Was Manto Pakistani?
By Dr Rauf Parekh
Saadat Hasan Manto, one of Urdu’s greatest short story writers – if not the greatest – became a literary colossus, a legend in his own lifetime. Those who rejected him on grounds either moral or ideological (and that included writers and intellectuals with progressive leanings), watched him grow in stature after his death.
His fiftieth death anniversary was commemorated last January and despite all the sinister ideas propagated against him through these years, Manto was remembered as a great writer of our language and a good many books were published on both sides of the border in the run-up to the occasion. To coincide with his fiftieth death anniversary, the Pakistan Academy of Letters has published the book Saadat Hasan Manto: Shakhsiyat Aur Fan in its series ‘Pakistan Adab Ke Meamaar’ on the founders of Pakistani literature.
Written by Mubeen Mirza, a poet, short story writer, critic and editor of Karachi-based literary journal ‘Mukalma’, the book not only assesses Manto’s literary merits but also thrashes out the various popular albeit incorrect beliefs about Manto, his life and his art. The author has sincerely tried to see Manto and his works as they were and not as some critics would have us believe. Some Manto-philes, including bigwigs such as Hasan Askari, Mumtaz Shirin and Waris Alvi, when overwhelmed by Manto’s greatness, tend to be less objective and emotionalism gets the better of them. Mubeen Mirza is a great admirer of Manto but does not get carried away and coolly announces that although Manto is Urdu’s greatest practitioner of the craft, yet not every one of his short stories is a masterpiece and he has penned, alongside great stories, some mediocre and even lesser stories.
Aside from the objectivity and the emotional detachment of its author with which it casts a fresh look at Manto, the book carries a very engaging debate as to what was Manto’s nationality.
The question of Manto’s nationality was raised in India against the backdrop of his political commitment and ideology. Mubeen Mirza has skilfully captured the essence of the debate and tells the reader why the question was raised and how Prof Fateh Muhammad’s new interpretation of Manto’s famous short story ‘Toba Tek Singh’ holds the answer to the question.
Some time ago, India’s Sahitya Academy published an anthology of Pakistani short stories by Intezar Hussain and Asif Farrukhi, titled Pakistani Kahaniyan. It began with Manto’s short story ‘Khol Do’. According to Mubeen Mirza, Indian writer Musharraf Alam Zauqi objected to the inclusion of Manto’s story in the anthology as Zauqi thought that Manto was not a Pakistani writer. According to Zauqi, since Manto lived merely the last seven years of his life in Pakistan and since he was against Partition (as is evident in his story ‘Toba Tek Singh’), he could not be stamped Pakistani. Khem Chand, another Indian, supported Zauqi’s argument and in doing so attacked Pakistan, the two-nation theory and Islam, criticising even Manto for opting to migrate to Pakistan. In this book, Mubeen Mirza has taken Zauqi to task and proved him wrong. Mubeen Mirza is of the opinion that Manto migrated to Pakistan of his own free will and his sketches such as ‘Mera Sahib’ (which portrays Quaid-i-Azam quite emotionally and with reverence), ‘Murli Ki Dhun’ and ‘Ashok Kumar’, as well as short stories such as ‘Khol Do’ and ‘Toba Tek Singh’ reveal Manto’s inner self; and that it was his innate mental state that forced him to migrate to Pakistan.
Mirza Sahib has very rightly remarked that one can interpret fiction any way one likes but in sketches and articles Manto has expressed his thoughts on his migration in unambiguous terms. To drive his point home, Mirza refers to the arguments of Mohammad Shahid Hameed and Amjad Tufail. He especially quotes Prof Fateh Muhammad Malik’s new book Saadat Hasan Manto: Aik Nai Taabeer that interprets Manto and his ideological stances quite differently. According to Prof Malik, the theme of ‘Toba Tek Singh’ is neither partition nor the ensuing massacre but the loss of memory and the death of imagination.
Perhaps when people such as Zauqi hear about the publication of a book on Manto in the series on the greats of Pakistani literature, they question Manto’s inclusion. But while one agrees to Mubeen Mirza’s argument that Manto was an ideologically-committed Pakistani to the core, it may be added that the question of Manto’s nationality simply makes no difference because a great writer such as him is a shared and treasured legacy of all humanity, just like any other great writer of any other language.

