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River of Fire
Never before available in English, River of Fire, originally published as Aag ka Darya in 1959, is without question the most important novel of 20th-century Urdu literature. An amazing, sui generis book, River of Fire spans two and a half millennia. Set during four Indian epochs (the classical, the medieval, the colonial, and the modern post-national), the novel is a meditation on history and human nature, tracing four souls through time. Each section is linked by characters who bear, in every period, the same names: Gautam, Champa, Kamal, and Cyril. Gautam (appearing first as a student of mysticism at the Forest University of Shravasti in the 4th century B.C.E.) and Champa (throughout embodying the enigmatic experience of Indian women) begin and end the novel; Muslim Kamal appears mid-way through, as the Muslims did, and loses himself in the Indian landscape; and Cyril, the Englishman, appears later still. In different eras, different relations from among the four -- romance and war, possession and dispossession. Yet together the characters reflect the oneness of human nature: amidst the nationalist and religious upheavals of Indian history, Hyder argues for a culture that is inclusive.
Interweaving parables, legends, dreams, diaries, and letters, Hyder's prose is lyrical and witty. There is really no book like River of Fire. Qurratulain Hyder was awarded the Bharatiya Gnanpith, India's highest literary award, in 1989, and here is her masterpiece, her broadest canvas and her finest art.
Interweaving parables, legends, dreams, diaries, and letters, Hyder's prose is lyrical and witty. There is really no book like River of Fire. Qurratulain Hyder was awarded the Bharatiya Gnanpith, India's highest literary award, in 1989, and here is her masterpiece, her broadest canvas and her finest art.
428 pages, Hardcover
First published January 1, 1959
349 people are currently reading
6916 people want to read
About the author
Qurratulain Hyder
79 books197 followersQurratulain Hyder was an influential Indian Urdu novelist and short story writer, an academic, and a journalist. One of the most outstanding literary names in Urdu literature, she is best known for her magnum opus, Aag Ka Darya (River of Fire), a novel first published in Urdu in 1959 from Lahore, Pakistan, that stretches from the 4th century BC to post partition of India. Popularly known as "Ainee Apa" among her friends and admirers, she was the daughter of writer and a pioneer of Urdu short story writing Sajjad Haidar Yildarim (1880–1943). Her mother, Nazar Zahra, who wrote at first as Bint-i-Nazrul Baqar and later as Nazar Sajjad Hyder (1894–1967), was also a novelist and protegee of Muhammadi Begam and her husband Syed Mumtaz Ali, who published her first novel.
She received the 1967 Sahitya Akademi Award in Urdu for Patjhar Ki Awaz (Short stories), 1989 Jnanpith Award for Akhir-e-Shab Ke Humsafar, and the highest award of the Sahitya Akademi, India's National Academy of Letters, the Sahitya Akademi Fellowship in 1994. She also received the Padma Bhushan from the Government of India in 2005.
She received the 1967 Sahitya Akademi Award in Urdu for Patjhar Ki Awaz (Short stories), 1989 Jnanpith Award for Akhir-e-Shab Ke Humsafar, and the highest award of the Sahitya Akademi, India's National Academy of Letters, the Sahitya Akademi Fellowship in 1994. She also received the Padma Bhushan from the Government of India in 2005.
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January 5, 2018
آگ کا دريا 1959ء ميں شائع ہونے والا قرۃالعين کا وہ شاہکار ہے جس کی وجہ سے ان کی ادبی عظمت و شہرت کا صحیح معنوں میں آغاز ہوا۔ یہ ناول مہاتما بدھ کے زمانے سےشروع ہوکر برصغیر کی تقسیم کے بعد ختم ہو جاتا ہے۔ اس ميں ڈھائ ہزار سالہ تہذیب کے مختلف ادوار کے مناظر کو بڑی ہنرمندی سے پیش کیا گیا ہے۔ اس ناول کے کردار کمال، ہری شنکر، گوتم نیلمبر اور چمپا ہر عہد میں انہی ناموں کے ساتھ جنم لیتے ہیں البتہ ان کی حیثیت بدل جاتی ہے۔ یہ کہنا بجا ہو گا کہ یہ کتاب اردو ادب میں ایک انمول اضافہ ہے
October 15, 2015
If a novel forces you to stop now and then, and consider your own life and it's extensions and from where it got extended, then there should be no doubt about the eloquent depth of that novel. The story creeps inside you, bit by bit, until it permanently extends itself inside you. For me, such was the experience of reading Aag ka Darya. It demanded a great deal of effort to read it in Urdu, for like most forth generations of the post-colonial countries, our attachment with and command over our language is pretty shallow. However, such was the eloquence of this novel that the whole mental structure of Urdu got redefined for me, of what Urdu can be and can contain. In short, the effort was well worth it, both in terms of meaning and linguistics.
The novel starts with the Urdu translation of 'The Dry Salvages', a poem by TS Eliot. The emphasis of the poem is on reincarnation, of how the past repeats itself in the future. This theme is carried out throughout the novel by Qurat ul Ain in great depth.
The story starts in 400 BC, the age of Chankya, the first Indian philosophical giant the implementations of whom's political and religious philosophy kept the Sub continent united and under control. Qurat ul Ain Haider emphasis is on the portrayal of such rule from the lenses of the most native people, the subalterns if you will; a theme that is persistent through out the novel. Gautam Nelamber is the character she conjures up to personify those lenses, a character in pursuit of knowledge in the Hindu traditions. He finds himself at various hamlets and he is bothered by the questions whose horizons lie outside the theological and philosophical discourses that he is taught. Here comes another major theme of this novel, rather a question. Is their an end to loneliness? Is a man destined to be lonely? During the course of over 2000 years of incarnations, the philosophies of Buddhism, colonialism , Hinduism , Marxism , Islamism and Nationalism are frequently used in the contextualization of the plots. If loneliness is a philosophy, then it is the major philosophy behind which all the other philosophies find their place.
And thus we advance through the ages, the questions as persistent as ever, the characters being reborn and their thinking being redefined according to time and space, yet the questions persisting and piercing as well. We get to see a very realistic and unbiased discourse of the narratives cultivated in the minds of ordinary citizens regarding colonialism, independence and post colonialism. At times, Haider also offers insights from the mind of those who are oppressing people. That may be a minor theme as well, how the oppressed or how the people who were so ideologically against oppression tend to do the same things, being molded by the obvious question of surviving in a better way. She also depicts the dilemmas of idealists who have to give up their cherished beliefs of equality and welfare when faced with the practical questions of earning a livelihood.
A novel that evolves in the grey area and does not talk in absolutes is a pretty rare thing in Urdu, and for that Urdu will always be grateful to Qurat ul Ain Haider for that. Halfway through the novel, I started relating it with 'One hundred years of solitude', the theme of the same repetitive patterns of incarnations being the common factor.But for me, the weaving around of different ideologies around the lives of ordinary people, portraying the effect of those ideologies on the outlook of their lives and then again how these ordinary people observe the even more ordinary or rather impoverished people in the context of those ideologies was something truly spectacular and something that gives it an edge over one hundred years of solitude.
The novel starts with the Urdu translation of 'The Dry Salvages', a poem by TS Eliot. The emphasis of the poem is on reincarnation, of how the past repeats itself in the future. This theme is carried out throughout the novel by Qurat ul Ain in great depth.
The story starts in 400 BC, the age of Chankya, the first Indian philosophical giant the implementations of whom's political and religious philosophy kept the Sub continent united and under control. Qurat ul Ain Haider emphasis is on the portrayal of such rule from the lenses of the most native people, the subalterns if you will; a theme that is persistent through out the novel. Gautam Nelamber is the character she conjures up to personify those lenses, a character in pursuit of knowledge in the Hindu traditions. He finds himself at various hamlets and he is bothered by the questions whose horizons lie outside the theological and philosophical discourses that he is taught. Here comes another major theme of this novel, rather a question. Is their an end to loneliness? Is a man destined to be lonely? During the course of over 2000 years of incarnations, the philosophies of Buddhism, colonialism , Hinduism , Marxism , Islamism and Nationalism are frequently used in the contextualization of the plots. If loneliness is a philosophy, then it is the major philosophy behind which all the other philosophies find their place.
And thus we advance through the ages, the questions as persistent as ever, the characters being reborn and their thinking being redefined according to time and space, yet the questions persisting and piercing as well. We get to see a very realistic and unbiased discourse of the narratives cultivated in the minds of ordinary citizens regarding colonialism, independence and post colonialism. At times, Haider also offers insights from the mind of those who are oppressing people. That may be a minor theme as well, how the oppressed or how the people who were so ideologically against oppression tend to do the same things, being molded by the obvious question of surviving in a better way. She also depicts the dilemmas of idealists who have to give up their cherished beliefs of equality and welfare when faced with the practical questions of earning a livelihood.
A novel that evolves in the grey area and does not talk in absolutes is a pretty rare thing in Urdu, and for that Urdu will always be grateful to Qurat ul Ain Haider for that. Halfway through the novel, I started relating it with 'One hundred years of solitude', the theme of the same repetitive patterns of incarnations being the common factor.But for me, the weaving around of different ideologies around the lives of ordinary people, portraying the effect of those ideologies on the outlook of their lives and then again how these ordinary people observe the even more ordinary or rather impoverished people in the context of those ideologies was something truly spectacular and something that gives it an edge over one hundred years of solitude.
November 17, 2017
*I read the English version of this book, so my will review will be based on that only(I've heard that some changes were made in the English translation, as author herself translated the book)*
This book is called the Hyder's magnum opus, it justified every bit of that claim.
The book starts from the time of Gautama Buddha and ends after the independence of India, pausing at the many crucial epochs of history.
Its a story that waves in time and Characters are woven in such a way that it holds your interest,
Book starting from the times when people were leaving their loved ones for intellectual pursuits, just after the death of Gautam Budha.
There are four stories that are told during different historical periods. The first story was about Gautam Nilambar’s life with Hari Shankar, Champak, Nirmala, Sujata, and others and it was set up in 4th century BC.
The second story was set up Islamic era, Kamaluddin is the central character of the story, and Bano, a Muslim, and Champavati, a Hindu, are the women around him.
And the third story was in colonial period, the story revolves around Cyril Ashley who is connected to Sujata Debi, Champa Jan and
Maria Teresa. This story happened during the glorious days of Awadh and revolved around its cultural and linguistic superiorities.
In the end, its a story of Champa Ahmad, Gautam Nilambar, Cyril Ashley, Kamaluddin, Nirmala and so on and this was in the post-colonial India.
I didn't find any similarities between these stories accept names used are similar in some stories and you can find some character related similarities such as intellectual and emotional relativeness.
Apart from this all the stories are distinct and set up in different time periods.
*you may need basic understanding and knowledge of Indian ancient and premodern history to
fully comprehend*
This book is called the Hyder's magnum opus, it justified every bit of that claim.
The book starts from the time of Gautama Buddha and ends after the independence of India, pausing at the many crucial epochs of history.
Its a story that waves in time and Characters are woven in such a way that it holds your interest,
Book starting from the times when people were leaving their loved ones for intellectual pursuits, just after the death of Gautam Budha.
There are four stories that are told during different historical periods. The first story was about Gautam Nilambar’s life with Hari Shankar, Champak, Nirmala, Sujata, and others and it was set up in 4th century BC.
The second story was set up Islamic era, Kamaluddin is the central character of the story, and Bano, a Muslim, and Champavati, a Hindu, are the women around him.
And the third story was in colonial period, the story revolves around Cyril Ashley who is connected to Sujata Debi, Champa Jan and
Maria Teresa. This story happened during the glorious days of Awadh and revolved around its cultural and linguistic superiorities.
In the end, its a story of Champa Ahmad, Gautam Nilambar, Cyril Ashley, Kamaluddin, Nirmala and so on and this was in the post-colonial India.
I didn't find any similarities between these stories accept names used are similar in some stories and you can find some character related similarities such as intellectual and emotional relativeness.
Apart from this all the stories are distinct and set up in different time periods.
*you may need basic understanding and knowledge of Indian ancient and premodern history to
fully comprehend*
October 20, 2020
This book came so highly praised from all quarters. I struggled at the beginning but continued hoping it would justify all the great reviews and ratings. But it never picked up. I kept thinking that maybe I am missing something, but I don't think I am. One-third through the book, I have had enough. It's just not worth continuing a book if my heart sinks at the thought of having to pick it up again and reading another vapid chapter.
The idea behind River of Fire is really great. I wanted this to be a great book - the epic it is touted to be. Qurratulain Hyder sets out to cover the entire history of the Indian subcontinent going back 2500 years from the time of the rise of Buddhism and supposedly ends post-Independence. This is indeed a mammoth job, and I appreciate Hyder for having even attempted such a feat.
The story does not follow a linear narration. It jumps from one epoch to another and from one character to another. In essence, it is just an overview of the different periods of the history of India through different characters. But this was not sufficient to keep up my interest. The characters are very superficial and only serve as means to get a time period across. But that is not compensated by any good plot. Everything is left vague (probably on purpose).
I read until the British period ended (Cyril Ashley) but by then I was already getting heartily bored and simply just wanted to be done with this. Maybe it does pick up after this because there is not much of history left but I simply don't have the energy. I would not dissuade anyone from reading River of Fire but beware you need at least a passing acquaintance with Indian history to make basic sense of what is happening on the pages, because there is really nothing else to the story.
The idea behind River of Fire is really great. I wanted this to be a great book - the epic it is touted to be. Qurratulain Hyder sets out to cover the entire history of the Indian subcontinent going back 2500 years from the time of the rise of Buddhism and supposedly ends post-Independence. This is indeed a mammoth job, and I appreciate Hyder for having even attempted such a feat.
The story does not follow a linear narration. It jumps from one epoch to another and from one character to another. In essence, it is just an overview of the different periods of the history of India through different characters. But this was not sufficient to keep up my interest. The characters are very superficial and only serve as means to get a time period across. But that is not compensated by any good plot. Everything is left vague (probably on purpose).
I read until the British period ended (Cyril Ashley) but by then I was already getting heartily bored and simply just wanted to be done with this. Maybe it does pick up after this because there is not much of history left but I simply don't have the energy. I would not dissuade anyone from reading River of Fire but beware you need at least a passing acquaintance with Indian history to make basic sense of what is happening on the pages, because there is really nothing else to the story.
April 5, 2011
The first time I read it, I was not fully equipped to get the extent of it. Not that I consider myself fully equipped now, but at least I get a fair idea why Haider is considered to belong to the breed of Marquez, Saramago and Pamuk by so many critics of Urdu literature. A superb masterpiece which should be read by all from the subcontinent and those who wish to make sense of various crisscrossing currents of history, society and religion.
Without any biases, I consider it far superior than One Hundred Years of Solitude with which it is compared so often. Perhaps because its breadth of past 2000 years is surprisingly so meaningful in the present. I consider the letter by one of the protagonists of novel in last section as the one of the best description of Pakistan ever written. Simply unputdownable.
Without any biases, I consider it far superior than One Hundred Years of Solitude with which it is compared so often. Perhaps because its breadth of past 2000 years is surprisingly so meaningful in the present. I consider the letter by one of the protagonists of novel in last section as the one of the best description of Pakistan ever written. Simply unputdownable.
November 15, 2020
To my mind the first 50 pages of Aag ka Darya are some of the finest, most evocative, abidingly beautiful and incredibly moving passages that I have ever read in at least the languages I know. The superb narrative voice remains memorable to this day. With Gautam Neelambar crossing a monsoon-filled verdurous landscape in the age of Lord Buddha, contemplating life and its myriad mysteries, the inimitable Qurat-ul-Ain Haider demonstrates her full power, range and virtuosity. Of course, the novel is widely known for its memorable transition through 3 different ages with the same character archetypes, its metaphysical musings, a deep knowledge of Hindu and Buddhist mythology, philosophy and lore, and the author's mastery of language that takes on a Sanskrit, Persian and modern hue as the ages shift. However, to me what also makes it very special is the sensory dimension - her lyrical and languid description of trees, rain, rivers, rituals, and the romance of the South Asian landscape. Even as it starts the novel transports you:
گوتم نیلمبر نے چلتے چلتے ٹھٹھک کر پیچھے دیکھا۔ راستے کی دھول بارش کی وجہ سے کم ہو چکی تھی۔ ھو اس کے اپنے پاوٗں مٹی سے اٹے پڑے تھے۔ برسات کی وجہ سے گھاس اور درخت زمرد کے رنگ کے دلھلائی پڑتے تھے۔ اسوک کے نارنجی اور سرخ پھول گہری ہریالی میں تیزی سے جھلملاتے تھے اور ہیرے کی ایسی جگمگاتی پانی کی لڑیاں گھاس پر ٹوٹ پھوٹ کر بکھر گئیں تھیں۔ ندی کے پار پہنچتے پہنچتے بہت رات ہو جائے گی۔ گوتم کو خیال آیا۔ گھاٹ پر کشتیاں کھڑی تھیں اور برگد کے نیچے کسی من چلے ملاح نے زور زور سے ساون الاپنا شروع کر دیا۔ آم کے جھرمٹ میں اکیلا مور پر پھیلائے کھڑا تھا۔ شراوستی یہاں سے پورے پچیس کوس تھا اور گوتم نیلمبر کو ندی تیر کر پار کرنا تھی۔ گھاٹ پر تین لڑکیاں ایک ظرف بیٹھ کر باتیں کر رہی تھیں۔ لڑکیاں کتنی باتونی ہوتی ہیں۔ گوتم نے سوچا۔
Ever since my first reading over two decades ago in rainy and quite alien Oxford I have revisited these passages for the sheer linguistic and descriptive nirvana they offer and indeed the novel remains an early and one of the most abiding inspirations for my own debut novel Snuffing Out the Moon - which at multiple levels is a very different book - but yes Gautam Neelambar's pursuit of inner peace and a dry sanctuary on that wet and eternally immortalized day so many centuries ago is what also inspired me to send off my various characters on their respective journeys of pursuit and fulfillment.
The next 50 pages take Gautam Neelumbar's journey forward and overall the first 100 pages are a fascinating commentary on the human pursuit to solve the mysteries of life and death and the myriad metaphysical questions that arise from the same. Gautam - a Brahmin ascetic and student at a university - comes across a Buddhist Bhikku Hari Shankar. Through their engaging and charming conversations Haider gives us a tour de force overview of the intellectual and religious preoccupations of the Upanashids, the Puranas, the Vedas, the various theological and philosophical schools since then, and the ideologies, thought systems, cults and discourses stemming from the same till the emergence of Shakyamuni Gautama Buddha in the previous century. We get a sense of the landscape of not just the mind but also the physical one - of famous cities, monasteries, universities and Sanghasan of the time as the two travelers compare their notes. Meanwhile, tumult shows itself to be ever present in human life and the land is invaded by Chandragupta Mauriya advised by the famous Chanikya of Taxile. Gautam Neelambar's life changes irrevocably.
But while these cerebral discourses in on-going, the young man in Gautam also can't help notice a young woman he saw by the riverside, whose thoughts keep tormenting him and in whose pursuit he does eventually contemplate giving up his life of abstinence, asceticism and scholarly inquiry. What is the purpose of life he wonders afresh. Meanwhile, Hari Shankar too is inextricably woven in all this even though he too is wanderer, having relinquished his royal heritage. At the heart of its is the Rajkumari Champak who eventually wonders:
وہ آپ ہی آپ چپکے چپکے آنسو پیتی رہی۔ ایک شخص نے دنیا تیاگی پھر بھی اَس کی یاد دل سے نہ ہٹا سکا ، وہ ہری شنکر تھا۔ ایک شخص نے اَس کی یاد سے بچنے کے لئے تیاگ کی بجائے دنیا میں پناہ ڈھونڈی اور پھر بھی ویراگی رہا گو ظاہر میں مکمل دنیادار بنا، وہ گوتم نیلبر تھا۔ وہ خود، وہ دک��یاری نہ دنیا تیاگ پائی نہ دنیا میں زندگی کی مسرتوں کو ہی حاصل کر سکی۔ یہ سب مایا کے کھیل تھے۔
(p. 92).
Is it all predetermined, is it fate, is there any point in striving for anything, what is the meaning of existence, and myriad such questions continue to assail Gautam Neelambar as in that famous terminal scene he is endeavoring to cross a stormy river and while we never know whether he was successful the man who reaches the shore on the other side is Abul Mansoor Kemal Uddin.
I have also reviewed for Goodreads the following books from Qurat ul Ain Haider:
Gardish e Rang e Chaman: https://www.goodreads.com/review/show...
Akhir e Shab Kai Humsafar: https://www.goodreads.com/review/show...
گوتم نیلمبر نے چلتے چلتے ٹھٹھک کر پیچھے دیکھا۔ راستے کی دھول بارش کی وجہ سے کم ہو چکی تھی۔ ھو اس کے اپنے پاوٗں مٹی سے اٹے پڑے تھے۔ برسات کی وجہ سے گھاس اور درخت زمرد کے رنگ کے دلھلائی پڑتے تھے۔ اسوک کے نارنجی اور سرخ پھول گہری ہریالی میں تیزی سے جھلملاتے تھے اور ہیرے کی ایسی جگمگاتی پانی کی لڑیاں گھاس پر ٹوٹ پھوٹ کر بکھر گئیں تھیں۔ ندی کے پار پہنچتے پہنچتے بہت رات ہو جائے گی۔ گوتم کو خیال آیا۔ گھاٹ پر کشتیاں کھڑی تھیں اور برگد کے نیچے کسی من چلے ملاح نے زور زور سے ساون الاپنا شروع کر دیا۔ آم کے جھرمٹ میں اکیلا مور پر پھیلائے کھڑا تھا۔ شراوستی یہاں سے پورے پچیس کوس تھا اور گوتم نیلمبر کو ندی تیر کر پار کرنا تھی۔ گھاٹ پر تین لڑکیاں ایک ظرف بیٹھ کر باتیں کر رہی تھیں۔ لڑکیاں کتنی باتونی ہوتی ہیں۔ گوتم نے سوچا۔
Ever since my first reading over two decades ago in rainy and quite alien Oxford I have revisited these passages for the sheer linguistic and descriptive nirvana they offer and indeed the novel remains an early and one of the most abiding inspirations for my own debut novel Snuffing Out the Moon - which at multiple levels is a very different book - but yes Gautam Neelambar's pursuit of inner peace and a dry sanctuary on that wet and eternally immortalized day so many centuries ago is what also inspired me to send off my various characters on their respective journeys of pursuit and fulfillment.
The next 50 pages take Gautam Neelumbar's journey forward and overall the first 100 pages are a fascinating commentary on the human pursuit to solve the mysteries of life and death and the myriad metaphysical questions that arise from the same. Gautam - a Brahmin ascetic and student at a university - comes across a Buddhist Bhikku Hari Shankar. Through their engaging and charming conversations Haider gives us a tour de force overview of the intellectual and religious preoccupations of the Upanashids, the Puranas, the Vedas, the various theological and philosophical schools since then, and the ideologies, thought systems, cults and discourses stemming from the same till the emergence of Shakyamuni Gautama Buddha in the previous century. We get a sense of the landscape of not just the mind but also the physical one - of famous cities, monasteries, universities and Sanghasan of the time as the two travelers compare their notes. Meanwhile, tumult shows itself to be ever present in human life and the land is invaded by Chandragupta Mauriya advised by the famous Chanikya of Taxile. Gautam Neelambar's life changes irrevocably.
But while these cerebral discourses in on-going, the young man in Gautam also can't help notice a young woman he saw by the riverside, whose thoughts keep tormenting him and in whose pursuit he does eventually contemplate giving up his life of abstinence, asceticism and scholarly inquiry. What is the purpose of life he wonders afresh. Meanwhile, Hari Shankar too is inextricably woven in all this even though he too is wanderer, having relinquished his royal heritage. At the heart of its is the Rajkumari Champak who eventually wonders:
وہ آپ ہی آپ چپکے چپکے آنسو پیتی رہی۔ ایک شخص نے دنیا تیاگی پھر بھی اَس کی یاد دل سے نہ ہٹا سکا ، وہ ہری شنکر تھا۔ ایک شخص نے اَس کی یاد سے بچنے کے لئے تیاگ کی بجائے دنیا میں پناہ ڈھونڈی اور پھر بھی ویراگی رہا گو ظاہر میں مکمل دنیادار بنا، وہ گوتم نیلبر تھا۔ وہ خود، وہ دک��یاری نہ دنیا تیاگ پائی نہ دنیا میں زندگی کی مسرتوں کو ہی حاصل کر سکی۔ یہ سب مایا کے کھیل تھے۔
(p. 92).
Is it all predetermined, is it fate, is there any point in striving for anything, what is the meaning of existence, and myriad such questions continue to assail Gautam Neelambar as in that famous terminal scene he is endeavoring to cross a stormy river and while we never know whether he was successful the man who reaches the shore on the other side is Abul Mansoor Kemal Uddin.
I have also reviewed for Goodreads the following books from Qurat ul Ain Haider:
Gardish e Rang e Chaman: https://www.goodreads.com/review/show...
Akhir e Shab Kai Humsafar: https://www.goodreads.com/review/show...
September 13, 2012
One of the best books I’ve ever read by an Indian author! This is Qurratulain Hyder’s “transcreated” English version of her original Urdu magnum opus “Aag Ka Dariya”.
Sweeping through over two thousand years of Indian history - from the Vedic times to post-independence - Hyder’s novel blurs the lines of religious differences while simultaneously glorifying the millennia of Hindustan’s rich heritage. Four characters of Hindu, Buddhist, Muslim and Christian faith, reappear throughout the novel in various reincarnations but interestingly enough, with the same names. This gives the story a sense of seamless transition, as the turbulent forces of history churn these four characters into a vortex of politics and power. Despite the breadth of history covered in the novel, Hyder does not shy away from the details. I found the generous descriptions of daily life and customs in early Hindustan very entertaining and colorful. Lucknow takes center stage during the British Raj, Independence and Partition eras. Here, I felt, the story lingered and lost some momentum. Maybe an attempt by the author to wrap up her epic by highlighting what possibly could be her personal experience as she survived this tumultuous phase of Indian history?
In all, an extremely ambitious novel that has been rightly compared to GGM’s “One Hundred Years of Solitude” and delivers on the mark! This is a book that focuses on the single Indian identity and marginalizes everything that is discordant with it . A must read for every Indian or person interested in Indology! Be warned that if you are not familiar with Indian history, you might find this a very challenging read. Even for someone well versed in Indian history, this book takes some effort, but is well worth it!
Sweeping through over two thousand years of Indian history - from the Vedic times to post-independence - Hyder’s novel blurs the lines of religious differences while simultaneously glorifying the millennia of Hindustan’s rich heritage. Four characters of Hindu, Buddhist, Muslim and Christian faith, reappear throughout the novel in various reincarnations but interestingly enough, with the same names. This gives the story a sense of seamless transition, as the turbulent forces of history churn these four characters into a vortex of politics and power. Despite the breadth of history covered in the novel, Hyder does not shy away from the details. I found the generous descriptions of daily life and customs in early Hindustan very entertaining and colorful. Lucknow takes center stage during the British Raj, Independence and Partition eras. Here, I felt, the story lingered and lost some momentum. Maybe an attempt by the author to wrap up her epic by highlighting what possibly could be her personal experience as she survived this tumultuous phase of Indian history?
In all, an extremely ambitious novel that has been rightly compared to GGM’s “One Hundred Years of Solitude” and delivers on the mark! This is a book that focuses on the single Indian identity and marginalizes everything that is discordant with it . A must read for every Indian or person interested in Indology! Be warned that if you are not familiar with Indian history, you might find this a very challenging read. Even for someone well versed in Indian history, this book takes some effort, but is well worth it!
May 1, 2017
Aag ka darya (literally means “River of Fire”) is hailed as a masterpiece of Urdu Literature.
It is written much in the tradition of historical novel, where we see different characters in different eras within the timeline of 2000 years. It explores the ancient cultural heritage of the Indian subcontinent, and how the past is linked to the present. Existentialism is an ever present theme in almost all the stories. The characters here are grappling with questions like Existence of God, purpose of life and identity. Little did I know that I was in for a huge disappointment.
This book is a perfect case of ‘great idea, bad execution’. While many people praise it for the scope of its motifs and the profundity of its characterization, I failed too see how any of this is true. The stories are told rather blandly, with too much focus on irrelevant details and too many allusions that didn’t make sense. The chapters are divided in no particular order. A story is starts off randomly and is left unfinished. I tried very hard to understand where the author was going with this but found myself reading multiple storylines and none of them made sense. The dialogue, the narration and the characters, all of which have brief moments of brilliance, ended up sounding like pointless banter.
It is written much in the tradition of historical novel, where we see different characters in different eras within the timeline of 2000 years. It explores the ancient cultural heritage of the Indian subcontinent, and how the past is linked to the present. Existentialism is an ever present theme in almost all the stories. The characters here are grappling with questions like Existence of God, purpose of life and identity. Little did I know that I was in for a huge disappointment.
This book is a perfect case of ‘great idea, bad execution’. While many people praise it for the scope of its motifs and the profundity of its characterization, I failed too see how any of this is true. The stories are told rather blandly, with too much focus on irrelevant details and too many allusions that didn’t make sense. The chapters are divided in no particular order. A story is starts off randomly and is left unfinished. I tried very hard to understand where the author was going with this but found myself reading multiple storylines and none of them made sense. The dialogue, the narration and the characters, all of which have brief moments of brilliance, ended up sounding like pointless banter.
August 13, 2022
دریا بہتا ہوا وقت ہے۔
پتھر وقت کی منجمد شکل ہیں۔
یہ ندی ہماری زندگیوں کا سمبل ہے۔
This is a tour de force novel by Quratulain Haider and impressively, one of her earlier works. Her distinctive voice and narrative are meditative, poetic, and often in a stream of consciousness style wherein there's a discourse on various philosophical, existential, and even metaphysical preoccupations about numerous facets of existence without succumbing to trite didacticism.
What makes Haider unique among other writers is her uncanny ability to grasp various Indian religions, cultures, languages, and folklore. She dexterously recreates a bygone era inhabited by people belonging to various ethnicities. The novel covers a vast span of time but mainly concentrates on British colonialism, the partition of India, and an early post-partition phase.
The ever-present questions about the meaning of life and existence preoccupy the minds of characters who in their youthful vigor try not to squander their lives. The characters, surrounded by chaos and uncertainty and haunted by disquiet, try to make sense of themselves and their lives in the tumultuous times. In the end, they take different trajectories which are either making a compromise to the status quo, merging with the crowd, or making peace with the fact that an idealistic mindset is not going to make the state of affairs better.
'Soft Watch at the Moment of First Explosion' by Salvador Dali
I loved the first part of the book, which involves an encounter and philosophical discourse between two students: one Gautam Neelambar, a Brahmin, and the other, Hari Shankar who is a Buddhist.
Times pass and the new characters with similar names take their place trying to fathom the struggles of life and the cycle keeps repeating in the new eras.
Reading the last portion of the book was emotionally draining and a sadness lamenting the tragedy crept into me. Even though there's not much mention of bloodshed during the partition, the exploitation of the poor and the feeling of homelessness of common people is heart-rendering.
لکڑی جل کوئلہ بھئی، کوئلہ جل بھئی راکھ
میں برہن ایسی جلی نہ کوئلہ بھئی نہ راکھ
This book also raises many questions about shaping history and how one can even know whether the current course of events shaping their life is for the better or worse. One wonders who is to be held responsible for the homelessness of these people, whose 'home' is here and the 'country' is there. Who is responsible for the misery of people, for violence and bloodshed, for hatred and intolerance?
Quratulain Haider is among the ranks of writers who have the courage to ask thorny questions and leave a rich legacy hoping that one day, the culture of hatred and bigotry might be overcome.
Quratulain Haider
اصول اور بلند خیالات اور فلسفے علیحدہ چیز ہیں اور ہم اصل زندگی میں اپنے خیالات سے بالکل مختلف ہوتے ہیں۔ خالص فلسفے اور اخلاق کے اصولوں کا جذبات اور امپلسز سے کوئی ایکو یشن نہیں۔ ہم در حقیقت بے حد کمزور ہیں۔
پتھر وقت کی منجمد شکل ہیں۔
یہ ندی ہماری زندگیوں کا سمبل ہے۔
This is a tour de force novel by Quratulain Haider and impressively, one of her earlier works. Her distinctive voice and narrative are meditative, poetic, and often in a stream of consciousness style wherein there's a discourse on various philosophical, existential, and even metaphysical preoccupations about numerous facets of existence without succumbing to trite didacticism.
What makes Haider unique among other writers is her uncanny ability to grasp various Indian religions, cultures, languages, and folklore. She dexterously recreates a bygone era inhabited by people belonging to various ethnicities. The novel covers a vast span of time but mainly concentrates on British colonialism, the partition of India, and an early post-partition phase.
The ever-present questions about the meaning of life and existence preoccupy the minds of characters who in their youthful vigor try not to squander their lives. The characters, surrounded by chaos and uncertainty and haunted by disquiet, try to make sense of themselves and their lives in the tumultuous times. In the end, they take different trajectories which are either making a compromise to the status quo, merging with the crowd, or making peace with the fact that an idealistic mindset is not going to make the state of affairs better.
'Soft Watch at the Moment of First Explosion' by Salvador Dali
I loved the first part of the book, which involves an encounter and philosophical discourse between two students: one Gautam Neelambar, a Brahmin, and the other, Hari Shankar who is a Buddhist.
Times pass and the new characters with similar names take their place trying to fathom the struggles of life and the cycle keeps repeating in the new eras.
Reading the last portion of the book was emotionally draining and a sadness lamenting the tragedy crept into me. Even though there's not much mention of bloodshed during the partition, the exploitation of the poor and the feeling of homelessness of common people is heart-rendering.
لکڑی جل کوئلہ بھئی، کوئلہ جل بھئی راکھ
میں برہن ایسی جلی نہ کوئلہ بھئی نہ راکھ
This book also raises many questions about shaping history and how one can even know whether the current course of events shaping their life is for the better or worse. One wonders who is to be held responsible for the homelessness of these people, whose 'home' is here and the 'country' is there. Who is responsible for the misery of people, for violence and bloodshed, for hatred and intolerance?
Quratulain Haider is among the ranks of writers who have the courage to ask thorny questions and leave a rich legacy hoping that one day, the culture of hatred and bigotry might be overcome.
Quratulain Haider
اصول اور بلند خیالات اور فلسفے علیحدہ چیز ہیں اور ہم اصل زندگی میں اپنے خیالات سے بالکل مختلف ہوتے ہیں۔ خالص فلسفے اور اخلاق کے اصولوں کا جذبات اور امپلسز سے کوئی ایکو یشن نہیں۔ ہم در حقیقت بے حد کمزور ہیں۔
June 26, 2017
4.5/5
There are worlds for which time refused to slow for, so as revenge their literature refuses to slow for time. Stay as long as I do in the clash of the impolite conversation and the bowels of Wikipedia, and you'll lose your liking for stability, your need for knowing all. South Asia and the borders of the Middle East are not the only places where this is possible, so if you believe stretching myself too thin has made my recognitions glib when I making comparisons to The Discovery of India and The Satanic Verses, perhaps, perhaps. All I can say is that I appreciate how the narrative slows down upon reaching the century of my birth, how the proper formatting of history as tragic was neither glossed over nor uncomplicated with the banality of those who lived it, how my reading of Women Writing in India had its moments in the sun. Fortune favored my jumping in only after I had imbibed a few footnotes on Upanishads and Mughal and post-partition, so I have her to thank as well. One could get mad at a text for swallowing them whole, but where's the fun in that?
Plot? Aren't a thousand years or so technically a plot? Character? Between the first owner of your name and you, how much has changed between the Internet and the Flood? Theme? Well, you can't expect a white person like me to render that accurately, can you. I understand the hyphen of the Hinid-Urdu better, and am expecting far more of the likes of Penny Dreadful's Dr. Jekyll portrayals of Victorian times, but I got less of the upper crust and more of the strata I prefer in texts encountered previous to this. Such is the bloody shame of the Medieval to the late mid 20th in less than 500 pages, and this would likely not be such a problem if I had recognized more than one or two of the thousand names of fame and infamy swirling around the course of this narrative, but take away the maximalist and I still prefer something more than a rather standard structure. Four men or so, two to three women of various wives, vamps, and girlfriends in the refrigerator, making for HIStory writ large in the manner I have long lost faith in. As mentioned previously, though: don't mind the white chick too much. To the Lighthouse is a love, but placing it alongside this reveals colors of a World the world is led to believe in. They came, they saw, they are conquering, but if you read enough Hyder and all her kith and kind, that last bit is more and more pointless to believe in.
If you think reading this means reading it once, think again. I can't say going out to some of the places mentioned would help my case any, mostly cause I'd likely spend the whole trip crying and be of absolutely no use to anyone or myself. This is the sort of work that I want and want and want to be a favorite, but that'll only happen if I work and work and work, and even that's not an absolute guarantee. Could I have used more footnotes and end notes and everything in between? Yes. Did I disgrace this text through my fumbling engagement? I hope not, but that's not my call to make. Am I looking forward to the next time, and the next, and the next? Oh yes. Most certainly.
There are worlds for which time refused to slow for, so as revenge their literature refuses to slow for time. Stay as long as I do in the clash of the impolite conversation and the bowels of Wikipedia, and you'll lose your liking for stability, your need for knowing all. South Asia and the borders of the Middle East are not the only places where this is possible, so if you believe stretching myself too thin has made my recognitions glib when I making comparisons to The Discovery of India and The Satanic Verses, perhaps, perhaps. All I can say is that I appreciate how the narrative slows down upon reaching the century of my birth, how the proper formatting of history as tragic was neither glossed over nor uncomplicated with the banality of those who lived it, how my reading of Women Writing in India had its moments in the sun. Fortune favored my jumping in only after I had imbibed a few footnotes on Upanishads and Mughal and post-partition, so I have her to thank as well. One could get mad at a text for swallowing them whole, but where's the fun in that?
Plot? Aren't a thousand years or so technically a plot? Character? Between the first owner of your name and you, how much has changed between the Internet and the Flood? Theme? Well, you can't expect a white person like me to render that accurately, can you. I understand the hyphen of the Hinid-Urdu better, and am expecting far more of the likes of Penny Dreadful's Dr. Jekyll portrayals of Victorian times, but I got less of the upper crust and more of the strata I prefer in texts encountered previous to this. Such is the bloody shame of the Medieval to the late mid 20th in less than 500 pages, and this would likely not be such a problem if I had recognized more than one or two of the thousand names of fame and infamy swirling around the course of this narrative, but take away the maximalist and I still prefer something more than a rather standard structure. Four men or so, two to three women of various wives, vamps, and girlfriends in the refrigerator, making for HIStory writ large in the manner I have long lost faith in. As mentioned previously, though: don't mind the white chick too much. To the Lighthouse is a love, but placing it alongside this reveals colors of a World the world is led to believe in. They came, they saw, they are conquering, but if you read enough Hyder and all her kith and kind, that last bit is more and more pointless to believe in.
If you think reading this means reading it once, think again. I can't say going out to some of the places mentioned would help my case any, mostly cause I'd likely spend the whole trip crying and be of absolutely no use to anyone or myself. This is the sort of work that I want and want and want to be a favorite, but that'll only happen if I work and work and work, and even that's not an absolute guarantee. Could I have used more footnotes and end notes and everything in between? Yes. Did I disgrace this text through my fumbling engagement? I hope not, but that's not my call to make. Am I looking forward to the next time, and the next, and the next? Oh yes. Most certainly.
Queen Victoria's Proclamation says that the Christian religion alone is true. What has the administration of justice to do with the truth or falsehood of a religion? asked the Begum.
Read
September 1, 2018Ms Difficult
"Transcreated from the original Urdu by the author"
Because if it were 'translated' by another no doubt it would've been that much more flattened out. Instead The Reader (this reader is me of course) is faced with something more daunting than the page=long blocks of paragraphless prose of Proust ; one is faced with something loosely describable as a 'preponderance' of knot=English. (In this case, "The Reader" being 'me' informs of one's linguistic horizons.) Personal names, geographical names, religious and cultural and political terms are not written in the Tom Dick Harry and Jane English one might have learned in the Fly=Over States of Middle America. No, this was not a novel written with the intention of 'getting them off their tractors'. Nor was it targeting an audience in Manhattan. Rather, this is the kind of 'authentic' novel Western=gazers dream about, one not 'targeting' new york breast seller lists. I don't know who Hyder wrote it for ; why would I? Who does anyone write any book for? Rather, this is one of those novels about which Steven Moore once quip'd re: Genji's Tale :: "It wasn't written for you, dear reader."
The Times Lit=Sup says of it thusly "To Urdu Fiction what 100 years of solitude is to Hispanic Lit." And who's to argue? Who of us know nothing about Urdu Lit? I don't. But I do know that if you're going to read something Urdu you could perhaps do much=much less than Hyder's novel.
New edition from New Directions (with unbelievable ugly cover=art) coming in March '19
"Transcreated from the original Urdu by the author"
Because if it were 'translated' by another no doubt it would've been that much more flattened out. Instead The Reader (this reader is me of course) is faced with something more daunting than the page=long blocks of paragraphless prose of Proust ; one is faced with something loosely describable as a 'preponderance' of knot=English. (In this case, "The Reader" being 'me' informs of one's linguistic horizons.) Personal names, geographical names, religious and cultural and political terms are not written in the Tom Dick Harry and Jane English one might have learned in the Fly=Over States of Middle America. No, this was not a novel written with the intention of 'getting them off their tractors'. Nor was it targeting an audience in Manhattan. Rather, this is the kind of 'authentic' novel Western=gazers dream about, one not 'targeting' new york breast seller lists. I don't know who Hyder wrote it for ; why would I? Who does anyone write any book for? Rather, this is one of those novels about which Steven Moore once quip'd re: Genji's Tale :: "It wasn't written for you, dear reader."
The Times Lit=Sup says of it thusly "To Urdu Fiction what 100 years of solitude is to Hispanic Lit." And who's to argue? Who of us know nothing about Urdu Lit? I don't. But I do know that if you're going to read something Urdu you could perhaps do much=much less than Hyder's novel.
New edition from New Directions (with unbelievable ugly cover=art) coming in March '19
September 3, 2012
What a novel, I cannot believe any Indian Muslim would be capable of writing such literature after growing up in a very conservative, Islami, Zia Ul Haqqi Pakistan. No wonder Quratulain Hyder left Pakistan to settle back in India. The novel starts from 2000 yeas ago, in the time when Alexander the great and Darius third were fighting it out. Her first hero is a Brahmin barmachariya, who is a talented artist who finds inspiration in a failed romance. The next hero is a Muslim soldier katib, the jumping a couple of thousand years who is looking to document the history of the land they have become masters off, but are completely frustrated by the lack of any written records of history. History does not seem to be very important with the local people, who only seem to be occupied with accepting all vagaries of life, all masters, abhorring conflict, content to spend their lives in trying to find the meaning of life.
Raised the very important question for me, what have gained by severing ties with India? How can we forget our forefathers and their efforts? Creating nations based on ideology has put us in a constant state of unrest. After all, any ideology is perfect, absolute which unfortunately makes it very unachievable as well. The great religion of Islam is just one of the other great religions to inhibit the great land mass of India. It has had its peak, but also its low with the British taking away all its glory. Trying to resurrect the spirit of Islam in India is a lost cause for me, as we have forgotten the skill to rule as well as severed all links with global Islamic super power of that time. What is the use of harping about unity of a weak and miskeen Ummah? We are a nation without a nation, flying in the air without a base to return to. How long can we fly aimlessly?
The 'river of blood' is used to string the novel together as the heroes change over time. The third progenitor is an English who comes to India with the famous East India Company to make a fortune. But the next change in scenario winds to the all familiar Lucknow which is Qurat's specialty. Suddenly the smooth description of the progenitor disappears as a myriad of characters suddenly come to the fore, confusing the whole story very badly. I can understand why Qurat could have messed this bit up as this was her own era so she was capable of presenting a lot more but this change in style is very confusing for the reader. Wish we had proper Urdu publishing industry in India/Pakistan who would have been able to correct this massive anomaly.
It is two novels in one. The first one is brilliant followed by longish one set in the elitist circles of 1940's Lucknow. The second one is an exact copy of 'teri bhi sanam khaney' which I found tough going as most of the characters were going through their lives without much excitement or action. Qurat's problem is that she reckons Lucknow to be at par with London, Paris, New York. The cultured girls of Lucknow seem to be in hot demand of eligible bachelors the world over. The music, the culture, the dance the political awareness is above everyone else in all of India, especially the Punjabis who in contrast are are great spoilers of culture, who are nothing in front of Luckow wallas. The second bit of the novel has brought the rating down to 3 stars.
Raised the very important question for me, what have gained by severing ties with India? How can we forget our forefathers and their efforts? Creating nations based on ideology has put us in a constant state of unrest. After all, any ideology is perfect, absolute which unfortunately makes it very unachievable as well. The great religion of Islam is just one of the other great religions to inhibit the great land mass of India. It has had its peak, but also its low with the British taking away all its glory. Trying to resurrect the spirit of Islam in India is a lost cause for me, as we have forgotten the skill to rule as well as severed all links with global Islamic super power of that time. What is the use of harping about unity of a weak and miskeen Ummah? We are a nation without a nation, flying in the air without a base to return to. How long can we fly aimlessly?
The 'river of blood' is used to string the novel together as the heroes change over time. The third progenitor is an English who comes to India with the famous East India Company to make a fortune. But the next change in scenario winds to the all familiar Lucknow which is Qurat's specialty. Suddenly the smooth description of the progenitor disappears as a myriad of characters suddenly come to the fore, confusing the whole story very badly. I can understand why Qurat could have messed this bit up as this was her own era so she was capable of presenting a lot more but this change in style is very confusing for the reader. Wish we had proper Urdu publishing industry in India/Pakistan who would have been able to correct this massive anomaly.
It is two novels in one. The first one is brilliant followed by longish one set in the elitist circles of 1940's Lucknow. The second one is an exact copy of 'teri bhi sanam khaney' which I found tough going as most of the characters were going through their lives without much excitement or action. Qurat's problem is that she reckons Lucknow to be at par with London, Paris, New York. The cultured girls of Lucknow seem to be in hot demand of eligible bachelors the world over. The music, the culture, the dance the political awareness is above everyone else in all of India, especially the Punjabis who in contrast are are great spoilers of culture, who are nothing in front of Luckow wallas. The second bit of the novel has brought the rating down to 3 stars.
Read
February 29, 2024Whatever it is, it's above my intellectual capacity. It took me exactly a month to finish this, mainly because it was to be read only in the library, which some days I wasn't able to do, and whenever I did, it was only for an hour or so, but also because it was very BORING FOR ME (except for a few parts), and I feel very bad saying this because I know it has to be one of the best intellectual novels in Urdu.
I am not going to rate it because I know it will not do justice to this book. Maybe I'll read it after 7-8 years. And then rate it.
Some of my fav parts of this book👇
10/02/2024
Page 263
Finally I found an enjoyable/relatable paragraph ✨️
13/02/2024
Page 319
Loved this chapter(46)😀
I am not going to rate it because I know it will not do justice to this book. Maybe I'll read it after 7-8 years. And then rate it.
Some of my fav parts of this book👇
10/02/2024
Page 263
Finally I found an enjoyable/relatable paragraph ✨️
13/02/2024
Page 319
Loved this chapter(46)😀
Read
November 13, 2018I read some glowing reviews and eagerly downloaded it.It made me yawn,I don't have the patience to slog through this one,however wonderful it is supposed to be.
April 2, 2024
A melancholy Urdu poet replies: “Culture, culture everywhere, and not a drop to drink.”
In early 2019, in Lahore, I found myself sipping chai at Pak Tea House.
Lost in my own thoughts, I happened to glance around and spotted an elderly gentleman engrossed in a book. Its title, “River of Fire” (Aag Ka Darya), grabbed my attention like a flickering flame in the dark. Curiosity got the better of me, and I couldn’t resist striking up a conversation with this intriguing reader.
As we started talking, a spark ignited between us. Our conversation flowed like a meandering river, exploring topics of history, politics, religion, and conflicts. The old man’s eyes lit up with each word he shared, his passion contagious. Before I knew it, we were engaged in a lively exchange, our voices rising and falling like waves crashing on the shore.
The book, “River of Fire,” became the centerpiece of our discussion. With every captivating detail and fascinating story he shared, my curiosity grew stronger. The old man’s words painted vivid pictures in my mind, transporting me to a world of enthralling tales and deep insights. I was captivated, and I knew I had to experience this literary masterpiece for myself. I first read it in Urdu, and now I’m rereading it in English.
Qurratulain Hyder’s *River of Fire* is a vibrant cloth woven from the very fabric of the Indian subcontinent. Here, the past isn’t a collection of inert dates and battles, but a living river, a fiery *darya* coursing with the triumphs and tragedies of millennia.
The subcontinent is not merely a backdrop; it becomes a character itself, breathing life into the narrative. The rivers flow with ancient wisdom, the streets pulse with the rhythm of daily life, and the landscapes shift with the changing tides of history. Hyder’s vivid descriptions transport us to bustling marketplaces, serene temples, opulent palaces, and war-torn battlefields, immersing us in the sights, sounds, and emotions of each era.
It reminds me of lines of Mirza Ghalib’s famous ghazal:
“Kuch is tarha chalti hai fitrat ki hawa yeh zindagani,Ki har wajah se guzarti hai likin rukti nahin kabhi.”
(Like this, the breeze of life blows,
It passes by every face, but never stops.)
Hyder captures this essence of life’s fleeting nature perfectly. You, the reader, become a cupbearer for the Muse of History herself, dipping your hand into this river and pulling out stories instead of cool water. Vivid narratives, heartbreaking elegies, and sometimes bawdy folktales spill across centuries, each revealing four souls reborn anew: Gautam, Champa, Kamal, and Cyril.
These characters transcend time, their fates echoing like leitmotifs across epochs. One life, Gautam might be a stoic Buddhist monk, his saffron robes whispering secrets in the cool Himalayan air. The next, he’s a fiery Mughal courtier, his wit as sharp as the scimitar on his hip. Champa, his counterpart, might be a passionate artist in one era, her canvases echoing the vibrant hues of Mughal miniatures, and a fierce advocate for social justice in another, her voice echoing with the power of a Vedic hymn.
A MASTERFUL ALCHEMIST
Hyder is a literary alchemist. She blends history, myth, and personal narrative with the dexterity of a Mughal jeweler crafting a masterpiece. Letters crackle with the electricity of forbidden love, and diaries overflow with the messy realities of life – the yearning for a lost love, the sting of political betrayal, the quiet joys of domesticity.
This isn’t just about emperors and wars (though there are plenty of those, too). It’s about the laughter that spills from bustling bazaars, the tears that stain a Rajput queen’s veil, the yearning for something more that burns bright in every human heart. It’s a tapestry woven with the threads of human experience, from the 4th century BC to the tumult of Indian independence.
A MEDITATION ON IDENTITY
But *River of Fire* is more than just a historical epic. It’s a profound meditation on identity in the face of an ever-shifting landscape. South Asia has a long and complex history, a land where cultures have collided and melded for centuries. Hyder reflects this beautifully in her characters’ journeys.
As Gautam, Champa, Kamal, and Cyril traverse time, their encounters with different religions, social structures, and political realities force them to constantly grapple with who they are. Are they defined by their caste in one life and their social activism in another? Does their connection transcend these shifting identities?
Hyder’s work resonates with the ongoing debates about identity in South Asia today. Is a Pakistani Muslim inherently different from an Indian Muslim? How do we reconcile the tensions between religious identity, ethnicity, and the idea of a unified Indian nation?
Hyder promotes a syncretic view of Indian and Pakistani identities. It challenges the idea that the two nations have pure, separate identities. Instead, the novel shows how Hindu, Muslim, and other cultures have blended together over millennia, creating a rich and intermingled fabric of identities. Hyder’s work questions the nationalist narratives of both countries and presents a narrative that suggests the two nationalisms are mirrors, born of ambivalence and artifice.
THE MYTH OF HINDU AND MUSLIM IDENTITY
As long as the myth of “pure” Hindu and Muslim identities continues to be propagated, the problematic justifications for Partition will persist too – that Indians of different faiths could not logically coexist. Meanwhile, as Modi’s Hindu nationalist regime holds power in India and Pakistan radical islamists holds it power and resorts to terrorism to paint India as the enemy, their own minorities explode the illusion of homogeneity.
From Pashtun to Parsi, Baloch to Bhil, every group demanding autonomy reveals the fictional nature of these nations’ self-proclaimed unity. Yet both countries diligently teach distrust of the other, relying on communalism as misdirection from fault lines within.
This is what makes River of Fire’s pluralistic history so urgently relevant. Hyder boldly revives an all-inclusive identity that can outwit the Make-Believe NationsTM relying on religious division. As postcolonial experts know, the ideologies of “purity” underlying contemporary violence are little more than a modern blip on South Asia’s syncretic timeline. If we believe Hyder’s account, the fundamentalists reigning terror are far from fundamental after all – they’re the new kids on an ancient, multicultural block.
A CHALLENGING YET REWARDING JOURNEY
River of Fire is a sprawling, ambitious work. It’s like trying to hold onto a kaleidoscope – the images shift and shimmer, challenging you to piece together the grand narrative. But if you’re up for the challenge, you’ll be rewarded with a perspective on history that shatters the rigid confines of textbooks.
Article link: https://medium.com/@abdulraheemasghar...
In early 2019, in Lahore, I found myself sipping chai at Pak Tea House.
Lost in my own thoughts, I happened to glance around and spotted an elderly gentleman engrossed in a book. Its title, “River of Fire” (Aag Ka Darya), grabbed my attention like a flickering flame in the dark. Curiosity got the better of me, and I couldn’t resist striking up a conversation with this intriguing reader.
As we started talking, a spark ignited between us. Our conversation flowed like a meandering river, exploring topics of history, politics, religion, and conflicts. The old man’s eyes lit up with each word he shared, his passion contagious. Before I knew it, we were engaged in a lively exchange, our voices rising and falling like waves crashing on the shore.
The book, “River of Fire,” became the centerpiece of our discussion. With every captivating detail and fascinating story he shared, my curiosity grew stronger. The old man’s words painted vivid pictures in my mind, transporting me to a world of enthralling tales and deep insights. I was captivated, and I knew I had to experience this literary masterpiece for myself. I first read it in Urdu, and now I’m rereading it in English.
Qurratulain Hyder’s *River of Fire* is a vibrant cloth woven from the very fabric of the Indian subcontinent. Here, the past isn’t a collection of inert dates and battles, but a living river, a fiery *darya* coursing with the triumphs and tragedies of millennia.
The subcontinent is not merely a backdrop; it becomes a character itself, breathing life into the narrative. The rivers flow with ancient wisdom, the streets pulse with the rhythm of daily life, and the landscapes shift with the changing tides of history. Hyder’s vivid descriptions transport us to bustling marketplaces, serene temples, opulent palaces, and war-torn battlefields, immersing us in the sights, sounds, and emotions of each era.
It reminds me of lines of Mirza Ghalib’s famous ghazal:
“Kuch is tarha chalti hai fitrat ki hawa yeh zindagani,Ki har wajah se guzarti hai likin rukti nahin kabhi.”
(Like this, the breeze of life blows,
It passes by every face, but never stops.)
Hyder captures this essence of life’s fleeting nature perfectly. You, the reader, become a cupbearer for the Muse of History herself, dipping your hand into this river and pulling out stories instead of cool water. Vivid narratives, heartbreaking elegies, and sometimes bawdy folktales spill across centuries, each revealing four souls reborn anew: Gautam, Champa, Kamal, and Cyril.
These characters transcend time, their fates echoing like leitmotifs across epochs. One life, Gautam might be a stoic Buddhist monk, his saffron robes whispering secrets in the cool Himalayan air. The next, he’s a fiery Mughal courtier, his wit as sharp as the scimitar on his hip. Champa, his counterpart, might be a passionate artist in one era, her canvases echoing the vibrant hues of Mughal miniatures, and a fierce advocate for social justice in another, her voice echoing with the power of a Vedic hymn.
A MASTERFUL ALCHEMIST
Hyder is a literary alchemist. She blends history, myth, and personal narrative with the dexterity of a Mughal jeweler crafting a masterpiece. Letters crackle with the electricity of forbidden love, and diaries overflow with the messy realities of life – the yearning for a lost love, the sting of political betrayal, the quiet joys of domesticity.
This isn’t just about emperors and wars (though there are plenty of those, too). It’s about the laughter that spills from bustling bazaars, the tears that stain a Rajput queen’s veil, the yearning for something more that burns bright in every human heart. It’s a tapestry woven with the threads of human experience, from the 4th century BC to the tumult of Indian independence.
A MEDITATION ON IDENTITY
But *River of Fire* is more than just a historical epic. It’s a profound meditation on identity in the face of an ever-shifting landscape. South Asia has a long and complex history, a land where cultures have collided and melded for centuries. Hyder reflects this beautifully in her characters’ journeys.
As Gautam, Champa, Kamal, and Cyril traverse time, their encounters with different religions, social structures, and political realities force them to constantly grapple with who they are. Are they defined by their caste in one life and their social activism in another? Does their connection transcend these shifting identities?
Hyder’s work resonates with the ongoing debates about identity in South Asia today. Is a Pakistani Muslim inherently different from an Indian Muslim? How do we reconcile the tensions between religious identity, ethnicity, and the idea of a unified Indian nation?
Hyder promotes a syncretic view of Indian and Pakistani identities. It challenges the idea that the two nations have pure, separate identities. Instead, the novel shows how Hindu, Muslim, and other cultures have blended together over millennia, creating a rich and intermingled fabric of identities. Hyder’s work questions the nationalist narratives of both countries and presents a narrative that suggests the two nationalisms are mirrors, born of ambivalence and artifice.
THE MYTH OF HINDU AND MUSLIM IDENTITY
As long as the myth of “pure” Hindu and Muslim identities continues to be propagated, the problematic justifications for Partition will persist too – that Indians of different faiths could not logically coexist. Meanwhile, as Modi’s Hindu nationalist regime holds power in India and Pakistan radical islamists holds it power and resorts to terrorism to paint India as the enemy, their own minorities explode the illusion of homogeneity.
From Pashtun to Parsi, Baloch to Bhil, every group demanding autonomy reveals the fictional nature of these nations’ self-proclaimed unity. Yet both countries diligently teach distrust of the other, relying on communalism as misdirection from fault lines within.
This is what makes River of Fire’s pluralistic history so urgently relevant. Hyder boldly revives an all-inclusive identity that can outwit the Make-Believe NationsTM relying on religious division. As postcolonial experts know, the ideologies of “purity” underlying contemporary violence are little more than a modern blip on South Asia’s syncretic timeline. If we believe Hyder’s account, the fundamentalists reigning terror are far from fundamental after all – they’re the new kids on an ancient, multicultural block.
A CHALLENGING YET REWARDING JOURNEY
River of Fire is a sprawling, ambitious work. It’s like trying to hold onto a kaleidoscope – the images shift and shimmer, challenging you to piece together the grand narrative. But if you’re up for the challenge, you’ll be rewarded with a perspective on history that shatters the rigid confines of textbooks.
Article link: https://medium.com/@abdulraheemasghar...
March 20, 2016
“All things, O priests, are on fire. The eye, O priests, is on fire; forms are on fire, eye-consciousness is on fire. . . the ear is on fire; sounds are on fire, the body is on fire; things tangible are on fire. . . the mind is on fire; ideas are on fire. . . with the fire of passion, with the fire of hatred, with the fire of infatuation, with birth, old age, death, sorrow, lamentation, misery, grief and despair are they on fire. . . fire. . . fire. . . The body is like a house which is on fire but we keep talking! We keep talking till the house is finally burnt down.”I really wanted to love this book; it starts out really strongly, and I was consumed for roughly the first 200 pages or so. After that I found my interest waning as the balance of the text gave way to extensive dialogue, which I had trouble focusing on. I thought the first half did a great job of establishing the characters and much of the history - especially focusing on the Hindu and Buddhist roots, as well as the British occupation - but once it reaches the 20th century it bogged down for me.
I'll admit that much of this book - both from a social and historic perspective - went a bit over my head, as mostly all of Indian culture and history is pretty unknown to me, and the book doesn't waste much time with footnotes (there are a handful). It's possible to likely that there are aspects and nuances of the book that I missed in my ignorance, but there was only so much "looking up" that I was willing to do, and instead relied on context for the most part. Even that said, the early, historical sections, were the ones I loved the most, so maybe it wasn't that much of a factor.
All that said, I'd still recommend this, the writing itself is excellent, for me the story just fell a bit flat, but there is a lot to discover here, especially if the culture and history is unknown to you.
June 20, 2016
When I started to read it, it was being felt very boring as it had a lot Sanskrit words, terms and philosophies. So it wasn't easy to keep reading for an illiterate guy like me.
I didn't stop reading and I gradually I got hold of it when I reached in mid of it.
My head kept shivering and my spine felt a wave when I finally finished.
I just want to rip my shirt and want to start dirge that I really don't know history where am I standing right now. I am holding a hammer in my hand and I am imagining how did they feel who left their factories behind to be called Pakistani but they were humiliated here.
I think I have right to dream that it will be really called "Country" one day.
I didn't stop reading and I gradually I got hold of it when I reached in mid of it.
My head kept shivering and my spine felt a wave when I finally finished.
I just want to rip my shirt and want to start dirge that I really don't know history where am I standing right now. I am holding a hammer in my hand and I am imagining how did they feel who left their factories behind to be called Pakistani but they were humiliated here.
I think I have right to dream that it will be really called "Country" one day.
March 16, 2016
"3 it's not you,its me stars"
It took me two long months to finish it and I tried,I really did.But I can't recall anything I read.I think I'll try rereading it in a few more years after improving my Urdu.
It took me two long months to finish it and I tried,I really did.But I can't recall anything I read.I think I'll try rereading it in a few more years after improving my Urdu.
December 19, 2018
آگ کا دریا صاحبِ بصیرت لوگوں کے لیے تحفہ ہے۔
October 11, 2019
வரலாறு என்பது புதரடர்ந்த காடு போன்றது. அதில் செல்லும் வழிப்போக்கர்களின் பர்ர்வையின் தன்மைக்கேற்ப வரலாற்றில் விடுபடுதலும் மாற்றப்படுதலும் நடந்துக் கொண்டேயிருக்கும். மேலும் அக்காடுகளின் தோன்றும் வெளிச்சத்தின் தன்மைக்கேற்ப அதன் வெளிப்படுத்தல் இருக்க, வெளிப்படுத்த முடியாதப் பக்கங்கள் இருளில் உறங்கியபடியே கழிக்கின்றன.
சமீபத்தில் வாசித்து முடித்த அக்னி நதி எனும் நாவலைப் பற்றிய நூல் விமர்சனத்தை தொடங்கும் முன் ஆசிரியர் பற்றிய சிறு சிறு குறிப்புகளோடு (விக்கிபிடீயா விலிருந்து எடுக்கப் பட்டத் தகவல்களுடன்) தொடங்குகிறேன்.
இதன் ஆசிரியர் குர்ரதுலைஜன் ஹைதர் 1927ல் உத்திர பிரதேசத்தில் அலி காரில் பிறந்து 1947 ல் இந்தியா பாகிஸ்தான் பிரிவினையின் போது பாகிஸ்தானுக்கு குடிபெயர்கிறார். 1959 ல் மீண்டும் இந்தியாவில் குடியேறுகிறார். 1967 ல் The Falling Leaves என்ற சிறுகதை தொகுப்பிற்காய் சாகித்ய அகாடெமி விருதைப் பெறுகிறார் .
வரலாற்றுப் புனைவு வகைமையை சேர்ந்த புதினம் என்பது மட்டுமே எனக்கு அதை வாசிப்பதற்கான உந்துதலாய் இருந்தது.
களம் புத்தர் காலத்தில் தொடங்கி இந்திய சுதந்திரம் வரை விரிந்து கொண்டே போகிறது. இதன் கதை நான்கு காலமாக பிரிக்கப்பட்டிருக்கிறது. ஒவ்வொரு காலத்திலும் தோன்றும் கதை மாந்தர்களுக்கான பெயர்கள் யாவும் ஒன்றாக இருப்பினும் அவர்கள் ஒன்றல்ல என்பதுவும் அவர்கள் யாவரும் அவர்களுக்கான தனித்தனி சிறப்பியல்பகளோடு பொருந்தி மறைந்து விடுவது கதையை வாசிக்கத் தூண்ட வைக்கும் புதுமை.
வரலாறு எனும் போதே அதன் ஒவ்வொரு துணுக்கும் நமக்குள் கேள்விகளையோ வேறு சில திறப்புகளையோ புதிய வாசிப்பிற்கோ, தேடுதலுக்கோ உந்தப் படலாம் அந்த வேலையை இப் புதினம் சரியாகவே செய்திருக்கிறது.
இந்திய வரலாற்றில் புரிதல் உள்ளவர்களுக்கு இக் கதைக் களம் புரிதலைக் கொடுக்கும்.
புத்தர், மெளரியர், பிறகு சுல்தான்கள், முகலாயர்கள் எனப் போகும் இந்தியாவில் அரசியல் களம் 18ம் நூற்றாண்டில் கிழக்கிந்திய கம்பனி வசம் வீழ மெல்ல மெல்ல மன்னர்கள் மறைந்து 19ம் நூற்றாண்டின் பாதியில் இங்கிலாந்து அரசுடன் நேரடியாக இணைக்கப்படுகிறது.
மன்னராட்சி ஒழிந்தாலும், ஜமீன்தாரி முறையும், நிலப்பிரபுத்துவ சமூகம் மேலெழுந்து ஆங்கில அரசுடன் இணைந்து தன் மக்களின் மீதான ஒடுக்கு முறையையும் சொல்கிறது.
எழுதி முடித்தவுடன் எழுத்தாளன் மறைந்து விட எஞ்சி நிற்பது எழுத்துக்களால் ஆன நிகழ்வே.
வரலாற்று நிகழ்வுகளுக்கு இது பொருந்துமா ?
இது அரசியல் மற்றும் மதங்களை பகுத்தறிவு சார்ந்து கேள்விக்குட்படுத்துகிறதா ?
கதையினுள்
(ஆன்மீகப் பித்துகளான கிழவிகள் தங்கள் இல்லங்களுக்குச்சென்று, பழைய பாத்திரங்களைத் தேய்ப்பார்கள். காஸ் அடுப்புக்கு ஆகும் செலவை எண்ணிக் கவலைப்படுவார்கள். அப்போது அவர்களுடைய லார்டு கிருஷ்ணா எவ்வாறு உதவுவார்? )
(மாலைத் தொழுகைக்கான அழைப்பு 'அஜான்' கூவல் எழுந்ததும், சம்பா தன்னையறியாமலேயே துப்பட்டாவை இழுத்து முகத்தை மூடிக்கொண்டாள்)
பகுத்தறிவில் கேலிச் செய்யும் சம்பா அஹமத் கால வோட்டக் கடைசியில் தொழுகையின் போது தன்னை மதத்திற்குள் இழுப்பது ஆசிரியரின் கட்டாயமா அல்லது கதை மாந்தரின் பகுத்தறிவில் ஏற்பட்ட நகை முரணா?
வங்காளத்தில்தான் முதல்முதலாக இந்து மத மறுமலர்ச்சி தொடங்கியது. இதற்கொரு சான்று பங்கிம் சந்திர சட்டர்ஜி, 1770இல் ஏற்பட்ட கொடிய பஞ்சம், சன்னியாசிகளின் புரட்சி—இவற்றை நிலைக்களனாகக் கொண்டு பிரபலமான புதினமான 'ஆனந்த மடம்' எழுதினார். இந்த நாவல் முஸல்மான்களுக்கு எதிராக எழுதப்பட்டது. முஸல்மான்களை அடியோடு அழித்துவிட வேண்டுமென்பது இந்த நாவலின் அறிவுரை.
'ஆனந்த மடம்' நாவலில் சன்னியாசிகள் புரட்சிக்கோலம் பூண்டு முஸல்மான்களோடு போராடுவதுடன், ஆங்கிலேயருடனும் போராடுகிறார்கள். இது குறித்து, பங்கிம் சந்திரர் எழுதியிருக்கிறார்: "ஆங்கிலேயர்கள் இந்தியாவை வாழ்விப்பதற்காக வந்தவர்கள். இந்த உண்மையை புரட்சிக்கார சன்னியாசிகள் உணரவில்லை.” ஆங்கிலேயர் ஆட்சியாலும் ஆங்கில மொழியாலும்தான் இந்துக்களுக்கு விடிவு காலம், முன்னேற்றம், மேன்மையெல்லாம் கிட்டுமென்பது நாவலாசிரியர் கருத்து.
மேலும் அக்னி நதியின் இன்னொரு இடத்தில்
"மக்களிடையே புதிய தீவிர உத்வேகம் எழுந்து பரவியது. நவாப் அலி ரஜா பஹதூரின் மாப்பிள்ளை தாலூக்காதார் நகீ ரஜா பஹதூர் வெளிப்படையாக தேசிய இயக்கங்களில் பங்கு கொள்ளாதவர். அவத் பிராந்தியத்தைச் சேர்ந்த தாலுகாதார்கள் 1857இல் அவத் ராஜ்யத்தைப் பாதுகாக்க, ஒன்று கூடி ஆங்கிலேயர்களை எதிர்த்துப் போராடியிருக்கிறார்கள். ஆனால், பிறகு ஆங்கிலேயர் கை மேலோங்கியதும், அவர்களுக்குத் தாசர்களாகிவிட்டார்கள். ஆங்கிலேயர்களுடன் ஒத்துப்போனால்தான் ஏழைப் பாட்டாளிகளான குடியானவர்களை ஒடுக்கி வைத்திருக்க முடியும். இது லக்னோவில் 'நவாப்' சர்ஹார் கோர்ட் கலெக்டராக இருந்த காலம். அவன் தாலூக்காதாரர்களின் அந்தஸ்த்தை ஏற்றுக்கொண்டான். லக்னோ பிராந்திய தாலூகாதாரர்களுக்கு அது பொற்காலம்; ஒரு பக்கம் தேச சுதந்திரத்திற்கான இயக்கம் புயல்போல் வளர்ந்துகொண்டிருந்தது. மறுபக்கம் பழைய சுல்தான் காலத்து எதேச்சாதிகாரப் போக்கிற்குப் புத்துணர்வு ஊட்டப்பட்டு வந்தது.
விக்கிபீடியா மூலம் :
ஆனந்த மடம் நூல் வெளிவரும் ஆண்டு 1882
The novel "Anandamath" was banned by the British. It was unbanned by the Government of India only after independence.
The plot background was based on the devastating Bengal famine of 1770 under the British Raj and unsuccessful Sannyasi rebellion. Bankim Chandra Chatterjee imagined untrained Sannyasi soldiers fighting and beating the experienced English forces.
ஆனந்த மடம் நாவல் பக்கிம் சந்திரர் ஆங்கில அரசு தேவை என்று சொல்லுவதாக சொல்லுகிறார். 1857 க்குப் பிறகு ஆங்கிலேயர்களுடன் நவாப்புகள் கைகோர்ப்பதாக சொல்லுவது மூலம் யாரை எதிர்க்க வேண்டும் என்பதில் பக்கம் சந்திரர் ஆனந்த மடம் தெளிவாக சொல்லுகிறதா என்று தெரியவில்லை. 1770 ல் கதைக் களனை கொண்ட ஆனந்த மடம் ஆங்கிலேயருக்கு எதிராகவும், ஆளுகையிலிருந்த முஸ்லிம்களுக்கு எதிராகவும் போராடுவதன் அவசியம் சரி தானோ
மேலும் ஆங்கியே அன்ச பெருமையாக சொல்லியும் ஏன் அரசால் தடை செய்யப் பட்டது ?
ஆனந்த மடம் நூலை வாசித்தப் பிறகு தான் சரியான கருதுகோளிற்கு வர முடியும்.
மேலும் கதை மாந்தர்களின் மூலம் பாகிஸ்தானை விஞ்ஞானிகளுக்கான புகலிடமாகவும், பெண்களுக்கான முன்னேற்ற கண்ட சுதந்திர நாடாகவும், அனைத்து மதங்களை ஏற்று வாழும் ஒற்றுமை தேசமாகவும் காட்டப்படுவதுவும் இந்தியத் தேசம் அதற்கான தகுதியில் இல்லை என்ற விமர்சனத்தையும் முன் வைத்திருக்கிறது.
மேலும்
கமால் ராதாகிருஷ்ணனின் நூல் ஒன்றைப் பிரித்து வைத்துக்கொண்டான்.
("இந்திய தரிசனத்தில் எவரும் எவருக்கும் ஆணையிடுவதில்லை—'இதைக் கட்டாயம் செய்!' அல்லது 'இப்படி நீ செய்தாக வேண்டும்!'—இந்த வலுக்கட்டாயம் கிடையாது. இங்கு மனிதன் தன் கர்மாக்களுக்கு உரிமையுள்ள செயலாளி.” கமால் புத்தகத்தை ஜன்னல் வழியாக வெளியே வீசியெறிந்துவிட்டு, இருக்கையில் படுத்துக்கொண்டான். பஞ்சாபிலுள்ள ஸ்டேஷன்கள் கடந்து போயின—அம்பாலா, லூதியானா, ஜலந்தர்—சுவர்களில் உருதுவில் சினிமா விளம்பரங்கள் தென்பட்டன. பிளாட்பாரத்தில் துப்புரவான தரையில் சீக்கிய மாதர்களின் வண்ண வண்ண சல்வார்கள் விளக்கொளியில் பளிச்சிட்டன.)
இதில் இரண்டு விவரங்கள் என் மனதைக் காயப்படுத்தின.
ஒன்று சாதகிருஷ்ணனின் இந்தியத் தத்துவார்த்த நூல் தூக்கியெறியப் படுவது ஏன்?
இரண்டாவது
பிளாட்பாரத்தில் துப்புரவான தரையில் சீக்கிய மாதர்களின் வண்ண வண்ண சல்வார்கள் விளக்கொளியில் பளிச்சிட்டன. இதை எப்படி புரிந்து கொள்வது?
முதலாவது கதை மாந்தரின் கோபமாக புரிந்து கொள்வதா ?
இரண்டாவது புரியவில்லை.
(இந் நாவல் வெளிவந்த பிறகு பாகிஸ்தானில் அந்நாவலுக்கு ஏற்பட்ட எதிர்ப்பு எழுத்தாளரை மீண்டும் 1959ல் இந்தியாவிற்குள் குடியேற்றியது காலத்தின் கட்டாயம்).
1947 ல் மூன்றாக இந்தியத் தேசம் பிரிக்கப்பட்ட நாளிலிருந்து இன்றைய சமகாலத்தில் இந்தியா வைத் தவிர ஏனைய இரு தேசமும் மதவாதிகளின் பிடியினாலும் மதத்தின் பெயராலும் மாற்று இன மக்கள் ( இந்துக்கள் , பவுத்தர்கள்) தன்னின மக்களை ஒட்டு மொத்தமாக அழித்தொழித்ததே நிதர்சனமான வரலாறு.
எந்த மூலத்திலிருந்து இந்த நாவல் மொழிப்பெயர்க்கப்பட்டிருக்கிறது என்பது தெரியவில்லை. செளரி தமிழில் மொழிப்பெயர்த்துள்ளார். நாவலின் மொழிபெயர்ப்பு மிகக் கடுமையாைதாக இருக்கிறது. பல நேரங்களின் தொடர்பற்ற உரையாடல்களின் தொகுப்புகள் வாசிப்பில் மிகப் பெரியத் தொய்வை கொடுத்தாலும் இந்திய வரலாற்றை அறிய உதவும் ஆர்வலர்களுக்கு ஒரு முக்கியமான தொகுப்பே.
சமீபத்தில் வாசித்து முடித்த அக்னி நதி எனும் நாவலைப் பற்றிய நூல் விமர்சனத்தை தொடங்கும் முன் ஆசிரியர் பற்றிய சிறு சிறு குறிப்புகளோடு (விக்கிபிடீயா விலிருந்து எடுக்கப் பட்டத் தகவல்களுடன்) தொடங்குகிறேன்.
இதன் ஆசிரியர் குர்ரதுலைஜன் ஹைதர் 1927ல் உத்திர பிரதேசத்தில் அலி காரில் பிறந்து 1947 ல் இந்தியா பாகிஸ்தான் பிரிவினையின் போது பாகிஸ்தானுக்கு குடிபெயர்கிறார். 1959 ல் மீண்டும் இந்தியாவில் குடியேறுகிறார். 1967 ல் The Falling Leaves என்ற சிறுகதை தொகுப்பிற்காய் சாகித்ய அகாடெமி விருதைப் பெறுகிறார் .
வரலாற்றுப் புனைவு வகைமையை சேர்ந்த புதினம் என்பது மட்டுமே எனக்கு அதை வாசிப்பதற்கான உந்துதலாய் இருந்தது.
களம் புத்தர் காலத்தில் தொடங்கி இந்திய சுதந்திரம் வரை விரிந்து கொண்டே போகிறது. இதன் கதை நான்கு காலமாக பிரிக்கப்பட்டிருக்கிறது. ஒவ்வொரு காலத்திலும் தோன்றும் கதை மாந்தர்களுக்கான பெயர்கள் யாவும் ஒன்றாக இருப்பினும் அவர்கள் ஒன்றல்ல என்பதுவும் அவர்கள் யாவரும் அவர்களுக்கான தனித்தனி சிறப்பியல்பகளோடு பொருந்தி மறைந்து விடுவது கதையை வாசிக்கத் தூண்ட வைக்கும் புதுமை.
வரலாறு எனும் போதே அதன் ஒவ்வொரு துணுக்கும் நமக்குள் கேள்விகளையோ வேறு சில திறப்புகளையோ புதிய வாசிப்பிற்கோ, தேடுதலுக்கோ உந்தப் படலாம் அந்த வேலையை இப் புதினம் சரியாகவே செய்திருக்கிறது.
இந்திய வரலாற்றில் புரிதல் உள்ளவர்களுக்கு இக் கதைக் களம் புரிதலைக் கொடுக்கும்.
புத்தர், மெளரியர், பிறகு சுல்தான்கள், முகலாயர்கள் எனப் போகும் இந்தியாவில் அரசியல் களம் 18ம் நூற்றாண்டில் கிழக்கிந்திய கம்பனி வசம் வீழ மெல்ல மெல்ல மன்னர்கள் மறைந்து 19ம் நூற்றாண்டின் பாதியில் இங்கிலாந்து அரசுடன் நேரடியாக இணைக்கப்படுகிறது.
மன்னராட்சி ஒழிந்தாலும், ஜமீன்தாரி முறையும், நிலப்பிரபுத்துவ சமூகம் மேலெழுந்து ஆங்கில அரசுடன் இணைந்து தன் மக்களின் மீதான ஒடுக்கு முறையையும் சொல்கிறது.
எழுதி முடித்தவுடன் எழுத்தாளன் மறைந்து விட எஞ்சி நிற்பது எழுத்துக்களால் ஆன நிகழ்வே.
வரலாற்று நிகழ்வுகளுக்கு இது பொருந்துமா ?
இது அரசியல் மற்றும் மதங்களை பகுத்தறிவு சார்ந்து கேள்விக்குட்படுத்துகிறதா ?
கதையினுள்
(ஆன்மீகப் பித்துகளான கிழவிகள் தங்கள் இல்லங்களுக்குச்சென்று, பழைய பாத்திரங்களைத் தேய்ப்பார்கள். காஸ் அடுப்புக்கு ஆகும் செலவை எண்ணிக் கவலைப்படுவார்கள். அப்போது அவர்களுடைய லார்டு கிருஷ்ணா எவ்வாறு உதவுவார்? )
(மாலைத் தொழுகைக்கான அழைப்பு 'அஜான்' கூவல் எழுந்ததும், சம்பா தன்னையறியாமலேயே துப்பட்டாவை இழுத்து முகத்தை மூடிக்கொண்டாள்)
பகுத்தறிவில் கேலிச் செய்யும் சம்பா அஹமத் கால வோட்டக் கடைசியில் தொழுகையின் போது தன்னை மதத்திற்குள் இழுப்பது ஆசிரியரின் கட்டாயமா அல்லது கதை மாந்தரின் பகுத்தறிவில் ஏற்பட்ட நகை முரணா?
வங்காளத்தில்தான் முதல்முதலாக இந்து மத மறுமலர்ச்சி தொடங்கியது. இதற்கொரு சான்று பங்கிம் சந்திர சட்டர்ஜி, 1770இல் ஏற்பட்ட கொடிய பஞ்சம், சன்னியாசிகளின் புரட்சி—இவற்றை நிலைக்களனாகக் கொண்டு பிரபலமான புதினமான 'ஆனந்த மடம்' எழுதினார். இந்த நாவல் முஸல்மான்களுக்கு எதிராக எழுதப்பட்டது. முஸல்மான்களை அடியோடு அழித்துவிட வேண்டுமென்பது இந்த நாவலின் அறிவுரை.
'ஆனந்த மடம்' நாவலில் சன்னியாசிகள் புரட்சிக்கோலம் பூண்டு முஸல்மான்களோடு போராடுவதுடன், ஆங்கிலேயருடனும் போராடுகிறார்கள். இது குறித்து, பங்கிம் சந்திரர் எழுதியிருக்கிறார்: "ஆங்கிலேயர்கள் இந்தியாவை வாழ்விப்பதற்காக வந்தவர்கள். இந்த உண்மையை புரட்சிக்கார சன்னியாசிகள் உணரவில்லை.” ஆங்கிலேயர் ஆட்சியாலும் ஆங்கில மொழியாலும்தான் இந்துக்களுக்கு விடிவு காலம், முன்னேற்றம், மேன்மையெல்லாம் கிட்டுமென்பது நாவலாசிரியர் கருத்து.
மேலும் அக்னி நதியின் இன்னொரு இடத்தில்
"மக்களிடையே புதிய தீவிர உத்வேகம் எழுந்து பரவியது. நவாப் அலி ரஜா பஹதூரின் மாப்பிள்ளை தாலூக்காதார் நகீ ரஜா பஹதூர் வெளிப்படையாக தேசிய இயக்கங்களில் பங்கு கொள்ளாதவர். அவத் பிராந்தியத்தைச் சேர்ந்த தாலுகாதார்கள் 1857இல் அவத் ராஜ்யத்தைப் பாதுகாக்க, ஒன்று கூடி ஆங்கிலேயர்களை எதிர்த்துப் போராடியிருக்கிறார்கள். ஆனால், பிறகு ஆங்கிலேயர் கை மேலோங்கியதும், அவர்களுக்குத் தாசர்களாகிவிட்டார்கள். ஆங்கிலேயர்களுடன் ஒத்துப்போனால்தான் ஏழைப் பாட்டாளிகளான குடியானவர்களை ஒடுக்கி வைத்திருக்க முடியும். இது லக்னோவில் 'நவாப்' சர்ஹார் கோர்ட் கலெக்டராக இருந்த காலம். அவன் தாலூக்காதாரர்களின் அந்தஸ்த்தை ஏற்றுக்கொண்டான். லக்னோ பிராந்திய தாலூகாதாரர்களுக்கு அது பொற்காலம்; ஒரு பக்கம் தேச சுதந்திரத்திற்கான இயக்கம் புயல்போல் வளர்ந்துகொண்டிருந்தது. மறுபக்கம் பழைய சுல்தான் காலத்து எதேச்சாதிகாரப் போக்கிற்குப் புத்துணர்வு ஊட்டப்பட்டு வந்தது.
விக்கிபீடியா மூலம் :
ஆனந்த மடம் நூல் வெளிவரும் ஆண்டு 1882
The novel "Anandamath" was banned by the British. It was unbanned by the Government of India only after independence.
The plot background was based on the devastating Bengal famine of 1770 under the British Raj and unsuccessful Sannyasi rebellion. Bankim Chandra Chatterjee imagined untrained Sannyasi soldiers fighting and beating the experienced English forces.
ஆனந்த மடம் நாவல் பக்கிம் சந்திரர் ஆங்கில அரசு தேவை என்று சொல்லுவதாக சொல்லுகிறார். 1857 க்குப் பிறகு ஆங்கிலேயர்களுடன் நவாப்புகள் கைகோர்ப்பதாக சொல்லுவது மூலம் யாரை எதிர்க்க வேண்டும் என்பதில் பக்கம் சந்திரர் ஆனந்த மடம் தெளிவாக சொல்லுகிறதா என்று தெரியவில்லை. 1770 ல் கதைக் களனை கொண்ட ஆனந்த மடம் ஆங்கிலேயருக்கு எதிராகவும், ஆளுகையிலிருந்த முஸ்லிம்களுக்கு எதிராகவும் போராடுவதன் அவசியம் சரி தானோ
மேலும் ஆங்கியே அன்ச பெருமையாக சொல்லியும் ஏன் அரசால் தடை செய்யப் பட்டது ?
ஆனந்த மடம் நூலை வாசித்தப் பிறகு தான் சரியான கருதுகோளிற்கு வர முடியும்.
மேலும் கதை மாந்தர்களின் மூலம் பாகிஸ்தானை விஞ்ஞானிகளுக்கான புகலிடமாகவும், பெண்களுக்கான முன்னேற்ற கண்ட சுதந்திர நாடாகவும், அனைத்து மதங்களை ஏற்று வாழும் ஒற்றுமை தேசமாகவும் காட்டப்படுவதுவும் இந்தியத் தேசம் அதற்கான தகுதியில் இல்லை என்ற விமர்சனத்தையும் முன் வைத்திருக்கிறது.
மேலும்
கமால் ராதாகிருஷ்ணனின் நூல் ஒன்றைப் பிரித்து வைத்துக்கொண்டான்.
("இந்திய தரிசனத்தில் எவரும் எவருக்கும் ஆணையிடுவதில்லை—'இதைக் கட்டாயம் செய்!' அல்லது 'இப்படி நீ செய்தாக வேண்டும்!'—இந்த வலுக்கட்டாயம் கிடையாது. இங்கு மனிதன் தன் கர்மாக்களுக்கு உரிமையுள்ள செயலாளி.” கமால் புத்தகத்தை ஜன்னல் வழியாக வெளியே வீசியெறிந்துவிட்டு, இருக்கையில் படுத்துக்கொண்டான். பஞ்சாபிலுள்ள ஸ்டேஷன்கள் கடந்து போயின—அம்பாலா, லூதியானா, ஜலந்தர்—சுவர்களில் உருதுவில் சினிமா விளம்பரங்கள் தென்பட்டன. பிளாட்பாரத்தில் துப்புரவான தரையில் சீக்கிய மாதர்களின் வண்ண வண்ண சல்வார்கள் விளக்கொளியில் பளிச்சிட்டன.)
இதில் இரண்டு விவரங்கள் என் மனதைக் காயப்படுத்தின.
ஒன்று சாதகிருஷ்ணனின் இந்தியத் தத்துவார்த்த நூல் தூக்கியெறியப் படுவது ஏன்?
இரண்டாவது
பிளாட்பாரத்தில் துப்புரவான தரையில் சீக்கிய மாதர்களின் வண்ண வண்ண சல்வார்கள் விளக்கொளியில் பளிச்சிட்டன. இதை எப்படி புரிந்து கொள்வது?
முதலாவது கதை மாந்தரின் கோபமாக புரிந்து கொள்வதா ?
இரண்டாவது புரியவில்லை.
(இந் நாவல் வெளிவந்த பிறகு பாகிஸ்தானில் அந்நாவலுக்கு ஏற்பட்ட எதிர்ப்பு எழுத்தாளரை மீண்டும் 1959ல் இந்தியாவிற்குள் குடியேற்றியது காலத்தின் கட்டாயம்).
1947 ல் மூன்றாக இந்தியத் தேசம் பிரிக்கப்பட்ட நாளிலிருந்து இன்றைய சமகாலத்தில் இந்தியா வைத் தவிர ஏனைய இரு தேசமும் மதவாதிகளின் பிடியினாலும் மதத்தின் பெயராலும் மாற்று இன மக்கள் ( இந்துக்கள் , பவுத்தர்கள்) தன்னின மக்களை ஒட்டு மொத்தமாக அழித்தொழித்ததே நிதர்சனமான வரலாறு.
எந்த மூலத்திலிருந்து இந்த நாவல் மொழிப்பெயர்க்கப்பட்டிருக்கிறது என்பது தெரியவில்லை. செளரி தமிழில் மொழிப்பெயர்த்துள்ளார். நாவலின் மொழிபெயர்ப்பு மிகக் கடுமையாைதாக இருக்கிறது. பல நேரங்களின் தொடர்பற்ற உரையாடல்களின் தொகுப்புகள் வாசிப்பில் மிகப் பெரியத் தொய்வை கொடுத்தாலும் இந்திய வரலாற்றை அறிய உதவும் ஆர்வலர்களுக்கு ஒரு முக்கியமான தொகுப்பே.
April 21, 2009
The characters are weaker than I expected. The historical breadth of this novel is so large that four hundred pages is really not enough to do justice to the generations that populate it: history overwhelms the psychology of the main characters. They come across as players on a vast stage, not as people. Although motivations and imagination are explored throughout, I never found much satisfaction in them.
On this account I give the benefit of the doubt to the author, given the novel's reputation and the fact that this translation is often sturdy rather than beautiful. The editing could have been better, too; often passages seem to jump abruptly in time and place, not because of any idiosyncrasies in the writing, but because the paragraphs should have been separated by a '* * *' type of thing in places.
Despite these flaws, and I do wish this work is retranslated in the future, history, aesthetics, and the metaphysics of loss run deep in River of Fire.
The Urdu of the title is rooted both in Sanskrit (Aag) and in Persian (Darya), and refers to the Wasteland via the Fire Sermon. This is telling: River of Fire is an enlarging work of literary and cultural history, but more importantly, it is a painful and haunting lyric on dislocation, impermanence and memory.
On this account I give the benefit of the doubt to the author, given the novel's reputation and the fact that this translation is often sturdy rather than beautiful. The editing could have been better, too; often passages seem to jump abruptly in time and place, not because of any idiosyncrasies in the writing, but because the paragraphs should have been separated by a '* * *' type of thing in places.
Despite these flaws, and I do wish this work is retranslated in the future, history, aesthetics, and the metaphysics of loss run deep in River of Fire.
The Urdu of the title is rooted both in Sanskrit (Aag) and in Persian (Darya), and refers to the Wasteland via the Fire Sermon. This is telling: River of Fire is an enlarging work of literary and cultural history, but more importantly, it is a painful and haunting lyric on dislocation, impermanence and memory.
Want to read
January 17, 2011Ghaas ki bheeni khushbu,pathron ki khunki aur mitti ki quwat us ne apney talwon ke neeche mehsoos ki. us ne bazoo phela kar hawa ko chua aur aahista aahista dohrana shorow kia: Zameen! teri paharian,barfani pahar aur jangal muskura rahey hain. main teri satah par khara hoon,main magloob nahin hua,mujhe koi gazand nahin puhuncha mujhe zakham nahin lagey. main salim hoon,mujhe koi khatam nahin kar saka
(Aag ka dariya se iqtibas)
(Aag ka dariya se iqtibas)
February 28, 2016
This is a philosophically enriched novel with few original and extraordinary point of view on the Partition of India and Israel's ideology. It raises many fundamental questions as well. The only minus point of this book is its 'difficulty'. It took a lot of patience and effort to continue reading this piece of Urdu literature. Those who want to read this extra ordinary novel must keep in mind that this novel is going to require a re-read.
February 6, 2018
Starts from the ancient times and ends after the partition of sub-continent. This novel revolves around the basic ideals of humanity which are peace and identity. Characters are looking for peace and a recognition of their individual identity. Unfortunately, as the writer narrates and can be observed, after the partition, these ideals are badly hurt.
August 9, 2011
One of the most beautiful books I've ever read. Hope I can some day gather the strength to read it in Urdu.
March 23, 2023
I can't read after 40% finished... எவ்வளவோ புத்தகம் இருக்கிறது எதுக்கு பிடிக்காத புத்தகத்தை படித்து கொண்டு. விட்டு விட்டேன்..
June 28, 2025
آگ کا دریا (ناول)
قرۃالعین حیدر کا شہرہ آفاق ناول۔ اس ناول کو اردو ادب کے چند بہترین ناولوں میں شمار کیا جاتا ہے۔ ۔
اردومیں اس ڈھب کا یہ پہلا ناول تھا جس کی کہانی کا کینوس ڈھائی ہزار سال پہ پھیلا ہوا ہو ۔۔کہانی شروع ہوتی ہے چندر گپت گپت اور گوتم بدھ کے زمانوں سے اور بیسویں صدی کے نصف پر آکر رُکتی ہے ۔۔۔ لیکن اس تاثر کے ساتھ کہ بہتے دریا کی لہروں کے سمان یہ کتھا ابھی چلتی رہے گی۔ ۔۔ شاید ابد تک۔ ۔۔ اور کائنات کے مکمل خاتمے کے بعد اگر دھرتی اور آکاش دوبارہ جنم لیتے ہیں تو یہ کتھا بھی پھر سے شروع ہو جائے گی۔ ۔۔
گوتم نیلمبر کی یہ داستان چار ادوار میں تقسیم کی جاسکتی ہے : پہلا دور چندر گُپت موریا کے زمانے سے تعلق رکھتا ہے (چار سو برس قبلِ مسیح)۔ دوسرا دور لودھی سلطنت کے خاتمے اور مغلوں کی آمد سے شروع ہوتا ہے جبکہ تیسرے دور کا تعلق ایسٹ انڈیا کمپنی کے زمانے سے ہے۔ ناول کا چوتھا اور آخری دور 1930 کے لگ بھگ شروع ہوتا ہے اور 1950 تک چلتا ہے۔
پہلے تین ادوار کا تعلق مُصنفہ کے نظریہ تہذیب اور تاریخی بنیادوں سے ہے۔ اِس نظریاتی حصّے کی اہمیت اپنی جگہ لیکن کتاب کا آخری اور چوتھا دور بذاتِ خود ایک مکمل ناول ہے جو بیسویں صدی کے نصف اوّل میں ابھرنے والی سیاسی اور سماجی تحریکوں کی روشنی میں کرداروں کی زندگی کا جائزہ لیتا ہوا ہمیں تقسیمِ ہند (1947) کے مرحلے تک لے آتا ہے۔
۔
۔
اپنی زبان اور بنت کی وجہ سے یہ ناول شروع میں مشکل لگتا ہے لیکن ایک بار جب اس کی نبض آپ کے ہاتھ آ جاتی ہے تو آپ اس کے سحر میں کھو کی رہ جاتے ہیں
قرۃالعین حیدر کا شہرہ آفاق ناول۔ اس ناول کو اردو ادب کے چند بہترین ناولوں میں شمار کیا جاتا ہے۔ ۔
اردومیں اس ڈھب کا یہ پہلا ناول تھا جس کی کہانی کا کینوس ڈھائی ہزار سال پہ پھیلا ہوا ہو ۔۔کہانی شروع ہوتی ہے چندر گپت گپت اور گوتم بدھ کے زمانوں سے اور بیسویں صدی کے نصف پر آکر رُکتی ہے ۔۔۔ لیکن اس تاثر کے ساتھ کہ بہتے دریا کی لہروں کے سمان یہ کتھا ابھی چلتی رہے گی۔ ۔۔ شاید ابد تک۔ ۔۔ اور کائنات کے مکمل خاتمے کے بعد اگر دھرتی اور آکاش دوبارہ جنم لیتے ہیں تو یہ کتھا بھی پھر سے شروع ہو جائے گی۔ ۔۔
گوتم نیلمبر کی یہ داستان چار ادوار میں تقسیم کی جاسکتی ہے : پہلا دور چندر گُپت موریا کے زمانے سے تعلق رکھتا ہے (چار سو برس قبلِ مسیح)۔ دوسرا دور لودھی سلطنت کے خاتمے اور مغلوں کی آمد سے شروع ہوتا ہے جبکہ تیسرے دور کا تعلق ایسٹ انڈیا کمپنی کے زمانے سے ہے۔ ناول کا چوتھا اور آخری دور 1930 کے لگ بھگ شروع ہوتا ہے اور 1950 تک چلتا ہے۔
پہلے تین ادوار کا تعلق مُصنفہ کے نظریہ تہذیب اور تاریخی بنیادوں سے ہے۔ اِس نظریاتی حصّے کی اہمیت اپنی جگہ لیکن کتاب کا آخری اور چوتھا دور بذاتِ خود ایک مکمل ناول ہے جو بیسویں صدی کے نصف اوّل میں ابھرنے والی سیاسی اور سماجی تحریکوں کی روشنی میں کرداروں کی زندگی کا جائزہ لیتا ہوا ہمیں تقسیمِ ہند (1947) کے مرحلے تک لے آتا ہے۔
۔
۔
اپنی زبان اور بنت کی وجہ سے یہ ناول شروع میں مشکل لگتا ہے لیکن ایک بار جب اس کی نبض آپ کے ہاتھ آ جاتی ہے تو آپ اس کے سحر میں کھو کی رہ جاتے ہیں
September 10, 2021
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recommended for anyone who can bear Hindu mythology, hence Sanskrit words.
This novel is a lament of lost wisdom of subcontinent or the eastern wisdom . Novel starts with a journey of a disciple in search of nirvana . Through his discussion with another Tyagi, about existential questions and pursuit of truth and happiness , Ms. Haider tried to showed us a glimpse of level of social consciousness even if limited to the elite class . Stories in different eras have the almost the same characters and if we summaries them they generally fall in three categories Natives; Invaders, who stayed there and contributed to its rich culture; Invaders, who enslaved them , looted its resources and demoralized their cultures and traditions and then left. .
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Throughout this book her discussions laden with Hindu mythology and her references of Kabir das couplets shows her grip on folk literature and intellectual heritage. In last part focused on the partition era showed the confusions ,hope and insecurities of people about the new state. Like most she couldn’t comprehend the idea that an inclusive land like subcontinent where people belonging to different ideologies coexisted for centuries, welcomed myriad of ideologies ,molded them and become integrated in greater eastern wisdom , was divided in brink of eye by arguing for a nation based on religion. .
recommended for anyone who can bear Hindu mythology, hence Sanskrit words.
September 27, 2019
I tried as hard as I could to get into the book knowing how highly it was rated and I kept waiting for it to get better, but I couldn’t make it past the first 100 pages. There is no character or plot depth whatsoever, and the book reads like a textbook that marches through history without the benefit of any explanation. The political, religious, and historical references are never ending and hard to follow unless you are an expert in Urdu culture. The author chooses to leave many words untranslated and to use a plethora of specific terms that are not commonly known, making the book even harder to follow. In order to understand the book, I found myself googling words like qalandar, jaital, fakir, atman, serais, and chowk every other sentence. I would not recommend this to anyone unless they were highly familiar with and interested in Urdu culture.
August 5, 2019
‘சண்டைகள் இரு வேறுபட்ட மதங்களுக்கிடையே நடைபெறுவதில்லை. அரசியல் சக்திகளுக்குள் தான் நிகழ்கின்றன’
‘குர் அதுல் ஐன் ஹைதர்’ எழுதிய ‘அக்னி நதி’ நாவலிலிருந்து தமிழில் ‘சௌரி’.
ஒரு ஆற்றில் இரண்டு புறக் கரைகளிலும் இரண்டு படித்துறைகள் உள்ளன. அதன் நடுவே காலம் என்கிற ஆறு ஓடிக்கொண்டிருக்கிறது. ஒரு படித்துறை யதார்த்த வாழ்க்கை அதன் மறுகரை லட்சிய வாழ்க்கை. யதார்த்த வாழ்க்கையிலிருந்து லட்சிய வாழ்வை நோக்கி போகும் மனிதர்களின் கதை.
இதில் காலம் எவ்வாறு அந்த மனிதர்களைஅலைக்கழிக்கிறது, எவ்வாறு தன் போக்கில் இழுத்துச் செல்கிறது. எவ்வாறு அதில் அவர்கள் மூழ்கிப் போகிறார்கள் என்பதனைப் பற்றி பேசும் நாவல்.
‘குர் அதுல் ஐன் ஹைதர்’ எழுதிய ‘அக்னி நதி’ நாவலிலிருந்து தமிழில் ‘சௌரி’.
ஒரு ஆற்றில் இரண்டு புறக் கரைகளிலும் இரண்டு படித்துறைகள் உள்ளன. அதன் நடுவே காலம் என்கிற ஆறு ஓடிக்கொண்டிருக்கிறது. ஒரு படித்துறை யதார்த்த வாழ்க்கை அதன் மறுகரை லட்சிய வாழ்க்கை. யதார்த்த வாழ்க்கையிலிருந்து லட்சிய வாழ்வை நோக்கி போகும் மனிதர்களின் கதை.
இதில் காலம் எவ்வாறு அந்த மனிதர்களைஅலைக்கழிக்கிறது, எவ்வாறு தன் போக்கில் இழுத்துச் செல்கிறது. எவ்வாறு அதில் அவர்கள் மூழ்கிப் போகிறார்கள் என்பதனைப் பற்றி பேசும் நாவல்.
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