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Articles of Shamim Hanafi
Ghalib Ki Urdu Nasr
In the history of Urdu prose and poetry, Ghalib holds an exceptional position in many respects. One aspect of this distinction is that no other author has secured such a firm and enduring place for themselves while writing so little. In a letter to Mir
Meer Aur Ghalib
By Shamim Hanafi When the names of Mir and Ghalib come to mind together, it is not merely because both prioritized the same poetic genre for their expression. Nor is it simply because both belonged to a literary and cultural tradition that—despite the
Meeraji Aur Naee Shayari Ki Buniyaadein
"I wish to become a street singer, wandering from alley to alley, village to village, and spend my life just like that. With a woman and a harmonium by my side, the world would think it pities us as it watches our spectacle, while I would consider myself
Manto Aur Fahhaashi
(1) Manto is the name of a phenomenon—perhaps the most significant, meaningful, and complete phenomenon in the history of our fiction. This phenomenon began with his very first story. If you were to consult a literary historian, they would tell you
Nasri Nazm Ka Mas'ala
Shamim Hanafi One question that will always require our consideration is this: what plays the fundamental role in determining the structure or form of literary genres? Or, to put it another way, what exerts the greatest influence on the compositional
Taqseem Ka Adab Aur Tashaddud Ki Sheriyaat
Ladies and gentlemen! The subject of today's discussion is the literature of Partition and the poetics it has generated—a poetics whose identity is deeply tied to the experience of communal violence. Violence is the defining characteristic of our era.
Meeraji Aur Naee Sheri Riwaayat
If we look for the earliest signs of modernism in sporadic poetic works, we can hear the quiet knock of the new poetry in the writings of Tasadduq Husain Khalid, Taseer, Firaq, Shad Aarifi, Majaz, Jazbi, Jan Nisar Akhtar, Sahir, Kaifi, Salam Machhalishahari,
Manto Aur Naya Afsana
Saadat Hasan Manto’s place in the history of the Urdu short story is so secure, and his status within our fictional tradition so firmly established, that merely expressing praise and devotion for him no longer serves any real purpose. The way Manto defined
