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Aangan / آنگن
آنگن" خدیجہ مستور کا بہترین ناول ہے، جس میں انہوں نے تقسیم ہند و پاک کے دوران ہونے والے سماجی، سیاسی، اقتصادی بحران کو دکھانے کی کوشش کی ہے ، ناول میں حقیقی گھریلو زندگی کی اس طرح سے تصویر کھینچی گئی ہے کہ یہ کہانی اگرچہ کسی ایک آنگن کی کہانی ہے مگر سچائی یہ ہے کہ یہ کہانی گھر گھر کی ہے۔ مسلم معاشرے میں آئے بحران و تنزل کو بہت ہی خوبصورتی کے ساتھ پیش کیا گیا ہے۔ اول اول یہ کہانی فلیش بیک سے شروع ہوتی ہے اور پھر اصل زندگی کی طرف مراجعت کرتے ہوئے مصنفہ نے ناول کی جاذبیت میں ہر چند اضافہ کر دیا ہے۔ اس کا پلاٹ ایک متوسط طبقے کے مسلم گھرانے کے آنگن کے مسائل کی بنیاد پر رکھا گیا ہے۔ گھر کی چہار دیواری میں محدود یہ آنگن بر صغیر کے ہر گھر کا آنگن بن گیا ہے۔ ناول کا پلاٹ اتنا چست ہے کہ کہیں بھی غیر ضروری واقعات کو جگہ نہیں دی گئی ہے۔ مصنفہ نے ہر طبقے کے مسائل کو ان کی ہی زبان و بیان سے بیان کیاہے ، جس سے ناول کا حسن اور دو بالا ہو گیا ہے۔ یہ ناول خدیجہ مستور کا بہترین ناول ہے۔
318 pages, Hardcover
Published January 1, 2012
394 people are currently reading
6734 people want to read
About the author
Khadija Mastoor
12 books99 followersKhadija Mastoor is an Urdu writer from Pakistan famous for her novel Aangan.
Born in British India and later migrated to Pakistan with her sister Hajra Masroor, who is also a skillful writer herself, Khadija wrote 7 books on social and moral values. Her Books are:
1. Khail (1944)
2. Bochaar (1946)
3. Chand Roz Aur (1951)
4. Thakay Haray (1962)
5. Aangan (1962) - winner of Adamjee Literary Award
6. Thanda Meetha Paani (1981) - winner of Hijra Award
7. Zameen (1983)
Born in British India and later migrated to Pakistan with her sister Hajra Masroor, who is also a skillful writer herself, Khadija wrote 7 books on social and moral values. Her Books are:
1. Khail (1944)
2. Bochaar (1946)
3. Chand Roz Aur (1951)
4. Thakay Haray (1962)
5. Aangan (1962) - winner of Adamjee Literary Award
6. Thanda Meetha Paani (1981) - winner of Hijra Award
7. Zameen (1983)
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Displaying 1 - 30 of 133 reviews
June 13, 2016
It took me a while to finish this book. Bought it sometime last year. The reason, I bought it was because in 9th grade Urdu text book we had a chapter from this novel. I really liked that chapter. I actually liked most of the chapters mainly because I have a lot of respect for all old age Urdu writers. (nationalism and all :P )
Khadija Mastoor is also sort of regarded as one of the first feminist minded writers of the Era (i read that somewhere not sure where :P ). But after reading this novel i pretty sure its true, though her sense of individual independence in no way undermines the classical duty of a south Asian daughter to her family, old fashioned lady some might say.
Now this novel is really different in way of speaking. It is set in the time period 12 -13 years before the independence of subcontinent from British Raj(rule). The thing that makes this novel interesting is that its not about the freedom fighters or the politicians who sacrificed their lives for the freedom. It’s about the people who were being sacrificed long before the race for freedom started. It is about the families of those men, their children, their wives, the households that were ignored and were the silent sacrifice. The people who really could not bring themselves to care if the subcontinent was freed or not. Whose lives were bound in the 4 walls of their houses. who were demoted from their splendid lifestyle to surviving on funds the household servants were not even used to. As their men gave all they had for the more “important” cause.
The children who grew without the supervision of a father, whose father were out saving the mother land. The women who spent their days worrying about heir husbands’ well being (a lot of freedom activists were being constantly jailed by British government especially Congressmen) and worrying about where the funds for next months meal will come from.
It’s about a such a generation who was caught between ideologies of Congress(the party that wanted freedom from British Raj but not a divided India) and Muslim League (who after freedom wanted a separate Muslim State aka Pakistan). In case of Muslim households, there was chance a good chance that both party views could exist in same family’s different members.
Its the story of narrow-minded cultural practices which were mostly pushed by women of the family, the senseless and hypocritical nature of them and how these made up cultural taboos took lives and nobody even in their hearts felt sorry for what they have done.
This is the story of world of women of that time period. Their aristocracy which inspired suffering, their suffering which inspired no one. Its not a story of just victims but of those they victimized.
Khadija Mastoor is also sort of regarded as one of the first feminist minded writers of the Era (i read that somewhere not sure where :P ). But after reading this novel i pretty sure its true, though her sense of individual independence in no way undermines the classical duty of a south Asian daughter to her family, old fashioned lady some might say.
Now this novel is really different in way of speaking. It is set in the time period 12 -13 years before the independence of subcontinent from British Raj(rule). The thing that makes this novel interesting is that its not about the freedom fighters or the politicians who sacrificed their lives for the freedom. It’s about the people who were being sacrificed long before the race for freedom started. It is about the families of those men, their children, their wives, the households that were ignored and were the silent sacrifice. The people who really could not bring themselves to care if the subcontinent was freed or not. Whose lives were bound in the 4 walls of their houses. who were demoted from their splendid lifestyle to surviving on funds the household servants were not even used to. As their men gave all they had for the more “important” cause.
The children who grew without the supervision of a father, whose father were out saving the mother land. The women who spent their days worrying about heir husbands’ well being (a lot of freedom activists were being constantly jailed by British government especially Congressmen) and worrying about where the funds for next months meal will come from.
It’s about a such a generation who was caught between ideologies of Congress(the party that wanted freedom from British Raj but not a divided India) and Muslim League (who after freedom wanted a separate Muslim State aka Pakistan). In case of Muslim households, there was chance a good chance that both party views could exist in same family’s different members.
Its the story of narrow-minded cultural practices which were mostly pushed by women of the family, the senseless and hypocritical nature of them and how these made up cultural taboos took lives and nobody even in their hearts felt sorry for what they have done.
This is the story of world of women of that time period. Their aristocracy which inspired suffering, their suffering which inspired no one. Its not a story of just victims but of those they victimized.
December 27, 2018
There is a reason I don't read much of Urdu literature - It breaks my heart.
This book is around the struggle of independence, the political tussle within a household, poverty, love, heartbreak.
I have a lot of favourite quotes, that I will upload soon.
One of them, that is bound to stay with me for a long time.
تصور کی دنیا کو دنیا کا کوئی جیل بند نہیں کر سکتا۔ اس پر کوئی پابندی نہیں لگائی جا سکتی۔ میں نے اپنی ماں کو کندھا دیا تھا، میں نے انہیں قبر میں اتارا تھا۔
اسی خیال کو کسی شاعر نے کہا ہے کہ
گھر مجھے قید کر نہیں سکتا
میری ہر سوچ کائناتی ہے
This book is around the struggle of independence, the political tussle within a household, poverty, love, heartbreak.
I have a lot of favourite quotes, that I will upload soon.
One of them, that is bound to stay with me for a long time.
تصور کی دنیا کو دنیا کا کوئی جیل بند نہیں کر سکتا۔ اس پر کوئی پابندی نہیں لگائی جا سکتی۔ میں نے اپنی ماں کو کندھا دیا تھا، میں نے انہیں قبر میں اتارا تھا۔
اسی خیال کو کسی شاعر نے کہا ہے کہ
گھر مجھے قید کر نہیں سکتا
میری ہر سوچ کائناتی ہے
September 13, 2018
ایک جاندار ناول۔ گہری مشابہت و احساسیت سے مزین۔ ہر کردار قوتِ فعالی رکھتا ہے اوراپنی محرومیوں کا مداوا چاہتا ہے۔
عالیہ؛ مرکزی کردار، مختلف کرداروں کو دیکھتے ہوئے زندگی کی دہلیزیں پار کر رہی ہے۔ کبھی تہمینہ آپا، تو کبھی کسم دیدی اور پھر چھمی۔ تہمینہ آپا اورکسم دیدی کا انجام ایک سا ہوا اور چھمی۔۔۔۔ ; آہ ! ایک بے باک لڑکی۔
'چھمی نے اتنی آسانی سے "ہوں" کر دی کہ عالیہ حیران رہ گئی۔ اسے تو محسوس ہو رہا تھا کہ قیامت تک براتی یوں ہی دروازے پر پڑے رہیں گے۔ ہوں سننے والے گواہوں پر صدیاں گزرجائیں گی اور چادر کے پردے کو آندھیاں بھی نہ ہٹا سکیں گی۔'
کیا چھمی ہی اس ناول کی ہیروئن نہیں؟ (جو بلآخر اپنی منزل پا لیتی ہے)
'عورت محبت کئیے بغیر رہ ہی نہیں سکتی۔ روایت کے مطابق عورت پیدا بھی مرد کی پسلی سے ہوئ ہے۔'، جمیل بھیا بڑے جوش سے بولے۔
'اچھا اب سمجھی' وہ ایک دم ہنس پڑی ' یہ مرد اسی لیے عورت کو فریب دیتا ہے۔۔۔۔ '
مابعد جدیدی ناولوں کی یہ خصوصیات کہ ہر کردار مرکزیت کے دھارے میں آ جاتا ہے، کہانی کو بے مزہ نہیں ہونے دیتا۔ کریمن بُوا کا کردار دوسرے دلچسپ کرداروں میں سے ایک ہے۔ کھوئے ماضی و ثقافت کی ایک زندہ مثال کریمن بُوا !
'سیتا نے رام کی کھینچی ہوئ لکیر سے باہر قدم رکھا تھا تو راون اٹھا لے گیا تھا۔ سیتا نے جیتے جاگتے رام کی حکم عدولی کی تھی' مگر تم کریمن بُوا مالکن کا حکم نہیں ٹال سکتیں۔ پھر بھی سیتا، سیتا رہیں اور تم کریمن بُوا رہو گی، تم کو کون جانے گا۔ تمہرا قصہ کون لکھے گا۔'
اسرار میاں میرے لیے اس ناول کے اور اُس معاشرے کے سب سے معصوم اور پیارے کردار ہیں ۔۔۔ پر ان کا انجام ۔۔۔؟
اور پھر بڑے چچا کے گھر میں لوہے کی کُرسی سے معنی خیز کام لیا گیا ہے۔ حقیقت میں بےجان پر 'تنہائی ' اور 'اداسی' اسے دوسرے کرداروں کی طرح جاندار اور 'عورت' سے کافی حد تک مماثلت بخشتی ہے۔ اور شاید بٹوارے کے بعد اسکی وقعت بھی نہ رہی ہوگی۔۔۔
"لڑکی ذات کیسی ہی شریر کیوں نہ ہو مگر ہوتی الله میاں کی گائے ہے۔جدھر چاہو ہنکا دو، ہوں نہیں کرتی۔" بڑی چچی آنسو پونچنے لگیں۔
بلاشبہ اس ناول کا اصل 'عورت' ہے۔ جس کی زندگی کا ہر بڑا فیصلہ مرد نے کرنا ہے اور عورت کو صرف ایک حق حاصل ہے؛ گزشتہ محبت کے نام پہ زندگی لوٹا دینا!
آزادی؛ ان بچوں کا اس وقت کا شغل جو اب بٹوارے کے بعد اس پہ دھڑا دھڑ کتابی چورن ، سیاسی چغلیاں اور آزادی کے 'ثمرات' بھگت رہے،
بٹوارہ؛ ایک بچی کو جس کی کتابیں امرت سر رہ گئی تھیں ان کتابوں کو یاد کر کے رولاتا ہے،
گھریلو ناچاقیاں ، تعلیمی جہالت، وقت کو لے کے پائے جانے والے مختلف لوگوں کے مختلف رویئے۔۔۔ ؛ دیگر مضامین۔
اختتام؛ عورت جو کہ بہن ہے ۔۔۔ اپنی بہن کی کہانی نہیں دوہراتی۔۔۔ محبت نہیں کرتی ۔۔۔ محبت کو پانا نہیں چاہتی۔۔۔ اور اپنی بہن سے جیسا لاشعوری سے کیئے گئے وعدے ہر خوش ہے کہ تہمینہ آپا آپ کی وجہ سے میں اس معاشرے کے اس ظلم کا شکار نہیں ہوئی۔۔۔ آپا آپ کو ہرا دیا۔۔۔ آپا اب "ہم" جیت گئیں۔
'ارے چھمی، یہ لوگ کچھ نہ پا سکنے کی حسرت میں معصوم معصوم کہانیوں سے جی بہلاتے ہیں۔ '
آنگن، نام کی طرح ایک دلچسپ ناول۔
عالیہ؛ مرکزی کردار، مختلف کرداروں کو دیکھتے ہوئے زندگی کی دہلیزیں پار کر رہی ہے۔ کبھی تہمینہ آپا، تو کبھی کسم دیدی اور پھر چھمی۔ تہمینہ آپا اورکسم دیدی کا انجام ایک سا ہوا اور چھمی۔۔۔۔ ; آہ ! ایک بے باک لڑکی۔
'چھمی نے اتنی آسانی سے "ہوں" کر دی کہ عالیہ حیران رہ گئی۔ اسے تو محسوس ہو رہا تھا کہ قیامت تک براتی یوں ہی دروازے پر پڑے رہیں گے۔ ہوں سننے والے گواہوں پر صدیاں گزرجائیں گی اور چادر کے پردے کو آندھیاں بھی نہ ہٹا سکیں گی۔'
کیا چھمی ہی اس ناول کی ہیروئن نہیں؟ (جو بلآخر اپنی منزل پا لیتی ہے)
'عورت محبت کئیے بغیر رہ ہی نہیں سکتی۔ روایت کے مطابق عورت پیدا بھی مرد کی پسلی سے ہوئ ہے۔'، جمیل بھیا بڑے جوش سے بولے۔
'اچھا اب سمجھی' وہ ایک دم ہنس پڑی ' یہ مرد اسی لیے عورت کو فریب دیتا ہے۔۔۔۔ '
مابعد جدیدی ناولوں کی یہ خصوصیات کہ ہر کردار مرکزیت کے دھارے میں آ جاتا ہے، کہانی کو بے مزہ نہیں ہونے دیتا۔ کریمن بُوا کا کردار دوسرے دلچسپ کرداروں میں سے ایک ہے۔ کھوئے ماضی و ثقافت کی ایک زندہ مثال کریمن بُوا !
'سیتا نے رام کی کھینچی ہوئ لکیر سے باہر قدم رکھا تھا تو راون اٹھا لے گیا تھا۔ سیتا نے جیتے جاگتے رام کی حکم عدولی کی تھی' مگر تم کریمن بُوا مالکن کا حکم نہیں ٹال سکتیں۔ پھر بھی سیتا، سیتا رہیں اور تم کریمن بُوا رہو گی، تم کو کون جانے گا۔ تمہرا قصہ کون لکھے گا۔'
اسرار میاں میرے لیے اس ناول کے اور اُس معاشرے کے سب سے معصوم اور پیارے کردار ہیں ۔۔۔ پر ان کا انجام ۔۔۔؟
اور پھر بڑے چچا کے گھر میں لوہے کی کُرسی سے معنی خیز کام لیا گیا ہے۔ حقیقت میں بےجان پر 'تنہائی ' اور 'اداسی' اسے دوسرے کرداروں کی طرح جاندار اور 'عورت' سے کافی حد تک مماثلت بخشتی ہے۔ اور شاید بٹوارے کے بعد اسکی وقعت بھی نہ رہی ہوگی۔۔۔
"لڑکی ذات کیسی ہی شریر کیوں نہ ہو مگر ہوتی الله میاں کی گائے ہے۔جدھر چاہو ہنکا دو، ہوں نہیں کرتی۔" بڑی چچی آنسو پونچنے لگیں۔
بلاشبہ اس ناول کا اصل 'عورت' ہے۔ جس کی زندگی کا ہر بڑا فیصلہ مرد نے کرنا ہے اور عورت کو صرف ایک حق حاصل ہے؛ گزشتہ محبت کے نام پہ زندگی لوٹا دینا!
آزادی؛ ان بچوں کا اس وقت کا شغل جو اب بٹوارے کے بعد اس پہ دھڑا دھڑ کتابی چورن ، سیاسی چغلیاں اور آزادی کے 'ثمرات' بھگت رہے،
بٹوارہ؛ ایک بچی کو جس کی کتابیں امرت سر رہ گئی تھیں ان کتابوں کو یاد کر کے رولاتا ہے،
گھریلو ناچاقیاں ، تعلیمی جہالت، وقت کو لے کے پائے جانے والے مختلف لوگوں کے مختلف رویئے۔۔۔ ؛ دیگر مضامین۔
اختتام؛ عورت جو کہ بہن ہے ۔۔۔ اپنی بہن کی کہانی نہیں دوہراتی۔۔۔ محبت نہیں کرتی ۔۔۔ محبت کو پانا نہیں چاہتی۔۔۔ اور اپنی بہن سے جیسا لاشعوری سے کیئے گئے وعدے ہر خوش ہے کہ تہمینہ آپا آپ کی وجہ سے میں اس معاشرے کے اس ظلم کا شکار نہیں ہوئی۔۔۔ آپا آپ کو ہرا دیا۔۔۔ آپا اب "ہم" جیت گئیں۔
'ارے چھمی، یہ لوگ کچھ نہ پا سکنے کی حسرت میں معصوم معصوم کہانیوں سے جی بہلاتے ہیں۔ '
آنگن، نام کی طرح ایک دلچسپ ناول۔
May 13, 2021
At first I was unsure about this celebrated novel. The pace was slow and meandering, the characters appeared unidimensional - the always snide and heartless mother, the elusive father whose political activities one only got a perfunctory idea of, the silent and retiring elder sister, the meekly diminished male cousin. One felt also that tragedy came rather suddenly, all too frequently and in too similar a fashion. It was evident that the underlying theme was of not just lack of agency on part of women but also the sociology of women reduced to narrow horizons and demarcated space and the resulting complications, strife and resentment. But as a work of literature it refused to grip me.
Set against the backdrop of the final years of the Raj one got a hint of the tensions but never anything more. The characters lived in a multi-cultural/religious community and yet the narrative appeared rather cloistered. There were interesting marginalized figures - sons and daughters out of wedlock or born to a daughter who had eloped - who faced ostracisation and ill-treatment. But one saw merely their suffering and was not invited to examine the complex, inner recesses of their experiences. And one wondered why - why can't our novels simultaneously provide intricate details of lived life as well as a grand sweep of the events and times. Like the great Russian novels do.
However, fifty odd pages into the book I started changing my mind. Not only did the brilliantly woven sombre and monotony laden mood - like a long, hot summer afternoon - absorb me but I started seeing what Khadija Mastoor had set out to do and achieved quite brilliantly.
Suffocation, claustrophobia, hopelessness and absence of purpose are the overwhelming feelings that assail the reader as one reads this important novel in the genealogy of the Urdu novel, Urdu novels about women and by women, and South Asia feminist literature. Hour after hour, day after day, month after month pass and nothing much happens in the lives of a bunch of women cloistered in a lower middle class existence in the years of the WW II leading up to the Partition of Hindustan. The prose is as simple and unpretentious as the lives of the women - Aliya the sensitive and observant protagonist, her cousin, the volatile, feisty and often distressed Chammi (more or less abandoned by her father who is Aliya's youngest uncle), Aliya's misanthropic and pompous mother (proud of her government officer brother and his British wife), her long-suffering and large-hearted Barri Chachi, the pompous and better educated paternal aunt Najma, and the loyal old hand Kareeman Bua who can be as cruel as she is generous. There are men in their lives - Safdar, the ill-treated son of an aunt who eloped and married someone of lesser social status, the perpetually soppy and listless cousin Jameel (whose unwanted attention Aliya has to consistently ward off), his neglected younger brother Shakeel and the ostracized out of wedlock son of Aliya's grandfather - Israr Mian, as also her father and elder uncle (both devoted to anti-colonial struggle and neglectful towards their families while being kind, gentle and at times empowering as well). But these are relatively ancillary and make occasional appearances. The older men (Congress loyalists) pay the price for their deep involvement in the freedom movement and opposition to the British and are in and out of jail, the younger ones usually loping around looking for odd jobs, and Israr Mian runs the family shop while being forced into a pathetic and marginalized existence. How loyalty to Congress or the League divides families and the trauma of Partition are also explored but are relatively ancillary themes in a novel which essentially takes us on Aliya's navigation through her milieu and her times.
The women dominate the story and they are of all possible dispositions and bents: from the domineering and matriarchal grandmother (as repressive in their worldview as the most patriarchal of men; in many ways the product of the same ethos) to much gentler and kinder souls. Khadija Mastoor's characterizations are very strong and that is one of the hallmarks of the novel. The stories of these women are the stories of being cut off from opportunities, financial independence, agency, education and career opportunities (case in point being Aliya's cousins Sajida Apa and Chammi - both married off to men of little education and culture and deprived themselves also of any education to write home about) and worldly exposure. As I said, at first I marveled at the remarkable lack of elaboration on events outside the Aangan (the book has been translated as 'The Women's Courtyard' and also made into a successful TV serial) as the women's lives were shown to be dominated by everyday worries, petty strife, resentments and disappointments. But then I realized the brilliance of it. The very point of the novel is to show how these women have been reduced to the physical confines of the Aangan (which denotes an entire patriarchal social approach and hegemonic world view towards the status and role of women in life) and thereby an incredibly limited and limiting existence. The narrative reflects that reality to near perfection. Therein lies the great triumph and achievement of this novel.
Aliya is the only one who stoically and quietly rebels against all this, even as she appreciates with great sensitivity and empathy those around her. She sees their flaws as well as their goodness, realizing all the time the structural limitations and modes of repression of her milieu that make and mold the women and men around her. What makes her so believable and human is that she loves so many of the ones around her despite everything - her love for her father and elder Uncle (who to their credit have been shown to be consistently indulgent and solicitous towards her) surpasses that of her affection for any of the women, even though she has special bonds with some of them. But then she has also been much more fortunate compared to those reduced to horrendous marriages, forced into heartless ostracization or driven to suicide.
By the time I was done reading I was deeply impressed by this work. I now consider it essential reading for any serious reader of Urdu literature. For what it sets out to do it deliberately looks inwards - because that is the structurally enforced limited perspective of and claustrophobic life led by the women who inhabit it. Women forced into having constrained and narrow horizons. And it does a really brilliant job.
Set against the backdrop of the final years of the Raj one got a hint of the tensions but never anything more. The characters lived in a multi-cultural/religious community and yet the narrative appeared rather cloistered. There were interesting marginalized figures - sons and daughters out of wedlock or born to a daughter who had eloped - who faced ostracisation and ill-treatment. But one saw merely their suffering and was not invited to examine the complex, inner recesses of their experiences. And one wondered why - why can't our novels simultaneously provide intricate details of lived life as well as a grand sweep of the events and times. Like the great Russian novels do.
However, fifty odd pages into the book I started changing my mind. Not only did the brilliantly woven sombre and monotony laden mood - like a long, hot summer afternoon - absorb me but I started seeing what Khadija Mastoor had set out to do and achieved quite brilliantly.
Suffocation, claustrophobia, hopelessness and absence of purpose are the overwhelming feelings that assail the reader as one reads this important novel in the genealogy of the Urdu novel, Urdu novels about women and by women, and South Asia feminist literature. Hour after hour, day after day, month after month pass and nothing much happens in the lives of a bunch of women cloistered in a lower middle class existence in the years of the WW II leading up to the Partition of Hindustan. The prose is as simple and unpretentious as the lives of the women - Aliya the sensitive and observant protagonist, her cousin, the volatile, feisty and often distressed Chammi (more or less abandoned by her father who is Aliya's youngest uncle), Aliya's misanthropic and pompous mother (proud of her government officer brother and his British wife), her long-suffering and large-hearted Barri Chachi, the pompous and better educated paternal aunt Najma, and the loyal old hand Kareeman Bua who can be as cruel as she is generous. There are men in their lives - Safdar, the ill-treated son of an aunt who eloped and married someone of lesser social status, the perpetually soppy and listless cousin Jameel (whose unwanted attention Aliya has to consistently ward off), his neglected younger brother Shakeel and the ostracized out of wedlock son of Aliya's grandfather - Israr Mian, as also her father and elder uncle (both devoted to anti-colonial struggle and neglectful towards their families while being kind, gentle and at times empowering as well). But these are relatively ancillary and make occasional appearances. The older men (Congress loyalists) pay the price for their deep involvement in the freedom movement and opposition to the British and are in and out of jail, the younger ones usually loping around looking for odd jobs, and Israr Mian runs the family shop while being forced into a pathetic and marginalized existence. How loyalty to Congress or the League divides families and the trauma of Partition are also explored but are relatively ancillary themes in a novel which essentially takes us on Aliya's navigation through her milieu and her times.
The women dominate the story and they are of all possible dispositions and bents: from the domineering and matriarchal grandmother (as repressive in their worldview as the most patriarchal of men; in many ways the product of the same ethos) to much gentler and kinder souls. Khadija Mastoor's characterizations are very strong and that is one of the hallmarks of the novel. The stories of these women are the stories of being cut off from opportunities, financial independence, agency, education and career opportunities (case in point being Aliya's cousins Sajida Apa and Chammi - both married off to men of little education and culture and deprived themselves also of any education to write home about) and worldly exposure. As I said, at first I marveled at the remarkable lack of elaboration on events outside the Aangan (the book has been translated as 'The Women's Courtyard' and also made into a successful TV serial) as the women's lives were shown to be dominated by everyday worries, petty strife, resentments and disappointments. But then I realized the brilliance of it. The very point of the novel is to show how these women have been reduced to the physical confines of the Aangan (which denotes an entire patriarchal social approach and hegemonic world view towards the status and role of women in life) and thereby an incredibly limited and limiting existence. The narrative reflects that reality to near perfection. Therein lies the great triumph and achievement of this novel.
Aliya is the only one who stoically and quietly rebels against all this, even as she appreciates with great sensitivity and empathy those around her. She sees their flaws as well as their goodness, realizing all the time the structural limitations and modes of repression of her milieu that make and mold the women and men around her. What makes her so believable and human is that she loves so many of the ones around her despite everything - her love for her father and elder Uncle (who to their credit have been shown to be consistently indulgent and solicitous towards her) surpasses that of her affection for any of the women, even though she has special bonds with some of them. But then she has also been much more fortunate compared to those reduced to horrendous marriages, forced into heartless ostracization or driven to suicide.
By the time I was done reading I was deeply impressed by this work. I now consider it essential reading for any serious reader of Urdu literature. For what it sets out to do it deliberately looks inwards - because that is the structurally enforced limited perspective of and claustrophobic life led by the women who inhabit it. Women forced into having constrained and narrow horizons. And it does a really brilliant job.
September 27, 2018
My 300th post and I am glad that's it's a review of one of the finest books I have read this year. Read on to hear my thoughts about it.
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Khadija Mastur was known as the Bronte sister of Urdu literature. I can see why. This book is a literary masterpiece. Read on to hear my thoughts about it. Very delicately translated by Daisy Rockwell.
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This novel is set in the 1940’s in the background of Indian independence and with the partition looming as a dark shadow. It also puts light on the political furore that went within the country during those times.
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This is the story of Aliya, who lives her life like a caged bird in the inner courtyard of her house. She is tired of the trifle squabbles that take place in her home everyday. She longs to educate herself and spread her wings in the wide sky. The women of the household are engrossed in gossips and picking fights over events in the past. The situation worsens when Aliya’s sister commits suicide and shortly later her father is arrested. She and her mother shift to her Uncle’s place where the situation is far from perfect, men engrossed in the political happenings in the country and women who only dream of stepping outside the house. Aliya keeps herself busy in her books and studies and dreams of a free life one day and that forms the rest of the story.
~
This book is a fine feminist classic with the courtyard as the central setting, with respect to the bygone era where the courtyard was a place where women used to gather together. I loved how the book had a feminist tone, which was very ahead of its time. It was a very difficult review to write as I had so many thoughts while reading it.
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This is not a partition or a political novel per say. Overall this is a masterpiece and I finished it in two days. Please also read the Afterword by Daisy Rockwell as it will help you to understand the book better, it’s a treasure trove. This book releases on October 10, 2018, so be sure to keep an eye on it as you don’t want to miss out on this one!! Full review on the blog. Link- https://thebookishtales.wordpress.com...
~
Khadija Mastur was known as the Bronte sister of Urdu literature. I can see why. This book is a literary masterpiece. Read on to hear my thoughts about it. Very delicately translated by Daisy Rockwell.
~
This novel is set in the 1940’s in the background of Indian independence and with the partition looming as a dark shadow. It also puts light on the political furore that went within the country during those times.
~
This is the story of Aliya, who lives her life like a caged bird in the inner courtyard of her house. She is tired of the trifle squabbles that take place in her home everyday. She longs to educate herself and spread her wings in the wide sky. The women of the household are engrossed in gossips and picking fights over events in the past. The situation worsens when Aliya’s sister commits suicide and shortly later her father is arrested. She and her mother shift to her Uncle’s place where the situation is far from perfect, men engrossed in the political happenings in the country and women who only dream of stepping outside the house. Aliya keeps herself busy in her books and studies and dreams of a free life one day and that forms the rest of the story.
~
This book is a fine feminist classic with the courtyard as the central setting, with respect to the bygone era where the courtyard was a place where women used to gather together. I loved how the book had a feminist tone, which was very ahead of its time. It was a very difficult review to write as I had so many thoughts while reading it.
~
This is not a partition or a political novel per say. Overall this is a masterpiece and I finished it in two days. Please also read the Afterword by Daisy Rockwell as it will help you to understand the book better, it’s a treasure trove. This book releases on October 10, 2018, so be sure to keep an eye on it as you don’t want to miss out on this one!! Full review on the blog. Link- https://thebookishtales.wordpress.com...
April 21, 2019
Review originally posted on A Skeptical Reader.
The Women’s Courtyard revolves around the aangan (courtyard) of a Muslim home as the subcontinent of India struggles to break free from British Raj. Embodied in the narrative are political uprisings, marriage proposals, dowry gatherings, and countless family squabbles. The main character of the story, Aliya, has a passion for learning and seeks to break away from the norms that she sees as the downfalls of women in her home. While Khadija Mastoor and her sister have been considered the Brontës of Urdu literature, in The Women’s Courtyard, Aliya is a far better character than the likes of Jane Eyre or Catherine Earnshaw.
The writing of the novel is congested and the atmosphere is claustrophobic but that’s precisely the point. Things are messy in this home. On one hand, a father joins the Congress party and dreams of an independent Hindustan for Muslims and Hindus alike whereas the son fights for the creation of Pakistan, a Muslim homeland for Indians of Islamic faith.
There are numerous nuances of South Asian culture in the confines of this aangan, startlingly relatable to myself as an Indian American reader in the 21st century. The hollow superiority of a MA in English as opposed to a MA in Urdu, the dramatically tragic romances of young lovers, the dependence of a man’s worth on his ability to provide, and so and so forth. Each is handled with a subtly that is genuine and breathtaking.
What cinched this novel as a classic was the ending. Multiples times throughout the novel Aliya is lured towards the conventional path of conformity and tradition. She has seen many women in her life struggle with relationships and swears an oath never to make the same mistake. But whilst most of the time, I was rooting for Aliya to stay true to herself, at times I found myself urging her to take a leap of faith and fall in love. And the author was certainly mercilessly in her teasing. I was torn till the very last paragraph how I wanted this novel to end but the way in which the author swept me off my feet was impressive. I loved this ending and I thoroughly enjoyed this novel.
P.S. This novel was adapted into a television series last year! In case you’re interested in watching it after reading, here’s a snippet: https://www.youtube.com/watch?v=LwxnB...
The Women’s Courtyard revolves around the aangan (courtyard) of a Muslim home as the subcontinent of India struggles to break free from British Raj. Embodied in the narrative are political uprisings, marriage proposals, dowry gatherings, and countless family squabbles. The main character of the story, Aliya, has a passion for learning and seeks to break away from the norms that she sees as the downfalls of women in her home. While Khadija Mastoor and her sister have been considered the Brontës of Urdu literature, in The Women’s Courtyard, Aliya is a far better character than the likes of Jane Eyre or Catherine Earnshaw.
The writing of the novel is congested and the atmosphere is claustrophobic but that’s precisely the point. Things are messy in this home. On one hand, a father joins the Congress party and dreams of an independent Hindustan for Muslims and Hindus alike whereas the son fights for the creation of Pakistan, a Muslim homeland for Indians of Islamic faith.
There are numerous nuances of South Asian culture in the confines of this aangan, startlingly relatable to myself as an Indian American reader in the 21st century. The hollow superiority of a MA in English as opposed to a MA in Urdu, the dramatically tragic romances of young lovers, the dependence of a man’s worth on his ability to provide, and so and so forth. Each is handled with a subtly that is genuine and breathtaking.
What cinched this novel as a classic was the ending. Multiples times throughout the novel Aliya is lured towards the conventional path of conformity and tradition. She has seen many women in her life struggle with relationships and swears an oath never to make the same mistake. But whilst most of the time, I was rooting for Aliya to stay true to herself, at times I found myself urging her to take a leap of faith and fall in love. And the author was certainly mercilessly in her teasing. I was torn till the very last paragraph how I wanted this novel to end but the way in which the author swept me off my feet was impressive. I loved this ending and I thoroughly enjoyed this novel.
P.S. This novel was adapted into a television series last year! In case you’re interested in watching it after reading, here’s a snippet: https://www.youtube.com/watch?v=LwxnB...
March 24, 2021
3.5 ⭐
Not a fan of all the family drama but definitely in awe of Mastoor for making our heroine reject every sub-standard romantic interest and not making this a 'love' story in the end. (#smashthepatriarchy)
The book also talks about the other side of partition which is not seen in literature often.
Not a fan of all the family drama but definitely in awe of Mastoor for making our heroine reject every sub-standard romantic interest and not making this a 'love' story in the end. (#smashthepatriarchy)
The book also talks about the other side of partition which is not seen in literature often.
January 24, 2013
Touched me but I didn't like the end. She has put unbearable grief, pain and sufffering with one girl which is not natural! I dont like that part otherwise rest is fine
March 14, 2018
You can not leave this book half once you have started reading it! Khadijah Mastur at her best.
September 8, 2019
Disclaimer: This is not a proper review; these are just my thoughts on why I didn't like the book.
Somedays you read a book which you appreciate without being able to bring yourself to like it. My experience with The Women’s Courtyard was on similar lines. Penned by the Pakistani writer Khadija Mastur, the book concerns itself with the lives of women in the pre and post partition era. Contrary to expectations, it does not dwell on the questions of nation and the political ramifications of an event of such massive import. Instead, Mastur chooses to talk about the interior lives of women and how it gets impacted as men go on to fight these bigger battles, comfortably ignorant to the plight of the women and children they leave behind to toil on their own.
This novel, which has largely been viewed as a partition narrative, nonetheless occupies an important position as a feminist text. With the focus on Aliya, Tehmina, Amma, Kusum, and other female characters—who do not necessarily exhibit feminist tendencies—the book’s novelty lies in giving voices to these characters and letting them take the centerstage. My problem with the book was, perhaps, its language that according to me lacked fluidity. I often felt frustrated by repetitive thoughts of the characters, be it Aliya or her uncle, Asrar Miyan, whose voice often floats in the courtyard asking for food to be served to him. My biggest gripe with the book was that there was not one character I could get myself to like in the book. I liked that Aliya’s thoughts on love were unusual, the feeling repulsed her because she saw two women lose their lives in its name but then her encounters with her cousin, Jameel, are conflicted and at odds with her general thoughts towards love and marriage.
Somedays you read a book which you appreciate without being able to bring yourself to like it. My experience with The Women’s Courtyard was on similar lines. Penned by the Pakistani writer Khadija Mastur, the book concerns itself with the lives of women in the pre and post partition era. Contrary to expectations, it does not dwell on the questions of nation and the political ramifications of an event of such massive import. Instead, Mastur chooses to talk about the interior lives of women and how it gets impacted as men go on to fight these bigger battles, comfortably ignorant to the plight of the women and children they leave behind to toil on their own.
This novel, which has largely been viewed as a partition narrative, nonetheless occupies an important position as a feminist text. With the focus on Aliya, Tehmina, Amma, Kusum, and other female characters—who do not necessarily exhibit feminist tendencies—the book’s novelty lies in giving voices to these characters and letting them take the centerstage. My problem with the book was, perhaps, its language that according to me lacked fluidity. I often felt frustrated by repetitive thoughts of the characters, be it Aliya or her uncle, Asrar Miyan, whose voice often floats in the courtyard asking for food to be served to him. My biggest gripe with the book was that there was not one character I could get myself to like in the book. I liked that Aliya’s thoughts on love were unusual, the feeling repulsed her because she saw two women lose their lives in its name but then her encounters with her cousin, Jameel, are conflicted and at odds with her general thoughts towards love and marriage.
May 30, 2019
My views on the book-
I always had an urge to explore different genres and authors. I was looking out for books by Muslim Authors and a friend/relative suggested me this and i am glad she did.
Khadija Mastur was considered as a Bronte sister of Urdu literature, which is apt. And yes, she is a feminist writer of her era.
The novel is set around 15 years before Independence from British rule. The book is not about freedom fighters or political problems. It is about general people who are trampled in the race of freedom.
Women of these kind of household are bound and expected to cook food and bring up children. The men of the family have rather important work (indulging in freedom fighting parties) ignoring their wives, children and household. The women are worried about their husband's whereabouts (wheather he is in jail or not) and the money to cook the next meal.
Amongst all this the protagonist, Aliya, is caged in a congested household after her sister's demise and father being sent to jail. She is a lovely girl to loves to educated herself. She shifts to her Uncle's house which is full of different kinds of people and divided in political dramas of Muslim league and Congress.
She is trying to keep herself busy by studying and rest is history.
It is difficult to review this book, because the story is full of taboos and women just suffering due to others and becoming victims and also, not willing to improve their condition in the name of customs.
I always had an urge to explore different genres and authors. I was looking out for books by Muslim Authors and a friend/relative suggested me this and i am glad she did.
Khadija Mastur was considered as a Bronte sister of Urdu literature, which is apt. And yes, she is a feminist writer of her era.
The novel is set around 15 years before Independence from British rule. The book is not about freedom fighters or political problems. It is about general people who are trampled in the race of freedom.
Women of these kind of household are bound and expected to cook food and bring up children. The men of the family have rather important work (indulging in freedom fighting parties) ignoring their wives, children and household. The women are worried about their husband's whereabouts (wheather he is in jail or not) and the money to cook the next meal.
Amongst all this the protagonist, Aliya, is caged in a congested household after her sister's demise and father being sent to jail. She is a lovely girl to loves to educated herself. She shifts to her Uncle's house which is full of different kinds of people and divided in political dramas of Muslim league and Congress.
She is trying to keep herself busy by studying and rest is history.
It is difficult to review this book, because the story is full of taboos and women just suffering due to others and becoming victims and also, not willing to improve their condition in the name of customs.
January 2, 2019
کافی عرصے سے اس کتاب کو پھڑنے کی تمنا آخر پوری ہوگیئ ،پھڑھ کر خوشی اس لیے ہوی کیونکہ اس ناول میں سے ایک اقتباس ہمارے کورس میں دیا .گیا تھا .تو اس لیے تھوڑی سی جزباتی وابستگی بھی تھی .ہمارے اردو کے استاد محترم سے اس ناول کے بارے میں کلاسیک کا لفظ بھی بہت بارسنا. میں کہانی بتانا اسلئے نہیں بتانا چاہتا کہیں ایک میرا نام سپویلیرزکی فہرست میں نہ آجاے اور دوسرا اس ناول ک پہلے حصّے کو پڑھ کے پتا چل سکتا ہے کہ مصنفہ نے کن تاریخوں اور زمانوں کو چھیڑا ہے . اس ناول کو پڑھنے کے بعد خدیجہ صاحبہ کے اور تصنیفات پھڑنے کی تمنا پیدا ہوگیی ہے ..
October 13, 2019
This book is one of my favourite in Urdu novels
May 19, 2024
After reading Hajra Masroor's short story collection, I decided to read one of the novels by her sister, Khadija Mastur, and so I picked up this one.
The story told in 'Aangan' (translated as 'The Women's Courtyard') starts sometime in the 1930s, before the advent of the Second World War, and ends sometime after the independence of India and Pakistan. Most of the story happens inside one house, and we see events unfolding inside the house, and we hear about external events, through the conversations between different characters. This gives it the feel of a play. Outside the house, important historical events are unfolding, like the struggle for independence from British rule, the Second World War, and later the aftermath of war, the violence of Partition, and the initial days of the two newly independent countries, India and Pakistan. But we see these through the events happening inside a home, when a family member is arrested for protesting against the British, when the family is struggling for basic provisions because of the onset of war, how the Partition divides this particular family into two and separates them permanently. I found this way of telling the story fascinating. Many heartbreaking things happen in the story, which are surrounded by acts of kindness and beautiful scenes. I won't tell you anything about them. I'll leave you to discover them yourself.
The main characters in the story are mostly women. We see the story unfold through one of the main characters, Aliya. She was one of my favourite characters too. She defies the societal norms and restrictions of her time, gets herself an education, goes to work, and even volunteers to teach poor children, much against the wishes of her own mother. I also loved Chammi, Aliya's cousin and best friend, who is a rebel in her own way. Aliya's mother is one of those matriarchs whom we hate from the first scene. The ending of the story is very interesting, and it must have been very pathbreaking for its time. Whether it is happy or sad – you need to read the book to find out.
Khadija Mastur's writing is spare and simple and the pages just fly. There is a beautiful afterword at the end of the book in which the translator Daisy Rockwell puts the book in context and explains why it is a feminist classic. It is beautiful to read. I loved this particular part of that afterword –
"In 1985, the American cartoonist Alison Bechdel created a comic strip depicting a conversation between two women complaining about the male-centric nature of most Hollywood films. One woman tells the other she will only go to movies that 1) have at least two women with distinct identities in them; 2) feature women talking to one another, and 3) portray women talking to each other about something besides a man. This set of three criteria has come to be known as the Bechdel Test, and most films and many books the world over continue to be so infused with patriarchy that they do not pass muster in these terms. Thanks to Mastur's formal experiment, 'The Women's Courtyard' passes the Bechdel Test with flying colours, despite being set in a strongly patriarchal milieu. Mastur does not eliminate male voices; far from it – the men in the family all play prominent roles in the narrative. But her choice makes it possible to privilege women's voices. In this way she also foregrounds an anti-patriarchal feminist politics."
The part of the afterword I hated was where Daisy Rockwell takes potshots at the previous translator of the book, Neelam Hussain, and tries to prove why her translation is better. I hate it when translators do that. Though out of the three examples that Daisy Rockwell quoted, I agreed with her on two of them. There was no need for taking potshots though. Daisy Rockwell has also translated Bhisham Sahni's classic novel 'Tamas'. The previous version of the translation was done by the author himself. So is Daisy Rockwell going to take potshots at the author himself now?
'The Women's Courtyard' is one of the classics of Pakistani Urdu literature. I loved it. It brought back that era alive and I loved how the story is mostly told from the women characters' perspective. I'm hoping to read Khadija Mastur's second novel now.
Have you read 'The Women's Courtyard'? What do you think about it?
The story told in 'Aangan' (translated as 'The Women's Courtyard') starts sometime in the 1930s, before the advent of the Second World War, and ends sometime after the independence of India and Pakistan. Most of the story happens inside one house, and we see events unfolding inside the house, and we hear about external events, through the conversations between different characters. This gives it the feel of a play. Outside the house, important historical events are unfolding, like the struggle for independence from British rule, the Second World War, and later the aftermath of war, the violence of Partition, and the initial days of the two newly independent countries, India and Pakistan. But we see these through the events happening inside a home, when a family member is arrested for protesting against the British, when the family is struggling for basic provisions because of the onset of war, how the Partition divides this particular family into two and separates them permanently. I found this way of telling the story fascinating. Many heartbreaking things happen in the story, which are surrounded by acts of kindness and beautiful scenes. I won't tell you anything about them. I'll leave you to discover them yourself.
The main characters in the story are mostly women. We see the story unfold through one of the main characters, Aliya. She was one of my favourite characters too. She defies the societal norms and restrictions of her time, gets herself an education, goes to work, and even volunteers to teach poor children, much against the wishes of her own mother. I also loved Chammi, Aliya's cousin and best friend, who is a rebel in her own way. Aliya's mother is one of those matriarchs whom we hate from the first scene. The ending of the story is very interesting, and it must have been very pathbreaking for its time. Whether it is happy or sad – you need to read the book to find out.
Khadija Mastur's writing is spare and simple and the pages just fly. There is a beautiful afterword at the end of the book in which the translator Daisy Rockwell puts the book in context and explains why it is a feminist classic. It is beautiful to read. I loved this particular part of that afterword –
"In 1985, the American cartoonist Alison Bechdel created a comic strip depicting a conversation between two women complaining about the male-centric nature of most Hollywood films. One woman tells the other she will only go to movies that 1) have at least two women with distinct identities in them; 2) feature women talking to one another, and 3) portray women talking to each other about something besides a man. This set of three criteria has come to be known as the Bechdel Test, and most films and many books the world over continue to be so infused with patriarchy that they do not pass muster in these terms. Thanks to Mastur's formal experiment, 'The Women's Courtyard' passes the Bechdel Test with flying colours, despite being set in a strongly patriarchal milieu. Mastur does not eliminate male voices; far from it – the men in the family all play prominent roles in the narrative. But her choice makes it possible to privilege women's voices. In this way she also foregrounds an anti-patriarchal feminist politics."
The part of the afterword I hated was where Daisy Rockwell takes potshots at the previous translator of the book, Neelam Hussain, and tries to prove why her translation is better. I hate it when translators do that. Though out of the three examples that Daisy Rockwell quoted, I agreed with her on two of them. There was no need for taking potshots though. Daisy Rockwell has also translated Bhisham Sahni's classic novel 'Tamas'. The previous version of the translation was done by the author himself. So is Daisy Rockwell going to take potshots at the author himself now?
'The Women's Courtyard' is one of the classics of Pakistani Urdu literature. I loved it. It brought back that era alive and I loved how the story is mostly told from the women characters' perspective. I'm hoping to read Khadija Mastur's second novel now.
Have you read 'The Women's Courtyard'? What do you think about it?
January 6, 2019
The day #aangan's promo teasers aired, i got impatient and excited. #sajalali as chammi and #ahadrazamir as jameel bhaiya took my heart with their bittersweet bantering. so when @sangemeel asked me to choose a book for an honest review, guess what i asked for.
it is an award winning novel by the legendary urdu writer khadija mastoor set in the era of early 1900's, when the partition act was about to take place. it portrays the struggles that the Muslims and Hindus faced during that time, and the effect of it on their love life.
i have read way too many steamy scenes in English #literature books and don't bat an eyelid over them, but let me tell y'all, when it happens in Urdu books, they make me blush even if it's plain 'ole hugging, urdu has it's way of planting it's claws in your heart. jameel bhaiya's unrequited love for aaliya made me almost tear my hair out in frustration, but i didn't coz you know, i won't look good bald.
the romanticism was portrayed exquisitely, wheather it be tehmina aapa's ishq, chammi's infatuations or aaliya's loyalty.
the book narrates through aaliya's perspective, taking us all through the cruel past and then eventually mingles with the present.
it is an award winning novel by the legendary urdu writer khadija mastoor set in the era of early 1900's, when the partition act was about to take place. it portrays the struggles that the Muslims and Hindus faced during that time, and the effect of it on their love life.
i have read way too many steamy scenes in English #literature books and don't bat an eyelid over them, but let me tell y'all, when it happens in Urdu books, they make me blush even if it's plain 'ole hugging, urdu has it's way of planting it's claws in your heart. jameel bhaiya's unrequited love for aaliya made me almost tear my hair out in frustration, but i didn't coz you know, i won't look good bald.
the romanticism was portrayed exquisitely, wheather it be tehmina aapa's ishq, chammi's infatuations or aaliya's loyalty.
the book narrates through aaliya's perspective, taking us all through the cruel past and then eventually mingles with the present.
October 21, 2024
What does it mean to be a woman? We have been pressed and moulded into what society expects of us so many times that it seems almost inexplicable to know what it means to be a woman. A woman worthy of love. One worthy of respect. What does it take to be the woman who is both?
What struck me more than the writing was the emotions that Aangan evoked within me. I adored Chammi, her character was so complex. She was constantly berated for not being educated by the same family who refused to educate her. She loved openly and was shunned for it. It was a world of men. And perhaps in this way it still might be. The men decided who they loved, and the women were dragged along. It plays on the emotions of women, who feel so greatly, who are confined to the aangan of their homes. It is in this confinement that they earn respect for being proper, for saving virtue and holding the head of their fathers high. And it is in this confinement that they lose it, for lack of exposure and lack of education as displayed by Chammi.
What struck me more than the writing was the emotions that Aangan evoked within me. I adored Chammi, her character was so complex. She was constantly berated for not being educated by the same family who refused to educate her. She loved openly and was shunned for it. It was a world of men. And perhaps in this way it still might be. The men decided who they loved, and the women were dragged along. It plays on the emotions of women, who feel so greatly, who are confined to the aangan of their homes. It is in this confinement that they earn respect for being proper, for saving virtue and holding the head of their fathers high. And it is in this confinement that they lose it, for lack of exposure and lack of education as displayed by Chammi.
October 3, 2023
یہ ناول میں نے تب پڑھا تھا جب میں انٹر کی سٹوڈنٹ تھی۔ کالج کی لائبریری سے میری دوست نے ایشو کرایا تو مجھے بھی پڑھنے کو دیا، ہمیں اس ناول کا پتہ اسطرح چلا کہ اس کا کچھ حصہ ہماری اردو کی کتاب میں پڑھایا گیا تھا۔ سٹوڈنٹس کو ذرا دھیان دینا چاہیئے آپ کی نصاب کی کتاب میں کسی ناول کا ایک دو صفحہ اگر شامل کر ہی لیا گیا ہے تو برائے مہربانی ایسے شاہکار ناول کو نظرانداز نہ کریں اور اسے پڑھیں آپ کا خود پہ بہت بڑا احسان ہو گا۔
October 23, 2019
As published in LitGleam: October Issue
Mastur’s ‘The Women’s Courtyard’ brings to focus, the ‘aangan’ of a house, and the epicenter to most household chores, discussions, and storytelling. It is a place that is primarily governed by the women of the house. Set in the 1940s, ‘The Women’s Courtyard’ is the tale of a Muslim family that is equally influenced by pre-partition events and ingrained patriarchy.
After a brief ‘Past’ where Aliya’s life turns upside down due to the loss of her sister and her father being sent to jail, Aliya and her mother move into her uncle’s house. Thus, Aliya finds herself coming to age in a strange household where political aspirations are rupturing a perfectly healthy household.
Aliya has been hardened by her past experiences and is detached from what’s happening in this house, neglected most of the time. She cries tears of rage in the solitude of her room, accusing people of the choices they make, she despises love and is a strong advocate of how love can only bring destruction, never happiness. Disgusted by Jameel’s advances and declaration of love especially after losing her sister Tehmina and her friend Kusum to suicide in the hands of their lovers, Aliya maintains a safe distance, never entertaining or acknowledging any of it.
Aliya admires (almost blindly) her father and her uncle because of their strong political opinions, but criticizes them when there is an imbalance in the household. Her knowledge of the ongoing fight for independence and the difference in ideologies between Congress and The Muslim League comes from the debates brought into the courtyard by the men. Her life is confined to this courtyard, detached from the outside world and its influence.
“How strangely he was asserting his authority over the household today, and just because his political beliefs were being mocked.”
Aliya’s mother- cynical and cruel, can be very opinionated at times. She openly condemns her mother-in-law’s inability to poison her own daughter because of her marriage to a poor farmer. She shows immense strength in the face of crisis, the absence of a male member in the family in this case, but also repels happiness by always finding a grim thought to latch on to.
Similarly, each woman in this house has their fair share of loss and disappointment. They can be seen expressing their opinions either through loud tones and rebellious actions or by muttering to themselves how their small and humble world is now falling apart. Aliya, on the other hand, defies the social norms and finishes her education without falling into the trap of forced marriage or everyday chores.
The Women’s Courtyard focuses on the life of the women of the house, who are not allowed to have political aspirations (or opinions, for that matter) and are constantly tormented by the fact that the men would rather give their lives up for the country than take care of their own house. The only way partition enters this courtyard is through the men. They are the harbingers of news, good and bad alike. As the country fights for freedom, the women struggle to hold the house together and provide to its inhabitants, the very basic needs in life.
Mastur’s prose lacks sentimentality and is neither flowery nor ornate. The narration can be considered merely as an observation of sorts. While the women are constantly tormented, their love for their male counterparts and their sons is immense and that is what holds this family together.
The courtyard can be considered as a stage, the characters being puppets of the patriarchy. Not even once does the narrative venture out of this courtyard. The story brings us out of the political turmoil that we all enjoy reading (stories of bloodshed and fights rarely enter this courtyard) and dunks us into the lives of the women, always home, worried and scared out of their wits (especially during riots and rallies). While the story talks about political ideologies, the narrator doesn’t want to impose them on us or ask us to form an opinion and pick a side. Instead, we are told about the systematic violence that exists within the four walls of a house, a lack of freedom in the name of tradition and customs.
The story cannot be considered a feminist story as such because the women are confined to a geographical location, going about their assigned tasks and subjected to the unkindness of the patriarchy at all times. Aliya voices her opinions but never in a way that will cause a shift in power within the house. Her monologues are spoken best during the late hours or in moments of isolation.
Daisy Rockwell’s translation is the second version of the book that was initially translated as ‘The Inner Courtyard’. Rockwell’s translation from Urdu can be described as crisp, preserving the true essence of the original text. A look at the afterword is essential to understand where she stands with the book and what influenced her to translate this book into English.
‘The Women’s Courtyard’ renders an independent voice to the women stuck in domesticity, repressed by unjustified patriarchy and forced to live a life without purpose or opinions.
Mastur’s ‘The Women’s Courtyard’ brings to focus, the ‘aangan’ of a house, and the epicenter to most household chores, discussions, and storytelling. It is a place that is primarily governed by the women of the house. Set in the 1940s, ‘The Women’s Courtyard’ is the tale of a Muslim family that is equally influenced by pre-partition events and ingrained patriarchy.
After a brief ‘Past’ where Aliya’s life turns upside down due to the loss of her sister and her father being sent to jail, Aliya and her mother move into her uncle’s house. Thus, Aliya finds herself coming to age in a strange household where political aspirations are rupturing a perfectly healthy household.
Aliya has been hardened by her past experiences and is detached from what’s happening in this house, neglected most of the time. She cries tears of rage in the solitude of her room, accusing people of the choices they make, she despises love and is a strong advocate of how love can only bring destruction, never happiness. Disgusted by Jameel’s advances and declaration of love especially after losing her sister Tehmina and her friend Kusum to suicide in the hands of their lovers, Aliya maintains a safe distance, never entertaining or acknowledging any of it.
Aliya admires (almost blindly) her father and her uncle because of their strong political opinions, but criticizes them when there is an imbalance in the household. Her knowledge of the ongoing fight for independence and the difference in ideologies between Congress and The Muslim League comes from the debates brought into the courtyard by the men. Her life is confined to this courtyard, detached from the outside world and its influence.
“How strangely he was asserting his authority over the household today, and just because his political beliefs were being mocked.”
Aliya’s mother- cynical and cruel, can be very opinionated at times. She openly condemns her mother-in-law’s inability to poison her own daughter because of her marriage to a poor farmer. She shows immense strength in the face of crisis, the absence of a male member in the family in this case, but also repels happiness by always finding a grim thought to latch on to.
Similarly, each woman in this house has their fair share of loss and disappointment. They can be seen expressing their opinions either through loud tones and rebellious actions or by muttering to themselves how their small and humble world is now falling apart. Aliya, on the other hand, defies the social norms and finishes her education without falling into the trap of forced marriage or everyday chores.
The Women’s Courtyard focuses on the life of the women of the house, who are not allowed to have political aspirations (or opinions, for that matter) and are constantly tormented by the fact that the men would rather give their lives up for the country than take care of their own house. The only way partition enters this courtyard is through the men. They are the harbingers of news, good and bad alike. As the country fights for freedom, the women struggle to hold the house together and provide to its inhabitants, the very basic needs in life.
Mastur’s prose lacks sentimentality and is neither flowery nor ornate. The narration can be considered merely as an observation of sorts. While the women are constantly tormented, their love for their male counterparts and their sons is immense and that is what holds this family together.
The courtyard can be considered as a stage, the characters being puppets of the patriarchy. Not even once does the narrative venture out of this courtyard. The story brings us out of the political turmoil that we all enjoy reading (stories of bloodshed and fights rarely enter this courtyard) and dunks us into the lives of the women, always home, worried and scared out of their wits (especially during riots and rallies). While the story talks about political ideologies, the narrator doesn’t want to impose them on us or ask us to form an opinion and pick a side. Instead, we are told about the systematic violence that exists within the four walls of a house, a lack of freedom in the name of tradition and customs.
The story cannot be considered a feminist story as such because the women are confined to a geographical location, going about their assigned tasks and subjected to the unkindness of the patriarchy at all times. Aliya voices her opinions but never in a way that will cause a shift in power within the house. Her monologues are spoken best during the late hours or in moments of isolation.
Daisy Rockwell’s translation is the second version of the book that was initially translated as ‘The Inner Courtyard’. Rockwell’s translation from Urdu can be described as crisp, preserving the true essence of the original text. A look at the afterword is essential to understand where she stands with the book and what influenced her to translate this book into English.
‘The Women’s Courtyard’ renders an independent voice to the women stuck in domesticity, repressed by unjustified patriarchy and forced to live a life without purpose or opinions.
Read
December 17, 2024look at my people dawg 😭😭😭 we're never getting to a collective higher consciousness!!!!
matlab partition time k literature tak mein bhi hamari zindigiyan saas bahu larayan aur berozgar damad type gharailu issues tak mehdood hain
matlab partition time k literature tak mein bhi hamari zindigiyan saas bahu larayan aur berozgar damad type gharailu issues tak mehdood hain
August 17, 2023
3.5 stars
August 10, 2021
Why is this book good?
There are many many reviews to tell you that. I would have been pleased to enjoy it the same but there were things that I couldn't go past and it has left me feeling angry at the book. (Review might belong)
• Feminism: The book was noted to be an important piece of literature showing women's inner life, their miseries in society (basically importance of feminism) but I would say it has outright failed at it.
The book starts by establishing how the sole achievement for women getting married leads to their demise. Then this only adds trauma to the story rather than a base of needing change.
Next, when we see Amma living her life dependant on people and cursing them, When we see Aunty constantly crying over misfortunes due to the country's freedom fight but never having enough reason to understand that enemy isn't her family but the system itself or When we see Bua's unnecessary bulling of Asrar Miyan, you don't think that their life in society would be better if these women had rights and equality. This perspective puts women in a bad light and almost feels like an encouragement that women are dumb and society is right to oppress them.
Secondly, we see more technically strong characters such as Najma Aunty, who does encourage better thinking and new changes but ends up suffering; Aliya who fights her way through misfortunes only to keep having conflicting thoughts throughout the story; and Chammi who is stubborn and often indiscipline, paves her away and wins at last, by marrying the man she wanted, completely giving in to the thought that women's achievement is finding a groom.
• Characters:
Repetitive - nobody in this book makes any progress whatsoever. Each character stays right where they had been or dies. Nobody solves anything, nobody takes wise decisions and everyone has complaints on everything which are justified by blaming something or something else. Why is every character shown so much incapable to grow in thoughts at the least? Sure, war and freedom struggle stop them from making financial progress but why does the story cage them into their story for more than 10 years?
Conflicting - The narrator is highly conflicting. She will cry to be independent and in the same scene will curse someone for not providing enough. She will feel enraged by the ongoing norms of society and wish death upon the same people she pities. Throughout the story, she hates the dreamy promises of love, only to end up choosing her dead sister's lover as a life partner in the climax and then in the right next paragraph shouting how she would never marry. A feeling of defeat to not have found a suitable match follows this scene. Pardon me but that's beyond my understanding.
• Partition: Characters are disputing over sides just as the country was but fail to show the sufferings people faced due to colonialism and politics. Instead of paints a picture that citizens and their internal conflicts (or even lack of sense) were the reason for suffering depriving the reader to sympathies for respectful freedom fighters and the general public of that time.
- These were my experience with the book. I do not claim my perspective as the accurate interpretation of the book but just a different look along with all the appreciative reviews out there.
There are many many reviews to tell you that. I would have been pleased to enjoy it the same but there were things that I couldn't go past and it has left me feeling angry at the book. (Review might belong)
• Feminism: The book was noted to be an important piece of literature showing women's inner life, their miseries in society (basically importance of feminism) but I would say it has outright failed at it.
The book starts by establishing how the sole achievement for women getting married leads to their demise. Then this only adds trauma to the story rather than a base of needing change.
Next, when we see Amma living her life dependant on people and cursing them, When we see Aunty constantly crying over misfortunes due to the country's freedom fight but never having enough reason to understand that enemy isn't her family but the system itself or When we see Bua's unnecessary bulling of Asrar Miyan, you don't think that their life in society would be better if these women had rights and equality. This perspective puts women in a bad light and almost feels like an encouragement that women are dumb and society is right to oppress them.
Secondly, we see more technically strong characters such as Najma Aunty, who does encourage better thinking and new changes but ends up suffering; Aliya who fights her way through misfortunes only to keep having conflicting thoughts throughout the story; and Chammi who is stubborn and often indiscipline, paves her away and wins at last, by marrying the man she wanted, completely giving in to the thought that women's achievement is finding a groom.
• Characters:
Repetitive - nobody in this book makes any progress whatsoever. Each character stays right where they had been or dies. Nobody solves anything, nobody takes wise decisions and everyone has complaints on everything which are justified by blaming something or something else. Why is every character shown so much incapable to grow in thoughts at the least? Sure, war and freedom struggle stop them from making financial progress but why does the story cage them into their story for more than 10 years?
Conflicting - The narrator is highly conflicting. She will cry to be independent and in the same scene will curse someone for not providing enough. She will feel enraged by the ongoing norms of society and wish death upon the same people she pities. Throughout the story, she hates the dreamy promises of love, only to end up choosing her dead sister's lover as a life partner in the climax and then in the right next paragraph shouting how she would never marry. A feeling of defeat to not have found a suitable match follows this scene. Pardon me but that's beyond my understanding.
• Partition: Characters are disputing over sides just as the country was but fail to show the sufferings people faced due to colonialism and politics. Instead of paints a picture that citizens and their internal conflicts (or even lack of sense) were the reason for suffering depriving the reader to sympathies for respectful freedom fighters and the general public of that time.
- These were my experience with the book. I do not claim my perspective as the accurate interpretation of the book but just a different look along with all the appreciative reviews out there.
This entire review has been hidden because of spoilers.
December 23, 2018
4.5/5 stars.
Has to be the first classic that chugged with such vigor. I couldn't stop reading it, or thinking about it when I wasn't reading it. The characters, their lives, the atmosphere, all of it kept calling to me. Even though the story plowed through the dullest part of the independence, and you could practically feel the character's boredom with the stagnancy of their courtyard as the whole political uproar happened, the story had this way of unfolding that kept me wanting for more, kept me wishing to see it through.
This book is about a family that got disrupted during the political unrest that started around the 1930s in British-ruled-Hindustan. The male cast of the character had a different political view and agenda each. One believed in a two nation's theory, another just wanted to get rid of the British-Raj, then there was a character (female) who believed that keeping British rule was the best way of surviving. So all of that differing opinions, all of that uncertainty, in a single household. That too, in the shadow of a long history of being elites then suddenly turning poor because of a recently failed independence movement.
Then there were tons of emotion of growing up in such closed-up space. For Aaliya, the main leading lady, it felt to me that this cramped up space didn't allow her to think her decisions through. To really understand where she stood in the greater picture. What was it that she really wanted. That's why she ended up the way she did. It was harrowing to read that end.
I picked up this book since it has started to get dramatized in Pakistan's telly, just wanted to see if it was something I'm willing to be invested on enough to catch up weekly episodes, hadn't realized that I would fall so madly in love with these characters and story, even though it covers such a small picture of such a big historic event. P.S, can't wait to see Ahad Raza Mir as Jameel now, as his character is already so close to my heart and I'm already in so much pain for him.
And if anyone is thinking that why did I gave fewer stars if I loved this book this much, then the answer is that even though the name and synopsis suggested it already, when I began reading a pre-partition novel, I was expecting the author to make us see some teeny-tiny amount of struggle the males of that time did. In our country, the literature seems to only focus on females. Other aspects of the picture always get lost.
Still, a highly recommended book that would really shed some light on this really interesting historical period and of a really less talked about after-effect of the World War II. Still, I wish to find some historical literature of pre-partition that would show me the struggles of the men of that time. What happened in the streets? Why did those characters keep visiting Patna or Delhi? What was happening there? From a fictional perspective. Any suggestions would be highly appreciated. :)
Has to be the first classic that chugged with such vigor. I couldn't stop reading it, or thinking about it when I wasn't reading it. The characters, their lives, the atmosphere, all of it kept calling to me. Even though the story plowed through the dullest part of the independence, and you could practically feel the character's boredom with the stagnancy of their courtyard as the whole political uproar happened, the story had this way of unfolding that kept me wanting for more, kept me wishing to see it through.
This book is about a family that got disrupted during the political unrest that started around the 1930s in British-ruled-Hindustan. The male cast of the character had a different political view and agenda each. One believed in a two nation's theory, another just wanted to get rid of the British-Raj, then there was a character (female) who believed that keeping British rule was the best way of surviving. So all of that differing opinions, all of that uncertainty, in a single household. That too, in the shadow of a long history of being elites then suddenly turning poor because of a recently failed independence movement.
Then there were tons of emotion of growing up in such closed-up space. For Aaliya, the main leading lady, it felt to me that this cramped up space didn't allow her to think her decisions through. To really understand where she stood in the greater picture. What was it that she really wanted. That's why she ended up the way she did. It was harrowing to read that end.
I picked up this book since it has started to get dramatized in Pakistan's telly, just wanted to see if it was something I'm willing to be invested on enough to catch up weekly episodes, hadn't realized that I would fall so madly in love with these characters and story, even though it covers such a small picture of such a big historic event. P.S, can't wait to see Ahad Raza Mir as Jameel now, as his character is already so close to my heart and I'm already in so much pain for him.
And if anyone is thinking that why did I gave fewer stars if I loved this book this much, then the answer is that even though the name and synopsis suggested it already, when I began reading a pre-partition novel, I was expecting the author to make us see some teeny-tiny amount of struggle the males of that time did. In our country, the literature seems to only focus on females. Other aspects of the picture always get lost.
Still, a highly recommended book that would really shed some light on this really interesting historical period and of a really less talked about after-effect of the World War II. Still, I wish to find some historical literature of pre-partition that would show me the struggles of the men of that time. What happened in the streets? Why did those characters keep visiting Patna or Delhi? What was happening there? From a fictional perspective. Any suggestions would be highly appreciated. :)
March 21, 2019
An Elegant and poignant book. Every character is genuine and wants to save his deprivations. It was included in the course of urdu literature class. Professors of college usually use the word 'classic' for this novel. But at that particular time student ignore such things. Now in couple of months back A darama has been directed on the idea if aangan. I'm 100% sure it will be modified form of book and i pray its end should be different from the book.
I always want to read happy endings but my most of the books end-up sad. Which left me tearful and in strange state of mind .
Khadija Mastoor wrote a periodic story which take us to past in sub-continent. And families disturb and deteriorate due to politics of Congress and AIML politics. At other hand britain played very negative role in the life of people of sub-continent. This book took reader to the era , the home of a big family before partition and multifarious ways to diversify their loyalties with country and the family.
This novel based on multiple love stories some remain unsuccessful, leads towards death and some are successful in their attempts but after a hard struggle and pain.
After reading many books i always read and writer focused on one thing if you love someone and he/she didn't respond leave him/her but if the case is vice versa then keep that person with you for life time this type of love will not faded away. But Aliya's character left a question over these statements. Why not she fall in love with her beloved even she know the reality of his love. If i re-visit it i found an answer she remain failed because she tried to learn from those people who remain unsuccessful in this journey and that failure led them to death.
A book should not teach others to be paranoid and scared of falling in love.
Nonetheless,it is brilliantly written book by Khadija Mastoor. Angan is indeed a story which has courtyard from the gardens of past.
I always want to read happy endings but my most of the books end-up sad. Which left me tearful and in strange state of mind .
Khadija Mastoor wrote a periodic story which take us to past in sub-continent. And families disturb and deteriorate due to politics of Congress and AIML politics. At other hand britain played very negative role in the life of people of sub-continent. This book took reader to the era , the home of a big family before partition and multifarious ways to diversify their loyalties with country and the family.
This novel based on multiple love stories some remain unsuccessful, leads towards death and some are successful in their attempts but after a hard struggle and pain.
After reading many books i always read and writer focused on one thing if you love someone and he/she didn't respond leave him/her but if the case is vice versa then keep that person with you for life time this type of love will not faded away. But Aliya's character left a question over these statements. Why not she fall in love with her beloved even she know the reality of his love. If i re-visit it i found an answer she remain failed because she tried to learn from those people who remain unsuccessful in this journey and that failure led them to death.
A book should not teach others to be paranoid and scared of falling in love.
Nonetheless,it is brilliantly written book by Khadija Mastoor. Angan is indeed a story which has courtyard from the gardens of past.
December 27, 2018
خدیجہ مستور کے نام سے کون واقف نہیں؟! وہ اردو ادب کے افق کا وہ درخشندہ ستارہ ہیں جن کی تحاریر آج تلک ادب کی جگمگاتی دنیا کو منور کر رہیں ہیں!
کوئ بدذوق ہی ہوگا جسے یہ کہانی پسند نہ آئ ہو. خدیجہ مستور نے نہایت ہی خوش اسلوبی کے ساتھ اس قابل تعریف کہانی کو سینچا ہے اور بہترین طریقے سے کرداروں کی عکاسی کرتے ہوے اس ناول کو ذینت بخشی ہے. جمیل, چھمی اور عالیہ کی محبتوں کو دلکش انداز میں نہ صرف بیان کیا ہے بلکہ تمام کرداروں کے ذریعے تقسیم ہند کے وقت عوام کے مختلف جذبات اور نظریعے منظر عام پر لائں.
عاالیہ ایک حساس طبیعت کی مالک ہے جس کا اعتبار محبت سے اٹھ چکا ہے. اسی طبیعت کی وجہ سے وہ جمیل اور باقی مردوں کی محبت سے دور بھاگتی ہے. اس کے برعکس چھمی نہایت چلبلی, لڑاکا اور اپنی مرضی کی مالک ہے جو محبت کی تلاش میں سرگرداں رہتی ہے. ان دونوں لڑکیوں کا رشتہ گہرا اور محبت سے بھرپور ہے. جمیل بھیا تو اس وقت کے جوان اور پرجوش مردوں کی عکاسی کرتے ہیں جو اس دور میں آزادی کی لڑائ میں انگریز کے خلاف پروپوگینڈے میں بھرپور حصہ لیتے تھے! ان 3 لوگوں کی کہانی ہی آنگن کی جان ہے.
گو کہ عالیہ کے انجام سے میں کافی رنجیدہ تھی مگر چھمی اور جمیل کے اختتام نے مجھے کافی مطمئن کیا. اس کہانی میں شاید محبت صرف چھمی کے ہی نصیب میں تھی!
کوئ بدذوق ہی ہوگا جسے یہ کہانی پسند نہ آئ ہو. خدیجہ مستور نے نہایت ہی خوش اسلوبی کے ساتھ اس قابل تعریف کہانی کو سینچا ہے اور بہترین طریقے سے کرداروں کی عکاسی کرتے ہوے اس ناول کو ذینت بخشی ہے. جمیل, چھمی اور عالیہ کی محبتوں کو دلکش انداز میں نہ صرف بیان کیا ہے بلکہ تمام کرداروں کے ذریعے تقسیم ہند کے وقت عوام کے مختلف جذبات اور نظریعے منظر عام پر لائں.
عاالیہ ایک حساس طبیعت کی مالک ہے جس کا اعتبار محبت سے اٹھ چکا ہے. اسی طبیعت کی وجہ سے وہ جمیل اور باقی مردوں کی محبت سے دور بھاگتی ہے. اس کے برعکس چھمی نہایت چلبلی, لڑاکا اور اپنی مرضی کی مالک ہے جو محبت کی تلاش میں سرگرداں رہتی ہے. ان دونوں لڑکیوں کا رشتہ گہرا اور محبت سے بھرپور ہے. جمیل بھیا تو اس وقت کے جوان اور پرجوش مردوں کی عکاسی کرتے ہیں جو اس دور میں آزادی کی لڑائ میں انگریز کے خلاف پروپوگینڈے میں بھرپور حصہ لیتے تھے! ان 3 لوگوں کی کہانی ہی آنگن کی جان ہے.
گو کہ عالیہ کے انجام سے میں کافی رنجیدہ تھی مگر چھمی اور جمیل کے اختتام نے مجھے کافی مطمئن کیا. اس کہانی میں شاید محبت صرف چھمی کے ہی نصیب میں تھی!
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May 27, 2023!!!!!کیا تھا یہ
سمجھ ہی نہیں آ رہا کتنے اسٹارز دوں۔
سمجھ ہی نہیں آ رہا کتنے اسٹارز دوں۔
November 18, 2019
| Book Review | The Women's Courtyard
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There are certain books that you desperately wish to fall in love with. You wait till the very last chapter to see if all those hours of reading are worth it. While few of the stories turn for the best, there are others that simply fail to impress us. The Women's Courtyard, for me falls into the latter category. Originally written in1962, this novel was and still is considered to be a feminist masterpiece. But I can't help but wonder why? Don't mind me when I say that the entire experience of enjoying this book was somehow lost on me. I do however loved the manner in which Daisy Rockwell has translated this novel. So much so that one cannot even make out the fact that it was originally written in Urdu.
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Set during the pre and post Independence era, The Women's Courtyard is about the lives of women within a particular household. Aliya, the protagonist takes us through the plight of women when their husbands and sons take part in rallies against British and join religious parties. While few of the men are imprisoned, few die and others remain unemployed, it's the women who bear the brunt of it. I probably wouldn't have known the underlying feminism that the book holds if I hadn't read about it earlier. The female characters are all shades of temperament ranging from the quiet Tehmina to the unabashedly shameless Amma. I do understand how Mastur has tried to create a stark contrast between the women but I often felt that most of it was unnecessary.
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While women of the house managed and rationed the limited food and other commodities, the men liked to lounge around. From having to deal with her father who is imprisoned to the uncle who doesn't work, Aliya seems to have an abundance of love for every other character except Jameel. Jameel's constant pleads to marry him was lost on Aliya. Her feelings towards love was repulsive for the things her sister and neighbour had to suffer. Considering how she felt about love, it was surprising to see how the book ended. It was rushed, messy and extremely unwanted. Although this book has garnered much love across the community, I'm afraid I do not feel the same way.
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3/5.
•
There are certain books that you desperately wish to fall in love with. You wait till the very last chapter to see if all those hours of reading are worth it. While few of the stories turn for the best, there are others that simply fail to impress us. The Women's Courtyard, for me falls into the latter category. Originally written in1962, this novel was and still is considered to be a feminist masterpiece. But I can't help but wonder why? Don't mind me when I say that the entire experience of enjoying this book was somehow lost on me. I do however loved the manner in which Daisy Rockwell has translated this novel. So much so that one cannot even make out the fact that it was originally written in Urdu.
•
Set during the pre and post Independence era, The Women's Courtyard is about the lives of women within a particular household. Aliya, the protagonist takes us through the plight of women when their husbands and sons take part in rallies against British and join religious parties. While few of the men are imprisoned, few die and others remain unemployed, it's the women who bear the brunt of it. I probably wouldn't have known the underlying feminism that the book holds if I hadn't read about it earlier. The female characters are all shades of temperament ranging from the quiet Tehmina to the unabashedly shameless Amma. I do understand how Mastur has tried to create a stark contrast between the women but I often felt that most of it was unnecessary.
•
While women of the house managed and rationed the limited food and other commodities, the men liked to lounge around. From having to deal with her father who is imprisoned to the uncle who doesn't work, Aliya seems to have an abundance of love for every other character except Jameel. Jameel's constant pleads to marry him was lost on Aliya. Her feelings towards love was repulsive for the things her sister and neighbour had to suffer. Considering how she felt about love, it was surprising to see how the book ended. It was rushed, messy and extremely unwanted. Although this book has garnered much love across the community, I'm afraid I do not feel the same way.
•
3/5.
June 1, 2020
Saddening. Heartbreaking. Disturbing. Tragic.
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ye kahani hai us waqt ki jab bar e sagheer apni azadi kay lie jang lar rha tha, aur musalman apny azad mulk kay lie.
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hum ye to bachpan se sunty prhty arhy hain kay kis kis trha humaray leaders aur humary jawano ne apni zindagi azadi ki jang k lie waqf kardi.
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Khadija Mastoor ne bari khubsurti se is novel me bayan kia hai, kay us jang kay aam gharano pr kia asraat ho rhy thy? un ki zindagi kis trha guzar rahi thi? wo kin halaat se guzar rahy thy?
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un aam aurton ki kahani hai, jin kay jawan bety jang larny muhaaz pr puhnch jaya karty thy, un bachon ki kahani btayi hai jin kay baap ki zindagi ka maqsad sirf siyasat aur azadi reh gya tha, apni sari tawajo apni sari kamayi siyasat aur funds me dety rhy aur ghr me faqy chaly.
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ye mulk itni asani se to azad nahi hua, is trha kay hazaron lakhon logon ne apni zindagi ko azab me dhakela, apny khandan dao pr lgaye, tab ja kar ye sar zameen azad hui.
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muhabbat, wafa, bewafayi, azadi, judayi, mayoosi, bay'basi, la'chaargi. kitny pehlu hain is kahani k. aur hr ek hi udas kr dene wala hai.
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ye kahani hai us waqt ki jab bar e sagheer apni azadi kay lie jang lar rha tha, aur musalman apny azad mulk kay lie.
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hum ye to bachpan se sunty prhty arhy hain kay kis kis trha humaray leaders aur humary jawano ne apni zindagi azadi ki jang k lie waqf kardi.
.
Khadija Mastoor ne bari khubsurti se is novel me bayan kia hai, kay us jang kay aam gharano pr kia asraat ho rhy thy? un ki zindagi kis trha guzar rahi thi? wo kin halaat se guzar rahy thy?
.
un aam aurton ki kahani hai, jin kay jawan bety jang larny muhaaz pr puhnch jaya karty thy, un bachon ki kahani btayi hai jin kay baap ki zindagi ka maqsad sirf siyasat aur azadi reh gya tha, apni sari tawajo apni sari kamayi siyasat aur funds me dety rhy aur ghr me faqy chaly.
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ye mulk itni asani se to azad nahi hua, is trha kay hazaron lakhon logon ne apni zindagi ko azab me dhakela, apny khandan dao pr lgaye, tab ja kar ye sar zameen azad hui.
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muhabbat, wafa, bewafayi, azadi, judayi, mayoosi, bay'basi, la'chaargi. kitny pehlu hain is kahani k. aur hr ek hi udas kr dene wala hai.
May 8, 2020
Appalled at how much personality-free cousin Jamil harassed Alliya to be with him in her own home! This would always be a relationship of him being an imposition. huge respect to Khadija Mastoor for not forcing a romance in there.
I guess this is a novel about the patience and reluctant submission of women due to sheer stubbornness from men and mothers... how our parents damage us and each other for "our own good".
In that way it hits home. Made me extremely sad. Like the cover had barbed wire around the girl's neck; I guess it was going to be bleak.
I guess this is a novel about the patience and reluctant submission of women due to sheer stubbornness from men and mothers... how our parents damage us and each other for "our own good".
In that way it hits home. Made me extremely sad. Like the cover had barbed wire around the girl's neck; I guess it was going to be bleak.
March 13, 2023
The only reason I read this book was because it has a chapter in book and my Urdu teacher said that in the end Aliya said main kisi se shadi nahi main kisi se shadi nahi Karun gi...ar main intni heeran hogayi k main ne kha k akhir Kia hua Jo Aliya is tarah k end pe phunchi. Ar phir Kia bus University main phncty hi sab se phly yh parhi. Ar jab Tak khatam na hui tab Tak rakhi nahi. Ar maze ki baat yh hai k yh Kitab main ne library main parhi🥺
June 18, 2022
For the writing of Khadija mastoor i will like to say it's breathtaking, but for the story of this book i will say that it was good reading this book was intense pleasure i like it story was good but i don't like the ending i don't know if it is fooly of me or something but i don't like the ending, but i do like the pleasure of hearing it because i hear it,
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