Ghamey Jan Khattak, popularly known as Pareshan Khattak, was one among Pakhtoon university wits who introduced new literary trends in Pushto literature. His poetry enjoys three distinct colours — romanticism, historiography and patriotism, but his romantic mood is all pervasive.

He entered the Pushto literary scene as a poet of refined romantic thoughts with his maiden volume of poetry Tarranke (Blisters), followed by Hagha Dwah Malaley Stargey (Those two innocent eyes). Surprisingly enough, he soon switched over to more serious subjects like ethnology, linguistics, research, literary criticism and historiography.

Born on December 10, 1932 in a village called Mira Khankhel in district Karak, he taught at a government school while doing his Masters degree in Pushto literature and history from the University of Peshawar.

He later went on to become the director at a Pushto Academy and drew the attention of Pushto literary and scholastic circles due to his scholarly approach, literary taste and administrative skill. Having read extensively and widely travelled, he exhibited rare talents on many fronts.

A fine orator and an inspiring teacher, Pareshan Khattak mesmerised audiences, especially his students. Contrary to the prevailing trend in Pushto, he used both ghazal and nazm for giving vent to his deep sensibilities. Some of his poems lack free flights of fancy but still the admiration for beauty finds remarkable expression in his ghazals.

Nostalgia comes through in his love poetry which stirs up one's emotions. Pictorial quality is one more thing that distinguishes him from his contemporaries. His imagination sometimes borders on abstractionism as one can feel
in his nazm titled Da Taswar Malgarey (An imaginative companion).

His book, written in Urdu, about the origin of Pakhtoons titled Pakhtoon Kaun did not create ripples among critics but it does speak volumes of his deep understanding of history.
Many of his poems composed on historic places depict his historiography skill in verse form; it was a talent that made the most prosaic and dull subject an interesting one.

Darra-i-Khyber and many others are ample proof of his skilful manipulation of the subject which otherwise a poet would often prefer to avoid. But Khattak deliberately creates a space in the reader's heart for the inevitable.

Patriotism is another quality that intrudes his verses, making us fall in love with our land. In his famous poem Watan he says, 'to me every hut of my homeland is like a palace/ for me thorn-filled bushes are sweet-smelling flowers/ like mother you are dear to me/ I shall sacrifice my life for the sake of your safety and glory.'

He had vast experience in world issues as he had travelled to Europe and many other countries in connection with seminars and symposia. There he delivered more than a 1,000 lectures and penned down several thought-provoking research papers on various literary and social issues.

He never lost sight of the problems faced by his people back home, versifying his observations which lent a genuine feel to his poetic vision. His poems 'London, Paris and Washington' and Da Saudi Arab Zamka (Land of Saudi Arabia) speaks of detachment from one's land, drawing odd comparison between being at total loss and being at ease. His words do not depress us because his refined lines impact our souls very differently.

Translating the poetry of Khushhal Khan Khattak into eight volumes of Urdu prose is considered one of his greatest literary achievements, while a book, written in Urdu, about the customs and traditions of the Frontier tribesmen is reflective of his expertise as a researcher.

Pareshan Khattak also compiled a comprehensive catalogue of Pushto literature. He passed away due to cardiac arrest on April 16 and was laid to rest in Peshawar on April 17.

— Sher Alam Shinwari