THE evolution of Sindhi literature has seen many phases. Assimilation with different influences has been the main source of its development, which sometimes has been both tragic and encouraging. Tragic in the sense that political and historical change cast deep marks over its character, while encouraging in that it has shown receptiveness to every emerging phenomenon. But as has been the case in all progressive languages, Sindhi literature has shown great strides.
In the recent years, the post-1988 period is punctuated by a series of developments hitherto unknown to Sindhi literature. Like all the years to follow, it has seen two varying effects: the restoration of democracy after 11 years, and the fallout of a political commotion that led to unfortunate violence resulting in the loss of life and property, displacement of population and emergence of new realities. This was both avoidable and thus deplorable. There were furious people who, ignorant of facts, vented their anger through violence. There were innocent people who had no idea why they were suffering. The ill-tamed preaching gave birth to disillusion, some gory actions only creating a wedge between communities.
This was an ignoble phase erasing a bright past. Even during the time of partition, when the whole subcontinent was in flames, Sindh had remained peaceful. No one had the vision of how sanity could prevail upon this kind of madness. The calls for peace were ignored with contempt. All sincerity, human values and social justification stood sacrificed at the altar of vagaries. Literature and fine arts were affected the most.
As always, this era too is marked by intellectual pursuits in both prose and poetry. While the veterans continued strides in their respective forms and styles, the new generation felt emotions more deeply. The previous political repressions during the One Unit and martial law regimes had cast their influence, but the post-1988 development was so effective that within no time a new breed of writers, poets and essayists emerged. It is not startling to see the new generation using newer metaphors, symbols and forceful idioms. Poetry, as in the past, became more vocal and quantitative, but equally came the prose in quantum, quality and imagination. In the history of Sindhi literature this generation proved more conscious with quicker comprehension and effective expression.
However, they played their role to create awareness. Sarwech Sujawali, in his old style, was still vocal in expressing himself without any ambiguity. His manifestation came in these words:Sarapa ihtejaj aahiyan, sarasar inqilab aahiya, Maan pahanji dharti je hisaban jo kitab aahiyan,Karhaan tho qaum sari lai saran sabajhan sangian laiVirrhan mein tuahinje verian saan na disando doh sawab aahiyn
(From head to toe protest I amI am the account of mymotherland’s sufferingMy heart rages for the nation and humble peopleI fight against their enemies,don’t care for sin and morality)
Naseer Mirza has been writing for over a quarter of century. He has been using both traditional and modern symbols which are bold and sublime. For instance:
Hik ahre nagar maan langhius raat,Khali aeen bhar bhang gharan ja ha khlial darwaza,Sadd kayam ta paryan kithaan bus motya sawain parada,Tez hawa mein wann nivrrya pe, pan chhanya pe,Mandir masjd poyaan ho hikadddad vishal shamshan,Gijhan jo gahat latho pyo ho jite huyo shamshan
(I passed by a city where doors of empty and desolate houses were openWhen I called the inmates only echo returned from afarWith stormy wind trees were bending, leaves fallingBehind the mosque and temple was a vast cremation placeA flock of vulture had descended upon the cremation place)
Other poets in this line were: Aijaz Mangi, Malik Nadeem, Qamar Shahbaz, Halim Baghi, Abid Mazhar, Rahi Channa, Adal Soomro, Asim Nathanshahi, Tanvir Abbasi, Tajal Bewas, Hidayat Mangi, Anwar Figar Hakro, Taj Baloch and Maqbool Gul.Another new poet, Jawed Saghir, who has been composing poetry for some years, used the traditional form of Vayee for the assessment of the situation, consoling his readers and hoping for better moments:Jaan khutee hi raat alo miyan,Ijho ubhriyo sij,Rahandi na des mein,Bukh ji kaayee baat, alo miyanHoonda na kahin hath mein,Kandh vahayal kaat, alo miyanSach ja sabh veri,Maut kandhi sabh maat, alo miyanSagar tuhinji vayee,Hoondi har kahin vaat, alo miyanIjho ubhriyo sij
(The night is about to end, o manSun about to riseWon’t remain in the countryAny talk of hunger, o manNo hand will holdNeck-cutting dagger, o manEvery foe of truthWill be defeated by death, o manSager your versesWill be in the mouth of many, o man)
These are a few instances to show how actively the veterans and the younger generation have been expressing themselves, adding to contemporary literature. Among them a host of new poets have been regularly writing while the others take to it occasionally. Nonetheless, their participation is of immense value. Many of them possess equal proficiency in more than one genre, a significant virtue in Sindhi literature.
The working and contribution of Sindhi Adabi Board, otherwise a productive organisation, has been eclipsed during the past two decades due to many reasons. From its inception till 1970s it produced very rich literature and played an important role in bringing out scholarly works at affordable prices. One can only hope that it revives itself.
Similarly, the Institute of Sindhology showed remarkable progress in its formative years. Attempts have been made to make it functional but without the aimed results. The establishment of the Sindhi Language Authority was aimed at promoting various areas of Sindhi language, including the publication of works especially where other institutes have failed to promote the language and engage in finding a means to promote it beyond Sindh. The scheme to compile an encyclopedia on Sindh was launched but except two volumes, no further development came by. Every person who headed it came with a novel idea but left without accomplishing it.
A large number of manuscripts produced by scholars and writers are lying with these organisations and no obvious progress is being made to publish these. Only those at the helm of affairs see their works published from public funds. Scholars without financial standing do not have a chance to get their works published. A number of debates in the press have broken out but without a breakthrough. The only laudable work done was by the Latif Chair at the Karachi University. However, during the post-1988 period, activities in research and other literary pursuits have been encouraging, no matter who made it possible.
Dr N.A. Baloch has been constantly making contributions in various directions. His recent work is a 10-volume study on the life and message of Shah Latif, published by Bhit Shah Memorial Committee. While Dr G. Allana continued working on linguistics, Dr Shams Soomro added work on criticism, statistics and linguistics, Dr Habibullah Siddiqui worked on anthropology, Dr Fahmida Hussain added six books, including her monograph on Shah Latif, and I added some books in English.
While the past year saw some very good literature, the year 2011 appears to be more promising. At present there are about two dozen organisations that are engaged in producing literature from their own resources. Among them six organisations, Sindhi Adabi Board, Jamshoro, Institute of Sindhology, Sindhi Language Authority, National Book Foundation, Sindhi Literary Society, Bhit Shah and the Department of Culture are busy in this pursuit. Some private organisations such as New Fields, Roshni, Sami Publications, Bazm-i-Talibul Maula, Amirta, are also engaged in this task and produce remarkable works of even those who cannot afford to publish on their own.
In this journey, the role of periodicals cannot be overlooked. After playing a laudable role in promoting Sindhi literature for 30 years, Naeen Zindagi lost its place in Sindhi literature. The quarterly Mehran became the only literary magazine, which while facing difficulties somehow survived.
Many magazines taken out by individuals and political groups could not survive long due to lack of encouragement or ill-planning. Insaan, Sojhro and Rooh Rehan had already seen unmourned deaths. However, Sanjah continued for some time but that too became victim of financial management. Suhni was a good literary magazine; it played a sparkling role but after the death of its founding editor, Tariq Ashraf, it went down. Pirah, Parkh, Sindh Sujag, Saaneh and Naoon Niyapo appeared for some time but could not continue. Sojhro was again taken out by Taj Baloch and still retains its regular publication.
The history of Sindhi literature is marked by ups and downs. From the very inception it has been subjected to many repressive measures and encouragements from the people. It is these cross-currents that have shaped its present form. Emerging from traditional form it is now one of the most purposeful literatures, with the ability to reflect the human condition in all genres. It is quite moving. The subjects that were once forbidden are being discussed freely and in quite an expressive form.
The writer is the vice chancellor of the Sindhi Adabi Board.Translations by Abbas Jalbani