Baata’n Mulaqata’n
By Mustansar Hussain Tarar
Sang-e-Meel
ISBN: 978-969-35-3618-8
206pp.

Not only has Mustansar Hussain Tarar explored various destinations around the globe, he has also delved into the intricacies of human nature. In a manner akin to exploring a new city or country, Tarar navigates through individuals as well, taking note of their unique qualities and experiences. His ability to journey among humans is a testament to his inquisitiveness and keen perception skills.

In Baata’n Mulaqata’n, Tarar takes us on a journey through the lives of some of Pakistan’s most renowned, cultural and literary figures — the likes of Sadequain, Manto, Abdullah Hussain, Intizar Hussain and Madam Noor Jahan.

These individuals represent Pakistan as a dignified, sophisticated and culturally rich society. Throughout the book, the author maintains a nostalgic tone of narration, reminiscent of an old monk reciting his learned mantras. His book is a treasure trove of encounters and anecdotes of other contemporary literary figures, making it a fascinating read for Pakistani literature enthusiasts. One of the most captivating aspects of the book is the author’s firsthand accounts and encounters with these legendary figures.

In 1973, the release of the second edition of his book Niklay Teri Talash Mein, brought up a new challenge for the author. He wanted the cover page of his book to be as captivating as the story within its pages. It was then that he heard about the legendary artist Sadequain, who was in Lahore at the time, painting the ceilings of the Lahore Museum. With great enthusiasm and courage, Tarar visited Sadequain to request him to create the cover of his book.

Mustansar Hussain Tarar’s new book delves into the intricacies of human nature as he shares his personal experiences with some of his well-known friends who form part of Pakistan’s cultural heritage

When Tarar expressed his request to Sadequain, he was met with a response that may have seemed discouraging at first. Sadequain told Tarar that he got many people asking for the same thing. However, Sadequain also stated that, if Tarar were truly serious about his request, he should continue visiting him.

This response may have seemed daunting to some, but it speaks volumes about Sadequain’s dedication to his craft. Finally, Sadequain’s mischievous smile turned into a genuine one as he agreed to draw not only the cover page but also illustrations for every chapter of the book, including a portrait of Tarar. Tarar’s unwavering dedication and patience had won him over. And the result was a beautifully crafted cover page and illustrations that perfectly captured the essence of Tarar’s book.

This chapter may be titled ‘Tarar and Sadequain’s Creative Collaboration’ but it is more than just a simple tale of how a writer and an artist work together. It is a rollercoaster ride of suspense, comedy and drama that will leave readers on the edge of their seats. As Tarar and Sadequain worked on creating illustrations for all the 24 chapters, a cover and a portrait for Tarar’s book, their journey was filled with unexpected twists and turns that will leave readers hooked until the very end.

As Sadequain tests Tarar’s wit and patience, their relationship is put to the test. There are moments when Sadequain’s remarks about his past successes in the world, including painting illustrations for the French novelist and Nobel laureate Albert Camus’ novel The Stranger, and how he had been “brought so low” as to paint for Tarar’s book, left Tarar feeling offended. It led to heated arguments between the two, but their friendship always managed to prevail.

But the real drama began the day Tarar went to Sadequain to get the final painting for the cover page. To his horror, he discovered that Sadequain had gifted the painting to a lady friend of his. This turn of events, although based on true events, reads like a piece of fiction — an epic tale of life, passion, patience and dignity.

As readers immerse themselves in this thrilling story, they will find themselves transported into a world where creativity and egos collide. They will witness the ups and downs of a creative collaboration that was as tempestuous as it was inspiring. And they will come to understand the true meaning of perseverance and dedication, as Tarar and Sadequain’s journey unfolds.

When we develop a strong bond with someone, we may forget many of their characteristics, behaviour, flaws and emotions. Being with them becomes second nature to us. Therefore, when they are no longer around, there is a deep void. At times, people may encourage us to share our thoughts about the departed individual, but it can be quite challenging, since they were just who they were and now they are gone. I strongly believe that Tarar shares similar sentiments towards novelist Abdullah Hussain.

In three chapters, Tarar tries to pay tribute to Abdullah Hussain, while accepting his own failure to do so. In Tarar’s evaluation, Abdullah Hussain was a man whose personality was constantly evolving. It was impossible to put it into words. He was more than just reckless, careless and rough, as these words only scratch the surface of his complex character. He was a true friend to his friends and a dreamer, who travelled through both mirages and mishaps. At times, he may have been seen as unreliable, but there were also moments where he displayed great reliability.

Tarar has not only praised but skilfully defended these literary giants against any criticism or accusation they may have faced. He presents a compelling argument in their favour, painting them as not just brilliant artists, but also as decent and cultured individuals.

For example, he also defends novelist Intizar Hussain, who was often accused of being a victim of nostalgia. Many have criticised him for being detached from the present and getting entangled in the fabric of old stories and anecdotes. However, Tarar argues that some of the greatest literature is born from the womb of nostalgia.

Through his writing, Intizar Hussain has explored the complexities of human emotions and the bittersweet nature of nostalgia. Therefore, despite the accusations, it can be said that Intizar Hussain’s nostalgia was the driving force behind his beautifully crafted literary works.

The other chapters in the book are not just simple retelling of events, but rather they contain descriptions of literary giants such as Saadat Hasan Manto and actor and legendary singer Noor Jahan. Tarar shares his brief yet lively encounters with Madam Noor Jahan, where she would always make a joke about his name’s correct spelling. It became a recurring joke between them.

As for Manto, Tarar laments the fact that the government did not save Manto’s Lahore residence in Lakshmi Mansion, and goes on to describe Manto’s humble, responsible and cheerful personality in great detail. His tone is one of admiration and sadness, as he reminisces about the brilliance of these two individuals and the impact they had on his own and every other Pakistani life.

The book is a must-read for anyone interested in Urdu literature and Pakistani culture. It not only provides a deeper understanding of the lives and works of these influential figures but also serves as a testament to the rich cultural heritage of Pakistan. 

The reviewer writes short fiction in Urdu and is currently working on her first novel

Published in Dawn, Books & Authors, March 16th, 2025