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Dahar: The Fallen Kingdom
A HISTORICAL NOVEL — PART TWO OF THE ALOR TRILOGY.
An illicit marriage that defies everything. An epic story of Dahar.
Haunted by prophecy and driven by faith in the stars, Raja Dahar’s every step leads him deeper into ruin. His marriage to his sister Bai stirs outrage and cements his tragic entanglement with fate. In his battle to secure Sindh’s future, Dahar becomes fate’s pawn, unable to stop the kingdom’s descent into darkness.
The Alor Trilogy blends history and fiction into a vibrant medley of valor, sacrifice, and ambition. Through the voices of kings, queens, and commoners, the spirit of Sind and Hind reverberates, inviting readers to relive the pulse of a long-forgotten past.
200 pages, Hardcover
Published September 3, 2023
About the author
Mujeeb Burdi
10 booksMujeeb Burdi is an award-winning Pakistani writer and novelist whose latest work, "The Winds Remember Her" (2025), stands as the most complete expression of his signature elegiac historical realism. Set across colonial India and early Pakistan, it follows the life of Alya Koreshi (1903–1966), tracing memory, belonging, and forbidden love with a quiet, disciplined grace. Through its rhythmic prose, measured tenderness and reflective clarity, the novel has reaffirmed Burdi’s place among the compelling contemporary voices of South Asian literature.
His other major works reveal a sustained engagement with history as lived conscience. The acclaimed Alor Trilogy—"Chach: The Rise of a Soul" (2023), "Dahar: The Fallen Kingdom" (2023), and "Kasim: Sands of Conquest" (2023)—exists in two distinct narrative forms: "The Aryan Bheel Narrative", grounded in archaeological memory and historical fragments; and "The Ladye Od Narrative", lived through moral presence within time.
The Aryan Bheel Narrative presents the lives of Chach, Dahar, and Kasim as remembered by an aging archaeologist whose fractured recollections surface history through ruins, inscriptions, and loss. This telling leans toward recorded events, fragments, and what survives the passage of centuries.
The Ladye Od Narrative follows a radically different witness—an astrophysicist trapped within a looping corridor of time—who lives through the rise and fall of Chach, Dahar, and Kasim with a clarity no historian could possess. History here turns inward, shaped by conscience rather than record.
Both narrative forms recount the same era. They do not replace one another. They reveal history from different human positions. These narratives were later published in consolidated form as "Alor: The Fall of All" (2023 and 2025), bringing the kingdom’s arc into a single testament of endurance.
Another major work, "Alor Reckoning" (2026), shifts the centre of the Alor history toward its women—Suhandi, Bai, and Ladi—whose presence deepens the moral and emotional register of Sindh’s past.
His novella "Beauty in the Chaos" (2024) deepens his exploration of the human condition across the strains of faith, governance, and belonging. Before his novels and novellas, Burdi’s Sindhi-language plays and short stories, including "Nijaat" (Salvation, 2016) and "Goongi" (Mute, 2018), earned recognition for their measured intensity of plots, civic sensibility and restrained emotional power. His early collection of short stories, "Peran Ji Golha Me Niktal Boot", first published in Sindhi in 1994, remains valued for its austere lyricism and its insight into displacement and silence; its English translation, "Shoes Seeking Feet", appears in 2025. His literary autobiography "The Shoes in Search of Feet" (2024) extends his interrogative endeavor, placing the writer before his own characters—holding himself accountable to the moral, artistic, and existential questions they raise.
Critics often describe his writing as a synthesis of lyrical history, magical realism, and a subtle trace of the marvelous. Like William Faulkner, he constructs layered temporalities and haunted landscapes where memory becomes truth; like Virginia Woolf, he privileges inner perception over outward event, tracing the quiet pulse of consciousness with meditative precision. Yet his voice remains distinctly his own—rooted in the historical and spiritual textures of Sindh, attuned to silence, exile, and endurance rather than nostalgia. His work shares an ethical kinship with Qurratulain Hyder and Intizar Hussain: it restores the past through compassion rather than grandeur, creating a language where remembrance becomes renewal.
A native of Larkana in Sindh, Pakistan, and a graduate in English Literature from the University of Sindh (1995), Mujeeb Burdi has cultivated a prose of remembrance—lucid, measured, and historically alert.
His other major works reveal a sustained engagement with history as lived conscience. The acclaimed Alor Trilogy—"Chach: The Rise of a Soul" (2023), "Dahar: The Fallen Kingdom" (2023), and "Kasim: Sands of Conquest" (2023)—exists in two distinct narrative forms: "The Aryan Bheel Narrative", grounded in archaeological memory and historical fragments; and "The Ladye Od Narrative", lived through moral presence within time.
The Aryan Bheel Narrative presents the lives of Chach, Dahar, and Kasim as remembered by an aging archaeologist whose fractured recollections surface history through ruins, inscriptions, and loss. This telling leans toward recorded events, fragments, and what survives the passage of centuries.
The Ladye Od Narrative follows a radically different witness—an astrophysicist trapped within a looping corridor of time—who lives through the rise and fall of Chach, Dahar, and Kasim with a clarity no historian could possess. History here turns inward, shaped by conscience rather than record.
Both narrative forms recount the same era. They do not replace one another. They reveal history from different human positions. These narratives were later published in consolidated form as "Alor: The Fall of All" (2023 and 2025), bringing the kingdom’s arc into a single testament of endurance.
Another major work, "Alor Reckoning" (2026), shifts the centre of the Alor history toward its women—Suhandi, Bai, and Ladi—whose presence deepens the moral and emotional register of Sindh’s past.
His novella "Beauty in the Chaos" (2024) deepens his exploration of the human condition across the strains of faith, governance, and belonging. Before his novels and novellas, Burdi’s Sindhi-language plays and short stories, including "Nijaat" (Salvation, 2016) and "Goongi" (Mute, 2018), earned recognition for their measured intensity of plots, civic sensibility and restrained emotional power. His early collection of short stories, "Peran Ji Golha Me Niktal Boot", first published in Sindhi in 1994, remains valued for its austere lyricism and its insight into displacement and silence; its English translation, "Shoes Seeking Feet", appears in 2025. His literary autobiography "The Shoes in Search of Feet" (2024) extends his interrogative endeavor, placing the writer before his own characters—holding himself accountable to the moral, artistic, and existential questions they raise.
Critics often describe his writing as a synthesis of lyrical history, magical realism, and a subtle trace of the marvelous. Like William Faulkner, he constructs layered temporalities and haunted landscapes where memory becomes truth; like Virginia Woolf, he privileges inner perception over outward event, tracing the quiet pulse of consciousness with meditative precision. Yet his voice remains distinctly his own—rooted in the historical and spiritual textures of Sindh, attuned to silence, exile, and endurance rather than nostalgia. His work shares an ethical kinship with Qurratulain Hyder and Intizar Hussain: it restores the past through compassion rather than grandeur, creating a language where remembrance becomes renewal.
A native of Larkana in Sindh, Pakistan, and a graduate in English Literature from the University of Sindh (1995), Mujeeb Burdi has cultivated a prose of remembrance—lucid, measured, and historically alert.
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