of Mara and his very admonition against this threat to the Sangha, Satrap and people of Hamlet as a part of his obligation has been taken into consideration and acknowledgement by very few and then him leaving his monastery with company of few and going towards Nalanda as well as an outrageous attack by then in the Sirsukh is what binds the end of this part.

THE SUBAH OF PUNJAB
THE MUGHAL EMPIRE
Circa 1620 CE
This account portrays many varied characters, initiating from the very known ‘Mughal Emperor Jahangir- The world seizer’ residing in Lahore whose grandeur and majestic sprinkle of wealth magnetised Sikander-e-Sani and Mirza Ferasta Beg who two were engrossed in petty crimes like stealing and sneaking, manipulating old and handicapped for selfish motives and so.
Soon they coincidentally met Parvez Dunyadar- The Mansubdar; who was enrouted to Lahore comfortably in caravans while submitting his unconstrained time to poetry writing. Both of them addressed themselves as royal spies in front of him which brought the shade of hospitality by the Mansubdar on their head and nextly they helped an absurd superstitious fellow Manmohan to not get thrown out by the Mansubdar out of the carrier which made Manmohan bounded towards both of them.
Journey of days destined to Lahore was completed, soon enough both men planned and decided to present Manmohan as a holy man and themselves as his attendants to please the emperor through using Ameena bi and other few underlings to dissolve the spiral of guards,cordons and other obstructions between their way ardently so to take irrelevant advantages and riches from their but all of it proves to be a fiasco, when Manhmohan undergoes through certain irrepressible bad situations of being febrile and more which made him escape the city and to unleash the further debacle on both of them and the ones they three fooled in their way directly or indirectly.

LAHORE, PUNJAB
PAKISTAN
Circa 2009 CE
This part of the book pulls up the strings in a way that three different yet interrelating accounts are carried without reflecting any trenchantly driven aspects.
- Rafiya Begum, as an old maverick is set to find way through the helter skelter of legal complexities, which are sometimes created or sorted out by lawyers as such as Furqan Mayo, Shahgufta Parveen and others in respect to incarnate in a body where she can hold her rights in a way that are secured.
- Bilal Hasan, one of the child of Junior Technician in a factory of Taxila, undergoes through many ups and downs, which dumps him in stories where ending of theirs lead to a prospect where he gets tagged by monikers and alias which includes; Billa-senti, Billameter and Billa-bantian wala.
- This part portrays the account of Aminudeen Ameerzada who was gifted by a barrage of oaths and many mocks frequently and navigates things under General Sahib's unknowing of his end.

THE WATER CONGLOMERATE
(South Asian Corridor, Zone 15)
Rohtas Fort Encampment
latitude 32.9625` N, longitude 73.5889` E
Circa 2084 CE
This part showcases an era where Water Conglomerates dominates the world as well as many events and varied patterns of their furore and jeopardizing elements pops up as dissidents in regard to persons and sometimes reflects their set ideologies as quixotic which can be observed in case of Prashanto Adam Farooqui who engages with Regressives at hills through manipulative accident amidst of Water wars and rise of conglomerates and conflicts, which even includes some unseen and mental dilemmas as of Naya and RRR at points .
This part was one of my favorite accounts in the whole book due to a reflection of dystopia as well as non rambling aspects of it and this is what I would like to disclose rather than to allude anyhow.

THE PUNJAB
BRITISH COLONIAL INDIA
Circa 1857 CE
This part submits a gentlemen who is a brave storyteller as well, in the time where British Raj is constantly trying to sow its seeds of congeries in India through ruling while simultaneously rebellion and defiance of british authority is too active which engages itselves to serve its obedience in respect to Indian land, and one of such act of Mir sahib had laid him in a situation where he atlast ends up escaping from his own city of Lucknow which had somewhat turned to a deception in respect to its routes and scenes which is a heart wrenching maze for him.
Other than that few accounts of other interrelated characters are too woven in the very tale, like; Fredric Cooper Esq.- the deputy commissioner of Amritsar, Sohan Singh and Prakash Singh- The Sikhs and few more which binds this whole account in a different scenario.

[Batool Bokhari · Rating 5 out of 5]

Let me just put it out there: If you like history, and you like it being told with the help of insignificant people who had no major role in it- who just happened to be living through that time, and if you like the thought of 𝘴𝘰𝘯𝘥𝘦𝘳, and of people's lives being interwined in the most amazing of ways, and if you like the notion of how many others have walked the soil we walk on now- forgotten and no longer having someone to mourn them, and how the earth is so 𝘴𝘰 old. Then 𝘵𝘩𝘪𝘴 𝘪𝘴 𝘵𝘩𝘦 𝘣𝘰𝘰𝘬 𝘧𝘰𝘳 𝘺𝘰𝘶.


This novel has been, in the smallest and most significant of ways, life changing for me. I will be forever grateful to Allah to be born in the same time as this masterpiece. And I can never thank the author- Dr. Osama- enough for this.

Not only was this my first Pakistani novel, but also the first Historical Fiction I read. And now all I want to read is Pakistani and Historical Fiction.

Also this novel has, quite literally, everything I love; being visually aesthetic, telling different stories about different people in different era's, infusing all the stories together at one point or another, having such an eloquent writing style that every line hits you with such depth and it fits perfectly with the given era's and people that it never feels over-the-top, every book starting with beautiful shairi and quotes, telling six different stories and still keeping the pace perfectly that you never get bored, being so informative and telling about many unknown facts with such emotion (my personal favourite is The Kalianwali kho) and giving every era a fitting end- not underwhelming as I expected because I couldn't think of even one way of ending such a beautiful novel with as much grace as the author did.

Not only this, but this novel has also made think of 𝗟𝗮𝗵𝗼𝗿𝗲 as more than just a city I live in. My love, admiration and respect for this city has escalated.

It has also made the 𝗽𝗲𝗲𝗽𝗮𝗹 tree my favorite tree (never thoughtI'd have one- they were all the same pretty things to me).

And I now look back at our history and actually feel it. It's not just "we fought the 1857 war because of cows and pigs" for me anymore. It's so much more than that. It makes me strive and actually do something to make sure my ancestor's sacrifices weren't in vain. It makes me feel connected to my past.


I will never 𝘦𝘷𝘦𝘳 stop recommending this novel to people (fighting the urge to be selfish and gatekeep it for my comfort only) because this novel deserves so much. It deserves to be recognised as a classic and to be read by everyone, everywhere. It deserves to be one of the "books you must read atleast once before you die."

[Ayesha · Rating 4 out of 5]

Snuffing Out the Moon” is the Author’s debut novel, but it wouldn’t be accurate to call it a novel or at-least it is far from being called a conventional novel, more like a lyrical and cinematic account of history.
There are 6 stories from 6 different eras, from Mohenjodaro (2084 BCE) to mughal era, contemporary lahore and dystopian sub-continent (2084 CE), each with a potential of having a separate paperback of its own.
The stories take us through different civilisations showing glimpses of different cultures in the South-Asian region throughout the history.
Packing 6 plots in one book is not an easy task and not something everyone can dare to do, but since it’s the Author’s debut novel, the pressure of being extremely original usually comes along, so he took a shot and it was worth it. The language is beautiful, rich in literature, lyrical script like prose. There’s a classic vibe, a tad-bit taste of classic Urdu literature, and vivid imagination.
There’s a plethora of characters, well-cut, full of substance and life, each of them struggling through different circumstances, but the plot is not driven by the characters, the situations are so potentially strong that characters seem secondary to the plot. Also, there’s a lack of dialogue.
The book is engaging in the start but it soon loses the charm after a couple of chapters, it’s an undulating ride, at some point the plot (or plots) turns really engaging and at some points its a real struggle to keep reading. Excessive use of bulky vocabulary (loads of fancy words) and long, complex sentences make it even more torpid, the book is anything but compact.
However, reading the gorgeous hardcover was an absolute delight. The book is divided into five sections, partitioned with beautiful pages of poetry.
Recommended to people who love classics, history, non-fiction with a taste for poetry.
YA junkies, fantasy freaks! this is not your cup of tea.

[Asmaa · Rating 5 out of 5]

‎جلوہ گاہ وصال کی شمعیں
‎وہ بجھا بھی چکے اگر تو کیا
‎چاند کو گل کریں تو ہم جانیں

‎فیض صاحب کی نظم کی طرح یہ تصنیف بھی زندگی کے شیریں اور تلخ احساسات کا امتیزاج ہے۔ جو قاری کو ایک اچھوتے سفر پہ ساتھ لے جاتی ھے ۔


‎‏Translations rarely do justice to the originals but in this case the translator has given a brand new dimension to the storyline, translating it so beautifully and so immaculately.As if the entire concept was conceived and written in Urdu to begin with.

Writing historical fiction is feat , something that requires more of intuitive imagination than the mere craft of storytelling.
The writer actually has to time-travel and be there in that very moment/state, with a palpable sensibility to feel the emotions, sounds, smells, and textures of a scene. Thus making the inanimate live and breathe as real characters.
It seems as if both the author and translator have journeyed together in this mesmerising translation: the dictation the language, the analogy, the mood and vibration have been felt at an alternate realm, equally by the translator. The sensitivity and cognisance is just amazing!
Especially keeping in view that it is a weighty read, to begin with: intricate and emotionally charged storylines of six different eras woven in a single theme.
The book like any great read pushes the reader to the edge many times, somewhere between an unimposing make-belief romanticism and merciless realism.

Chand ko Gul Kerain to Hum Janian has grown to be a personal experience for me, a hard earned sensibility and a better knowledge of self and also a feeling of an inextinguishable ruefulness.
And to read it Urdu has been a worthwhile and rewarding experience.

[Ozymandias · Rating 5 out of 5]

This is the first really serious piece of fiction to have come out of Pakistan in English. A book that does not set out to cater to western appreciation and aesthetics but talks to local people, local history, local issues. What civilizational sweep, what charming characters, and what an experiment with time, form and storylines. Like time itself the narrative weaves on and on and on. There is an eastern sensibility in the book even as it is masterful in its choice of language. Every era, every character goes progressively through stages - so history repeats itself. Stories repeat themselves. Characters repeat themselves. But in ever refreshing new ways and with some evolution and innovation - in religious systems, technology, political frameworks, human endeavors. Beset by evil at every stage womankind trudges on but the question remains whether evil is within or without or in both places. This is a thinking person's book and the average reader will not be able to cope with the literary flair or the intellectual content. This is for more experienced and thoughtful readers who will pick much here by way of ideas, craft, vocabulary and insights. It is a story of us. It is a story of everyone. Such is the nature of great books. I am rereading it.

[Sadiq Kazi · Rating 4 out of 5]

Lyrical style, interesting structure, brilliant debut!

[Nichole · Rating 4 out of 5]

This was an enjoyable read. At first I was a bit worried how 5 different story lines would tie in together. However this was done well and kept my attention through the entire book.

[Ahmad Butt · Rating 5 out of 5]

Loved this book! The writer has done justice with his attempt at covering stories from different eras.

[Zunair Saeed · Rating 5 out of 5]

قریباً دو سال سے یہ کتاب میری الماری کی زینت بنی رہی پر اٹھانے کی اجازت نہ تھی شاید۔ ہر بار ارادہ کرتا پر پھر کوئی نہ کوئی اور کتاب شروع کر لیتا تھا اور یہ ویسے کی ویسے ہی الماری میں اپنی خوبصورتی پر اتراتی بیٹھی رہتی تھی۔
آخر کار ہمت کر کے اٹھا ہی لی، وہ بھی اس وقت کہ جب کچھ پڑھنے کا من نہ ہوتا تھا اور کئی کتابیں شروع کر کے بنا مکمل کیے ہی چھوڑ رہا تھا۔

پہلے باب میں جس طرح ڈھیر سارے کردار اور بیک وقت دو تین نہیں بلکہ چھے ادوار متعارف کروائے گئے، مجھے تو یہی گمان گزرا کہ شاید مصنف ان تمام کے ساتھ انصاف نہ کرسکے گا، کیونکہ اتنی سارے کردار، اور وہ الگ الگ وقت کے دھاروں میں بہتے ہوئے، سنبھالنا کوئی خالہ جی کا وارہ تو ہے نہیں۔
اور یقین مانے کے آج تک غلط ثابت ہونے پر اتنی خوشی کبھی نہیں ہوئی مجھے۔

فیض کی نظم "زنداں کی ایک شام" سے مستعار ایک مصرع جو کہ کتاب کا عنوان ہے در حقیقت کتاب میں موجود کہانیوں کی روح سے جڑا ہے۔ جو امید، جو قوت مدافعت، جو برگشتگی و سرکشی فیض کے ان مصرعوں میں جھلکتی ہے:

"جلوہ گاہِ وصال کی شمعیں
وہ بجھا بھی چکے اگر تو کیا
چاند کو گل کریں تو ہم جانیں"

وہی کہانی کے متعدد کرداروں کی خصلت بھی ہے۔ پھر چاہے وہ ایک ہاری ہوئی جنگ لڑنے والی رفیعہ بی بی ہوں یا چاہے مذہبی رہنماؤں کے بے دریغ ستم کے آگے آوار اٹھاتا پرکا۔ یہ امید کی کرنیں ہر دور کے "مارا" کے خلاف چمکنے کے لئے موجود ہوتی ہیں۔

زیادہ غور کرنے پر یہ بھی معلوم ہوگا کہ ہر دور کی کہانیاں ایک سی ہیں پر ایک نہیں ہیں۔ جیسا کہ یہ نظامِ ظالم و مظلوم ازل سے لے کر آج تک ہر دور کا حصہ رہ چکے ہے، اور یقیناً ابد تک رہنے والا ہے، پر کرداروں اور طریقہء واردات میں ضرور ہیر پھیر ہوتی رہے گی۔ کبھی تو مذہب تو کبھی عسکری طاقت یا قانون کی مد میں یہ کام جاری و ساری رہے گا۔ فراز صاحب کا اس موضوع پر اک ایک شعر یاد آتا ہے:

امیرِ شہر غریبوں کو لوٹ لیتا ہے
کبھی بہ حیلہؑ مذہب کبھی بنامِ وطن

چھے مختلف تہذیبوں کو اس نفاست سے پیش کرنا کہ ہر ہر دور اپنی انفرادیت برقرار رکھے اور دوسرے ادوار میں نہ رسے پر پھر بھی ان کا آپسی جوڑ قائم رہے، کسی معجزے سے کم نہیں۔ اور یہی معجزہ اسامہ صدیق سے اس ناول میں سرزد ہوا ہے۔

مصنف نے اس مہارت سے تمام کہانیوں کو جوڑا اور اتنے وسیع کینوس پر بھی مائیکل اینجلو کی طرح اپنا برش پھسلنے نہ دیا۔ نہ صرف ہر کہانی کو نہایت اچھے تک اختتام تک پہنچایا، بلکہ کہانیوں کا آپسی ملاپ بھی اس قدر خوبصورت ہے کہ قاری کہانی ختم ہونے کے باوجود خود کو اس ماحول کے حصار سے نہیں نکال پاتا جس پہ اسامہ صاحب نے 480 صفحات کی بے لاگ محنت کی ہے۔

مصنف کے ساتھ ساتھ ہی مترجم بھی اتنی ہی داد کا حقدار ہے چونکہ عاصم بخشی کا ترجمہ ایسا رواں اور برجستہ ہے کہ کہیں شائبہ نہیں گزرتا کہ یہ ناول انگریزی میں لکھا گیا تھا اور آپ بس ایک ترجمہ پڑھ رہے ہیں۔ جس مہارت سے مترجم نے مختلف ادوار میں استعمال ہونے والی زبانوں میں اس ناول کو ڈھالا ہے، وہ اپنی مثال آپ ہے۔

بس اس کتاب کو مکمل کرنے پر اک یہی افسوس رہے گا کہ اب یہ کتاب کبھی پہلی بار نہ پڑھ سکوں گا۔

[Mamoona Ahmad · Rating 5 out of 5]

سفر اگر الٹے قدموں کرنا ہو وہ بہت مشکل ہوتا ہے ۔ جنوبی ایشیاء کی تہذیبوں کو اس طرح خوبصورتی سے لکھنا یقینی طور پر اسامہ صدیق کا کمال ہے
مکمل مطالعہ کرنے کے بعد احساس ہوا یہ کتاب بہت خوبصورت اضافہ ہے قاری کی دنیا کے لیے ۔
بکھرے ذروں کی کہانی
تباہ شدہ کھنڈرات کو کون بھلا لفظ دے سکتا تھا ؟
انصاف اور علم کی جستجو میں لکھاری کہیں نا امید نا تھا ۔

راکھ سے نئی تہذیب کا جنم ہوا چاند کو گل کریں تو ہم جانیں میں ۔
زبردست ترجمہ۔

[Paul Veyret · Rating 5 out of 5]

Brilliant novel: Qurratulain Hyder's Fire meets David Mitchell's Cloud Atlas. Enthralling read. I strongly recommend this very promising debut novel.

[Sumairasamad · Rating 5 out of 5]

The scope of this novel is a historic panaorama as well as a close lens on various periods of history of the Indo-Pak subcontinent and also of a time in the future. The book brings to life various eras with an unmistakable feel for each period-its physical environment, socio-cultural setting, characters and language. Much of it, of course, is imagined, however, nothing is out of place. For me, having worked as Director, Lahore Museum, the book was an entralling bringing to life of the various galleries with their displayed 'objects'-the stories that are embedded in them and which struggle to communicate.
The novel, I felt, is primarily a search for identity. It digs deep into our collective past to unfold layer upon layer of cultures and civilisations that not only remain half-discovred in our soil but also half-discooverd in our minds. It is a reminder that if we do not embrace our history we cannot embrace our present nor can we shape an authentic future that resonates with our reality.
As we in Pakistan, today, struggle, at so many fronts to find a narrative that speaks for our collective and individual voices, and which enables us to see ourselves not only within the perspective of our history but also within a global framework, we need books like these to help us navigate ourselves and set our compass
The way Osama has used language is really thrilling, making English speak an idiom that brings out the flavour of our local languages particularly urdu-its nuance and stresses and multiple subtle resonating layers-I have often been disappointed with English translations of Urdu fiction-here the English language, which is also part of our legacy, has slipped out of the hand of the coloniser and has let itself move around the contours of sounds that arise from this soil in their myriad forms, particularly, the inner beauty of Urdu.
The novel is a world of the oppressed and the oppressors, of dreamers and schemers, adventurers and philosophers, architects and priests, village folk and story tellers, courtiers and fortune seekers, soldiers and colonial administrators, futuristic ultra-rational technology-worshippers and survivors of the old ways.
The characters that Osama creates bring before our eyes a panorama of populated time like a cinema reel, where the past, present and future seem to live together. Osama has profound understanding of the forces that shape history, of the institutions of power and privilege and the local institutions that organically arise from the soil, of people who perpetrate cruelty, chicanery, betrayal, cowardice and those who, though feeling weighed down by the might of the mighty, carry on their lives of care, concern, kindness and nurture. The characters are complex, they respond to and are shaped by their context
All of the historic scenes are interspersed with the land of tomorrow, a future that comes out of the past, that can be predicted by any who has an eye on the past and the present. What Osama seems to say is that if we do not learn from our past and present we are going to blindly fall into a future, the shaping of which would not be controlled by us but by the forces that have continued to wreak havoc on the world while preserving an increasingly myopic and ultimately self-destructive privilege.
Osama traces the changing climate and topography of this land-that which fed and starved civilisations, that determined the course of history and is mapping the future, the rivers, the monsoon, fields and forests, floods and droughts-all that this land witnessed slowly threatened by cataclysmic change due to global warming-a grim warning that if we do not wake up to this reality we will squander and lose control over the very basis of life-our water resources; what would this place be, thirsting for the waters of the five rivers, fed by mighty snow-capped mountains-a lost soul-as these waters not only physically sustain us, they are metaphors for our culture-our art,poetry, music, dance, festivals and rituals.
I found this book compelling reading. Though it is set in the sub-continent's historical landscape, it creates charachters, brings out emotions and feelings and raises questions that are universal.
Those interested in a more detailed review please visit http://www.thefridaytimes.com/tft/a-n...

[Usman Umar · Rating 5 out of 5]

"Snuffing Out the Moon" is the debut novel by a Pakistani writer Osama Siddique. In this book, he has masterfully tried to converge different aeons of history & culture. Covering a vast span of time, ranging from 2084 BCE to 2084 CE. Thus unlike many other books, it has interspersed not only past & present but the future too.

There are six alluring stories in it (which are running parallel & anti-parallel), which is yet another aberrant thing. I found each one of these more interesting than the other one. And despite the secerning of centuries, they are wonderfully interlinked & wielded together. And I can say they are similar yet dissimilar and at the same time dissimilar yet similar. And these stories are set in the following places & epochs :

1st- Mohenjodaro, The Indus Valley Civilization Circa 2084 BCE

2nd- Takshasilla, The Kingdom of Gandhara
Circa 455 CE

3rd- The Subah of Punjab, The Mughal Empire
Circa 1620 CE

4th- The Punjab, British Colonial India
Circa 1857 CE

5th- Lahore, Punjab, Pakistan
Circa 2009 CE

6th- The Water Conglomerate, Rohtas Fort Encampment
Circa 2084 CE

The writer has introduced a wide range of characters throughout the book which are wowen with great virtuosity. And these characters potray the sanity, wit & lunacy of ages. You may find one defying the growing authority of religious priests, the other ones deceiving the emperor to have cult & power, one indulged in the intricacies of judicial system to get justice etc.

The composition of this book is unique too. The book has been divided into five sections or parts named ; The Book of Illusions, The Book of Omens, The Book of Ardour, The Book of Loathing & The Book of Dissent. Containing the content as the names depict. Starting each one of these with the beautiful & kindred poetry of Mirza Ghalib, Noon Meem Rashid, Momin Khan Momin, Faiz Ahmad Faiz & Allama Iqbal respectively. Coupled with the related quotations of P.B. Shelley, Emily Dickenson, John Keats, W.H. Auden & W.B. Yeats respectively.

While reading, the writer indulges & shifts the reader's attention in pendulum style between past and future by taking him/her from 2084 BCE to 2084 CE in one section and contrariwisely taking him/her from 2084 CE to 2084 BCE in the next one & so on crisscrossing.

As far as the language of the book is concerned, I found it lyrical & vocabulary enriched. Was complex for me at some places, but might not be for you if you're an avid reader & adept in English.

In short, it's a thought-provoking, insightful, wit-packed & captivating read that kept me glued with it till the end. And yeah, it too has specks of love & romance shattered throughout the book. And due to its diverse nature, I found it much interesting. If you want to learn something about different societies, civilizations, cultures in a lightly way. And how the individuals are & were bounded by their prevailing surroundings. Evil, its types & endless deceptions. And how not learning from the history might lead to the continuing irony in the future. Then I would highly recommend the perusal of this novel.

Ending my review with this quote from the book:
"how time had a habit of bending once proud heads and making tremulous many a stately gait!"

Written by : USMAN UMAR

[Shrink · Rating 5 out of 5]

In recent years, there have been a number of authors from Pakistan who have published fiction in English. The debut novel of Osama Siddique, “Snuffing Out The Moon,” stands out among this contemporary literature. The novel consists of six different stories of apparently disconnected people and civilizations. But as the characters and stories develop the reader finds out that all these disjointed stories are connected by a common thread of freedom and hope. The variation in time periods, from the BC era to future centuries, becomes less apparent and the reader finds common patterns emerging in each individual story. In many ways, the novel reminded me of Quratul Aian Haider’s “ The River of Fire” which also covers a time period from the Buddha to modern South Asia. Mr. Siddique’s knowledge of history and civilization is perfectly matched to his imagination. This makes his characters come alive in the environment that he creates around them. He uses a beautiful selection of quotations in both Urdu and English to introduce each section of the book. It is a very interesting novel which deals with the interaction and struggles of different lives. The author has the skill to keep the reader engaged even with multiple stories running in parallel. The stories live up to the title of the novel, taken from the poem by Faiz Ahmad Faiz, that nothing is truly a failure until you can snuff out the moon. It is a must-read for anyone interested in contemporary South Asian fiction.

[Muhammad Arslan · Rating 5 out of 5]

یہ ناول قاری کے اندر عجیب و غریب کیفیتیں پیدا کرتا ہے۔ اس کا ماحول تاریک اور کسی حد تک خوفناک ہے۔ وسیع و عریض پھیلاؤ کے باوجود مصنف نے ماضی، حال اور مستقبل کے رشتوں کو نہایت مہارت اور اختصار کے ساتھ جوڑا ہے۔ اس تخلیقی تجربے کا حاصل یہ لرزہ خیز تصور ہے کہ حرص اور تخریب کی جبلت شاید انسان کی تقدیر ہے۔ فن کاری سے لکھا گیا یہ ناول تاریخ اور ثقافت کے طویل ادوار کو اپنے پر اعتماد بیانیے کے ذریعے یوں یکجا کرتا ہے کہ ماضی و حال کی تصویریں جتنی جاندار ہیں، مستقبل کا تصور بھی اتنا ہی حقیقت سے قریب محسوس ہوتا ہے۔ ناول قاری کو یہ باور کراتا ہے کہ موجودہ دور کے خوف، آنے والے دنوں کے اندیشوں سے کم نہیں۔ علم و ذہانت سے لبریز یہ تحریر پڑھنے والے کو مسحور بھی کرتی ہے اور خوفزدہ بھی۔

[Asim Iqbal · Rating 5 out of 5]

First 3 chapters captivate you and then one does slightly tend to drift away but quickly drawn back. I find glimpses of Vikram Seth genius and Osama,s imagination mesmerizes me as did Vikram. Hope we get more from him.

[Adiba Ashraf · Rating 5 out of 5]

Phenomenal

[Akhtar Mirza · Rating 4 out of 5]

Six days, perusing through this book's five different narratives and intricately imagined and attractive hardback, were exquisite food for my sensibilities. After Mantu, after Akhtar Raza Saleemi's two novels, after Mirza Athar Baig's Hassan ki Soorat-e-haal, after Nasir Abbas Nayyar's short stories, it is a fictional work by any Pakistani that has impressed me a lot. The choice of word is admirable, though at places (many) the vocabulary is difficult but it delivers the exact expression that is to be conveyed. Morover, the setting of this novel, which is, for the most part, is Lahore, my city, is appealing to me. I am fortunate enough to live near these places which are part of real Lahore, not on the other side of now Lahore, which I'd say a commercialised Lahore.
The novel is in a circulatory motion. It revolves around different eras, introducing different emotions. The only thing that is constant is time. It moves in circle. People change. Their deportment, emotions, their dispositions, their repertoire, their sense of power change. But it was the time that remains circling in 'it was the best of the times and it was the worst of the times', yug and kal yug and then new yug. Time is like a tree from which branches are protruding and leaves are hanging on them. No matter how old a tree is, a tree has same kind of leaves, depending on the season.
How the characters of different eras make distinct through the content of their dialogues is admirable but the language is not totally dissimilar. It should be. Many times the vocabulary used in the dialogues seem pretentious. It feels good in the description and that I admired above but in the dialogues writer is suppose to write that is acceptable if we hear from that kind of speaker.
The title of this novel 'Snuffing out the moon' چاند کو گل کرو is taken from Faiz's poem زنداں کی ایک شام . Because it is about hope that no matter what kind of times are, the good times always come. وقت اچھا بھی آئے گا ناصر. Because it was done in the past and it will transpire in the future, obviously. Totally! We just have to see. ہم بھی دیکھیں گے

[Hadi · Rating 4 out of 5]

during my active book reading days, i decided not to buy (and eventually not to read) any book above 250 pages, but after attending quite a few literati sessions in Lahore where @dr.osamasiddique talked about literature & writers, i made one of few exceptions & got this book. it stayed for quite sometime in my bookshelf till i heard him & Mustansar Hussain Tarrar at LLF 2023, talking about rivers & their legacies across subcontinent.
it took me sometime to read it & it stayed with me for much longer, maybe still its certain parts are circumventing temporal dimensions of my consciousness. through 5 books & 6 time frames; this book basically narrates the history of our part of subcontinent known as Pakistan. and all time frames are embedded unequivocally heading towards a dramatic turn. like typical pan asain spices, you realise the magnitude of approaching loss after sometime. i liked the stories didn't indulge us with mainstream hopeful prospects, still there's subliminal optimism somewhere down the line, if not for each protagonist then for those who around them, or were they the actual protagonists; it's for you to figure out. the journey into the unknown, when what has been established is heading towards destruction & ultimate ruins is what this is all about.

[فیصل مجید · Rating 3 out of 5]

اس ناول کی سب سے بڑی انفرادیت اس ناول کی تیکنک ہے۔ اردو ادب میں یہ اپنی نوعیت کا منفرد تجربہ ہے۔ چھ پلاٹ ہیں:
وادی سندھ کی تہذیب
گندھارا کی راجدھانی
سلطنت مغلیہ
برطانوی ہند
پاکستان ( 2009 میں )
قلعہ روہتاس کیمپ
اور پانچ ابواب ہیں جن کے نام یہ ہیں:
کتاب سراب
کتاب شگون
کتاب سوز
کتاب نفرت
کتاب انحراف
اب معاملہ یہ ہے کہ ہر باب میں چھ پلاٹ کا ایک حصہ ہے۔ مطالعہ آسان اس طرح ہے کہ آپ ہر پلاٹ کے پانچ حصے ترتیب سے پڑھ لیں۔ اور اس طرح سے ناول کے پلاٹ کا مطالعہ کرلیں۔ یہ تو ہوگئی مطالعہ کی تیکنیک۔
جہاں تک ان چھ زمانوں کو لفظوں سے زندہ کرنا بہت مشکل کام تھا۔ مجھے ذاتی طور پر لاہور، پاکستان سب سے زیادہ پسند آیا ہے۔ شائد وہی سب سے حقیقی انداز سے بیان ہوا ہے۔
مصنف نے اپنے خیالات کو کتنا بہتر فکشنائز کیا ہے۔ اس کے لئے مطالعہ شرط ہے۔
عاصم بخشی نے بامحاورہ ترجمہ کیا ہے۔ لیکن بعض جگہ ثقالت کا شکار ہے۔ خالصتاً موجودہ اردو قارئین کو زبان تنگ کرسکتی ہے۔
گیارہ مصنفین نے اس کتاب پر تبصرہ کیا ہے۔ لیکن اصغر ندیم سید نے اس کا حق ادا کیا ہے۔
تقریباً پانچ سو صفحات کے اس ناول کی قیمت بارہ سو روپے ہیں اور اسے بک کارنر، جہلم نے اچھے انداز سے شائع کیا ہے۔

از Faisal Majeed