Half-Women or Half-Dreams? The Lives and Afterlives of Ismat Chughtai’s Women in Pakistan Raza Naeem Instructor in History, Senior School, Beaconhouse School Systems, Johar Town Girls Campus, Lahore Email:
[email protected] Introduction • Ismat Chughtai (1915-91) is universally regarded as one of the four pillars of Urdu fiction in our time, apart from her contemporaries Saadat Hasan Manto, Krishan Chander and Rajinder Singh Bedi. • While in India, she and her legacy is being feted and commemorated, in Pakistan, this unrelenting and daring champion of women’s rights and feminism, who anticipated by a few decades the heaven-stormers of the 60s powered and pioneered in the West by Simone de Beauvoir, has been consciously ignored. • Perhaps firstly, owing to the controversy she created with one of her earliest short-stories Lihaaf (The Quilt) which was banned in 1942 for its erotic and lesbian undertones, and overshadowed almost the whole of Chughtai’s subsequent work, much to her chagrin. • Chughtai subsequently won the case and went on to write many masterpieces in short fiction as well as in the longer form, of which the most notable is Terhi Lakeer (The Crooked Line). Contd. • It stands out among her six novels with its Joycean, largely autobiographical heroine ‘Shamman’ (Shamshad) who matures from a precocious, rebellious independent-minded girl to a politically-conscious feminist activist involved in the Indian independence struggle. • For a writer routinely nicknamed as the ‘female Manto’ (owing to her rebellious and daring persona) by some and ‘Lady Changez Khan’ (she traced her descent from the family of Tamerlane) by others, her life and legacy are surprisingly ignored and marginalised by scores of middle-class girls here in Pakistan, who are glued to pop-schlock television serials and Bollywood films advocating female submission and stereotyping.