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लिहाफ
Lihaaf ("The Quilt") is a Urdu short story written by Ismat Chughtai. Published in 1942, at the Urdu literary journal Adab-i-Latif, it led to much controversy, uproar and an obscenity trial in the Lahore Court.
The narrator of this story, a precocious nine-year old child, is sent to visit an aunt. This aunt, ignored by a husband whose only interest seems to lie in entertaining slim-waisted young boys, suffers from a relentless bodily itch. An itch, her niece discovers, no doctor can cure and only her masseuse can relieve.
The narrator of this story, a precocious nine-year old child, is sent to visit an aunt. This aunt, ignored by a husband whose only interest seems to lie in entertaining slim-waisted young boys, suffers from a relentless bodily itch. An itch, her niece discovers, no doctor can cure and only her masseuse can relieve.
208 pages, Paperback
First published December 1, 1994
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November 16, 2023
Read as part of Found in Translation anthology. A short story written in Urdu where we learn that lack of knowledge regarding sexuality can create monsters in a young girl imagination.
March 21, 2018
'Lihaaf' is exemplary on many fronts. It was written in 1942 in unpartitioned India. When one reads this story, one wants to know about its writer. How can she be so brave and brash? One wonders many such things: who were her influences? How does she become the kind of writer she did? About her parenting and upbringing and so forth.
I guess even though she grew up in an upper-middle-class (conservative Muslim) household, she was, nevertheless, not completely immune to socio-cultural restrictions women were subjected to in that period. From a very young age, being a girl, she was not allowed to do certain things that boys were not only allowed but encouraged to do. However, her family being educated and cultured were most probably not rigid in aligning themselves with the norms of the time. Ismat, rather than getting affected or confused by these rules, would do everything that she was told not to. These restrictions, imposed on her only due to her gender, were, in fact, egging her own, asking her to explore more, question more, be more of herself. Sometimes snubs and slights, do the opposite. Ismat was a shining example.
Before I comment on the story, I would like to write a bit more about her. Having read some of her work, it seems like she was familiar with the western literature, but at the same time, she was deeply absorbed in Urdu literature from a young age. I must say that the story 'Lihaaf' is an interesting outcome of east-west communion. Having said that one can also argue that she was even ahead of most western women writers by writing about 'sexuality' especially if one considers her background and the extremely conservative and religious society, in general, of the times. What she did was indeed a brave act.
A young girl goes to live with her relatives. A wealthy household with servants, and consequently, a lot of movement and noise one generally associates with households in bazaars. The lady of the house is referred to as Begum Jan, her husband is always away on business trips and pays the least attention toward his wife (or toward any woman). While reading the story, I had often thought of her husband. What was he like? What sort of life did he live when he was away? What moved him? How was his inner world like?
The story tells us about Begum who is always ill. Sometimes more so than at other times. Her bodily pain is such that no one can cure her, except one of her female servants. Sometimes in the middle of the day, they would close bedroom doors and spend hours inside– the female servant massaging and soothing Begum's mysterious and unaccounted for 'pains.'
We get to know this story in more details through the eyes of its child narrator. She would sleep in Begum's room, on a separate bed, though. At night, in dim light, she would see strange big shadows taking queer shapes on the wall. It was disconcerting to the young girl, it scared her to see shadows of two animals fighting and taking unusual shapes. (Begum and her female servant had furtive sex on these nights).
Ismat in no ways celebrates or opposes the sexual act, she just tells us this story through a child who sees Begum and her female servant doing 'funny things' under the quilt (Lihaaf). What was amazing about the story is that she could address such an 'unspeakable' issue– her audience was not Scandinavian, but deeply religious and conservative Indians. Of course, the story did not go well with the norm makers, she had to undergo a criminal trial for 'obscenity,' however, she asked the lawyer which words did he consider obscene in the story. He could not find any.
Read the story if you find it and remember that it is originally written in Urdu. Also, remember that the story is written in 1942 by an Indian 'Muslim' woman.
I guess even though she grew up in an upper-middle-class (conservative Muslim) household, she was, nevertheless, not completely immune to socio-cultural restrictions women were subjected to in that period. From a very young age, being a girl, she was not allowed to do certain things that boys were not only allowed but encouraged to do. However, her family being educated and cultured were most probably not rigid in aligning themselves with the norms of the time. Ismat, rather than getting affected or confused by these rules, would do everything that she was told not to. These restrictions, imposed on her only due to her gender, were, in fact, egging her own, asking her to explore more, question more, be more of herself. Sometimes snubs and slights, do the opposite. Ismat was a shining example.
Before I comment on the story, I would like to write a bit more about her. Having read some of her work, it seems like she was familiar with the western literature, but at the same time, she was deeply absorbed in Urdu literature from a young age. I must say that the story 'Lihaaf' is an interesting outcome of east-west communion. Having said that one can also argue that she was even ahead of most western women writers by writing about 'sexuality' especially if one considers her background and the extremely conservative and religious society, in general, of the times. What she did was indeed a brave act.
A young girl goes to live with her relatives. A wealthy household with servants, and consequently, a lot of movement and noise one generally associates with households in bazaars. The lady of the house is referred to as Begum Jan, her husband is always away on business trips and pays the least attention toward his wife (or toward any woman). While reading the story, I had often thought of her husband. What was he like? What sort of life did he live when he was away? What moved him? How was his inner world like?
The story tells us about Begum who is always ill. Sometimes more so than at other times. Her bodily pain is such that no one can cure her, except one of her female servants. Sometimes in the middle of the day, they would close bedroom doors and spend hours inside– the female servant massaging and soothing Begum's mysterious and unaccounted for 'pains.'
We get to know this story in more details through the eyes of its child narrator. She would sleep in Begum's room, on a separate bed, though. At night, in dim light, she would see strange big shadows taking queer shapes on the wall. It was disconcerting to the young girl, it scared her to see shadows of two animals fighting and taking unusual shapes. (Begum and her female servant had furtive sex on these nights).
Ismat in no ways celebrates or opposes the sexual act, she just tells us this story through a child who sees Begum and her female servant doing 'funny things' under the quilt (Lihaaf). What was amazing about the story is that she could address such an 'unspeakable' issue– her audience was not Scandinavian, but deeply religious and conservative Indians. Of course, the story did not go well with the norm makers, she had to undergo a criminal trial for 'obscenity,' however, she asked the lawyer which words did he consider obscene in the story. He could not find any.
Read the story if you find it and remember that it is originally written in Urdu. Also, remember that the story is written in 1942 by an Indian 'Muslim' woman.
May 28, 2015
There is a game that I've known young girls across countries to play. It goes by several names; mummy-daddy, family or house. In some cultures, this game is met with apprehension, an apprehension rooted in the belief that children are not sexual beings. If one were to consider the converse, it isn't merely a matter of freudian infantile sexuality but what one means by the term children. The idea of a child inherently assumes a discontinuous mental and emotional growth. Ismat Chughtai looks at growth as a gradual process and how it is smothered by the refusal to acknowledge the minute but visible changes in a 'child', with Gainda.
She also looks at the dark side. The sexual exploitation of a child in the title story, The Quilt. The subject is treated in the form it is most important to acknowledge, the misuse of power that adults hold over children. The invasion of a child's privacy by pinch of her thighs or forcing him to sit on one's lap when he doesn't want to. The invader being family. The unknown pedophiles is what parents fear, but it is these transgressions that go unnoticed, buried by children due to a fear that takes its hold when we refuse to let our children's true thoughts be heard.
The sense of protection that we envelope children with, contrary to expectation, doesn't flare up with the vulnerable of the society. The rights of the illegitimate, orphans, outcasts and disabled are deemed unworthy to be discussed by most, so Ismat Chughtai discusses it for us. With The Mole and The Homemaker, she explores the neglected side of the orphaned young women who have use whatever leeway their social status provides, to notch up the quality existence.
My favourite story in this collection was all alone. A story about a woman born into a forward, privileged background, ambitious by nature but muzzled emotionally by both her circumstances and her own fears. This, along with a few others, speak about the loss created by the partition. The kind of loss that comes not from brushing against death but from the awareness that one is constantly vulnerable to it.
The stories that didn't impress me were due to a strong emotional reaction, more than a reading of the story. They featured characters with a mad temper. The venom spewing, bile rising, hysterical kind of anger that swallows any possibility of sense in a conversation or even in thought. Yet, it was accurate to the extent that I wanted to throw the book away sometimes. When a book moves me, it feels like catharsis but with Chughtai's stories it felt like a build up.
Chughtai's writing felt uneven across her stories. Some were flat, a chronology of events, others were impassioned and poetic. The chapter in history she wrote about gave her a purpose different from polishing her art. She assumed the role of a writer who says not what we all can say, but what we are unable to say. In that context, she still remains valid as ever.
--
May 9, 2015
She also looks at the dark side. The sexual exploitation of a child in the title story, The Quilt. The subject is treated in the form it is most important to acknowledge, the misuse of power that adults hold over children. The invasion of a child's privacy by pinch of her thighs or forcing him to sit on one's lap when he doesn't want to. The invader being family. The unknown pedophiles is what parents fear, but it is these transgressions that go unnoticed, buried by children due to a fear that takes its hold when we refuse to let our children's true thoughts be heard.
The sense of protection that we envelope children with, contrary to expectation, doesn't flare up with the vulnerable of the society. The rights of the illegitimate, orphans, outcasts and disabled are deemed unworthy to be discussed by most, so Ismat Chughtai discusses it for us. With The Mole and The Homemaker, she explores the neglected side of the orphaned young women who have use whatever leeway their social status provides, to notch up the quality existence.
My favourite story in this collection was all alone. A story about a woman born into a forward, privileged background, ambitious by nature but muzzled emotionally by both her circumstances and her own fears. This, along with a few others, speak about the loss created by the partition. The kind of loss that comes not from brushing against death but from the awareness that one is constantly vulnerable to it.
The stories that didn't impress me were due to a strong emotional reaction, more than a reading of the story. They featured characters with a mad temper. The venom spewing, bile rising, hysterical kind of anger that swallows any possibility of sense in a conversation or even in thought. Yet, it was accurate to the extent that I wanted to throw the book away sometimes. When a book moves me, it feels like catharsis but with Chughtai's stories it felt like a build up.
Chughtai's writing felt uneven across her stories. Some were flat, a chronology of events, others were impassioned and poetic. The chapter in history she wrote about gave her a purpose different from polishing her art. She assumed the role of a writer who says not what we all can say, but what we are unable to say. In that context, she still remains valid as ever.
--
May 9, 2015
August 24, 2018
I read 'Lihaaf' by Ismat Chugtai a few years ago in Hindi and I was dumbfounded by her portrayal of characters. I read it today in english and got the same feelings
.
Last week, I watched , "Dedh Ishqiya" again. I love this movie. Now, while comparing to this story, I find a lot of similarities between both of them. Begam Para Jaan of the movie is the Begam Jaan and Rabbo has relevance with Munniya. Do both-watch the movie and read the story. Then, I think, you will be able to find out how a forlorn Begam can give her undivided attention to a "Laundi" (female servant).
.
You can smell the "attar" of homosexuality and paedophilia in the treatment of Begam Jaan's character, but even a superficial study of her past would led you to think that it was inevitable.
.
Well, writing such type of stories in 1940s was really a brave act. Some writers try to ignore the hard and harsh truths of life, and only a few others try to denude it.
.
Last week, I watched , "Dedh Ishqiya" again. I love this movie. Now, while comparing to this story, I find a lot of similarities between both of them. Begam Para Jaan of the movie is the Begam Jaan and Rabbo has relevance with Munniya. Do both-watch the movie and read the story. Then, I think, you will be able to find out how a forlorn Begam can give her undivided attention to a "Laundi" (female servant).
.
You can smell the "attar" of homosexuality and paedophilia in the treatment of Begam Jaan's character, but even a superficial study of her past would led you to think that it was inevitable.
.
Well, writing such type of stories in 1940s was really a brave act. Some writers try to ignore the hard and harsh truths of life, and only a few others try to denude it.
February 25, 2018
This story was published in 1942 and is about homosexuality. Homosexuality is still one of the most controversial issues in India, so choosing this theme was a brave step by Ismat Aapa.
There was huge uproar at that time for the theme of this book, which even got her summoned to the court on charges of obscenity.
The setting of the story is early pre or post-independence India,
its a story of Begum Jaan, the beautiful wife of Nawab Sahab.
She does not get the attention of her husband due to his sexual preferences, which makes Begum Jaan sexually oppressed.
A story narrated by 9-year-old girl name Amiran, who happened to spend two days with Begum Jaan and all the events unfolds in that time.
Its a brave attempt by Ismat Chughtai, this story is one of her best.
There was huge uproar at that time for the theme of this book, which even got her summoned to the court on charges of obscenity.
The setting of the story is early pre or post-independence India,
its a story of Begum Jaan, the beautiful wife of Nawab Sahab.
She does not get the attention of her husband due to his sexual preferences, which makes Begum Jaan sexually oppressed.
A story narrated by 9-year-old girl name Amiran, who happened to spend two days with Begum Jaan and all the events unfolds in that time.
Its a brave attempt by Ismat Chughtai, this story is one of her best.
June 12, 2021
Lihaaf is one of the stories in the short story collection written by Ismat Chughtai. Originally written in Urdu in 1942 Lihaaf translates to 'The Quilt' and is known as the boldest work by the author, one she had to defend for obscenity in the Lahore Court.
Lihaaf is a tale told from a young girl's point of view. As a punishment, she is sent to live with Begum Jaan, her mother's adopted sister. While our narrator is staying at Begum Jaan's house she observes Begum Jaan has this terrible itch that only her maid Rabbo can soothe. Every night she notices an elephant-like shape under Begum Jaan's quilt, hence the title.
This story is crafted in such a clever way, it suggests a sexual relationship between Begum Jaan and Rabbo but since it's written from a young girl's perspective, we do not find any obscenity here.
The author has done a great job in portraying a neglected wife and her repressed desires, how she took control of her life exploring her sexuality. She has also looked at the dark side, what Begum Jaan does to our narrator when they were alone is quite questionable and her husband being interested in "young slim-waisted boys" hints towards pedophilia. I think the author has also brought forward the subject of sexual exploitation of younger children, how adults hold power over the children and the misuse of that power.
Even today, many people take homosexuality as a taboo topic, writing a controversial story back then that suggests homosexuality should have taken a lot of courage on her part.The author writes between the lines, she has managed to voice so much within just a few pages and that is what I loved about this story.
Lihaaf is a tale told from a young girl's point of view. As a punishment, she is sent to live with Begum Jaan, her mother's adopted sister. While our narrator is staying at Begum Jaan's house she observes Begum Jaan has this terrible itch that only her maid Rabbo can soothe. Every night she notices an elephant-like shape under Begum Jaan's quilt, hence the title.
This story is crafted in such a clever way, it suggests a sexual relationship between Begum Jaan and Rabbo but since it's written from a young girl's perspective, we do not find any obscenity here.
The author has done a great job in portraying a neglected wife and her repressed desires, how she took control of her life exploring her sexuality. She has also looked at the dark side, what Begum Jaan does to our narrator when they were alone is quite questionable and her husband being interested in "young slim-waisted boys" hints towards pedophilia. I think the author has also brought forward the subject of sexual exploitation of younger children, how adults hold power over the children and the misuse of that power.
Even today, many people take homosexuality as a taboo topic, writing a controversial story back then that suggests homosexuality should have taken a lot of courage on her part.The author writes between the lines, she has managed to voice so much within just a few pages and that is what I loved about this story.
January 6, 2020
Ismat Chughtai is a controversial writer.Sometimes,she is mentioned in the same breath as Manto.Manto,his faults notwithstanding,is far superior.
This is the first time I read her.
Curiosity satisfied,absolutely hated her writing style.Final reaction,wtf was this.It's been a while,since I've disliked a book so much.
This is the first time I read her.
Curiosity satisfied,absolutely hated her writing style.Final reaction,wtf was this.It's been a while,since I've disliked a book so much.
March 7, 2021
rep : indian + muslim wlw characters
when this story was published in the 1940s, ismat chugtai's name was plunged into intense controversy, leading to charges of obscenity for this particular short story. not only did it show the intimate, sexual relationship between two women, it was also probably a first in urdu literature ( and indian literature in general ) that a woman was writing so freely about the female sexuality — at a time when only men could write about the desires of women and other men.
however, one of the main characters, begum jan, came across as a sexual predator to me, and her husband ( insinuated to be gay ) is subtly pointed out to be a paedophile. this isn't shown to be something wrong in the story, neither is this particularly uplifting at a time when the queer community as a whole are perceived to be sexual predators.
// 2 stars
when this story was published in the 1940s, ismat chugtai's name was plunged into intense controversy, leading to charges of obscenity for this particular short story. not only did it show the intimate, sexual relationship between two women, it was also probably a first in urdu literature ( and indian literature in general ) that a woman was writing so freely about the female sexuality — at a time when only men could write about the desires of women and other men.
however, one of the main characters, begum jan, came across as a sexual predator to me, and her husband ( insinuated to be gay ) is subtly pointed out to be a paedophile. this isn't shown to be something wrong in the story, neither is this particularly uplifting at a time when the queer community as a whole are perceived to be sexual predators.
// 2 stars
May 27, 2020
Read this in Hindi. What an experience! It made me laugh and it had moments that made me absolutely terrified. This story elicited so many reactions from me and my heart is beating a little faster than usual as I have just finished this story and I am still not over it. Can't wait to explore more of her work.
July 22, 2011
Ismat Chughtai was a forward-looking author in an era where "good women" were obedient, not in the world and forward looking. She came from what was then a part of northern India, now Pakistan, and Urdu was her language. Her family was Muslim, and her father insisted that all ten of his children be given a fine and complete education. She was considered rather radical and was even taken to trial by the powers that were at the time for pornography, for THE QUILT, one of the short stories in this book. And she was found innocent. She can give an intimate portrait of situation, not always complimentary to the main characters, but relateable to the reader, and she is able to follow twists and turns as she sees fit. She died in the early 2000's and was considered a truly liberated soul. She was born in 1915, and most of the stories she is most remembered for are from the 1940's and early 50's. She is observant, wryly amused, sharply critical, and slighty satirical as well remarked by her preface writer. She can also be gentle and something about her characters and their interractions reaches below and manages a universal connection. I had an awful time being able to get the book and finally found it on Amazon, paperback. And I really enjoyed reading it. A nice new adventure for me!
February 8, 2015
Question everything. Find what has been brushed under the carpet. It is never black and white.
July 29, 2020
chughtai a bad bitch for writing this at the time she did
August 12, 2013
'The Quilt', which is the second story in the book, would be a shocker to a lot of current day readers, so I can only imagine how it was received when first published. No wonder, it has been chosen as the title of the book. The book is a collection of 10 stories and each one leaves a distinct after-taste. The stories show how wonderfully interwoven the lives of Hindus and Muslims were at one point of time, and leaves you wanting for more.
it-s-not-me-it-s-you
April 20, 2018DNF after three stories, due to the bad taste left by the titular "The Quilt." Let's hear it for predatory lesbians amirite. Contexts differ, and obviously it would have rang very differently for its intended contemporary audience, but I found the positioning of villains and innocents in the story enough to disengage from the rest of the material.
September 5, 2021
A beautiful collection of short stories!
November 28, 2016
Spending a melancholic moody Monday evening in the company of Ismat Appa with "Quilt (Lihaaf) and other stories". This book is a fabulous collection of short stories by the grand dame of Urdu fiction “Ismat Chughtai”. She was a well-educated, well read and very prolific writer of Urdu literature who constantly defied society and broke the rules that it laid down upon her. The crust of her writing was set in the Indian Muslim middle-class society centered especially around women. Her stories were bold, funny, sharp ,very thought provoking and dripping with sarcasm. The use of the local language and dialect which was called as “Begumati Zubaan” by another amazing writer Qurratulain Hyder is what added various layers and flavors to her stories. As a reader you feel compelled to enter the homes of her characters and stay with them while they went about their lives. In the story Lihaaf, you can sense the shock of the young girl Amiran, when she discovers the lonely Begum Jaan and her maidservant romping about in the night under quilt. This was the story that brought Ismat a lot of notoriety because in those days homosexuality was not even discussed in private, let alone splashed on the pages of a book and that too by a woman. It led to the filing of a case of obscenity against the author in the court of law along with the bad boy of Urdu literature "Sadat Hasan Manto" with whom she got along famously. Ofcourse this did not deter her from writing more bold stories. As you read further you feel the desperation of “Kubra’s “ mother to get her daughter married before she fades away into spinsterhood in “The wedding Shroud”. Every character feels like someone you have met and lost; every chapter seems straight out of the homes of someone you may have known. As a reader you feel drawn into the reality of her make believe world and offer comfort to a protagonist who has been treated unkindly. It is hard to put this book down and even hard to forget the characters that she etched in the pages of literature.
April 2, 2021
3.5 honestly!!
I think reading this in Hindi would give some better feeling.
Yet, I loved some of the stories. 🌼
I think reading this in Hindi would give some better feeling.
Yet, I loved some of the stories. 🌼
November 28, 2019
इस्मत चुगताई की बहतरीन पेशकश, लिहाफ़ में वह कई गहरे विषयों को एक हल्के हाथ से छू देती हैं। इन विषयों की गहराई और गहन हो जाती हैं क्यूँकि बयान एक बच्ची के नज़रिए से पढ़ने वालों तक पहुँचता हैं। शुरूवात से अंत तक, हम उसके मासूम दृष्टिकोण से जानते हैं कि जहाँ नवाब साहब की नज़रे नोजवान लड़कों पर रहतीं, बेगम साहिबा और रब्बो एक कामुक रिश्ते के नशे में घंटो-घंटो व रात-रात डूबें रहते ।
यह एक ऐसी कहानी हैं जिसमें प्रशन ज़्यादा और प्रदर्शन कम हैं। क्या बेगम साहिबा रब्बो को केवल इसलिए चाहती थी क्यूँकि उनको नवाब साहिब ने ठुकरा दिया था? क्यों उन्होंने एक कमतर तपके की औरत के साथ ऐसा सम्बंध रखा: क्या फ़िर यह रब्बो का प्रेम था या नौकरी? मैं समझती हूँ कि प्रेम हैं (रब्बो बेगम जान को महीन नज़रों से देखती हैं), मनर दो प्रेमी आसमान है । हम जानते हैं की हमेशा रब्बो बेगम जान की सेवा में समर्पित रहती हैं, यू तो कई बार रात को व रोती हैं लेकिन फ़िर भी बेगम साहिबा का हाथी झट बन जाती हैं। रब्बो पर हक़ जमाने की आदत में, बेगम जान मचल जाती हैं जब रब्बो अपने बेटे से मिलने जाती हैं। वो जानती होंगी कि रब्बो का बेटा उससे बात नहीं करता और उनके रिश्ते के सुलझने की कोई कुशी नहीं जताती हैं। फ़िर जब रब्बो चली जाती है, तो बेगम जान इस बच्ची को ग़लत तरफ़ी छूती हैं। वह हमेशा इन रिश्तों में बड़ी रही हैं: चाहे रब्बो रोए या चाहे इस बच्ची के दिल में हमेशा ख़ौफ़ बैठ जाए।
दोहराने के लिए, छुटपन के नज़रिये का ख़ूब उपयोग किया गया हैं। बच्ची की मसमयत आख़िर तक बेक़रार हैं और उसकी आवाज़ में न ग्रह्ना हैं न घिन्न, जो इस कहानी की विवादग्रस्त प्रतिक्रिया से बेहद अलग है।
यह एक ऐसी कहानी हैं जिसमें प्रशन ज़्यादा और प्रदर्शन कम हैं। क्या बेगम साहिबा रब्बो को केवल इसलिए चाहती थी क्यूँकि उनको नवाब साहिब ने ठुकरा दिया था? क्यों उन्होंने एक कमतर तपके की औरत के साथ ऐसा सम्बंध रखा: क्या फ़िर यह रब्बो का प्रेम था या नौकरी? मैं समझती हूँ कि प्रेम हैं (रब्बो बेगम जान को महीन नज़रों से देखती हैं), मनर दो प्रेमी आसमान है । हम जानते हैं की हमेशा रब्बो बेगम जान की सेवा में समर्पित रहती हैं, यू तो कई बार रात को व रोती हैं लेकिन फ़िर भी बेगम साहिबा का हाथी झट बन जाती हैं। रब्बो पर हक़ जमाने की आदत में, बेगम जान मचल जाती हैं जब रब्बो अपने बेटे से मिलने जाती हैं। वो जानती होंगी कि रब्बो का बेटा उससे बात नहीं करता और उनके रिश्ते के सुलझने की कोई कुशी नहीं जताती हैं। फ़िर जब रब्बो चली जाती है, तो बेगम जान इस बच्ची को ग़लत तरफ़ी छूती हैं। वह हमेशा इन रिश्तों में बड़ी रही हैं: चाहे रब्बो रोए या चाहे इस बच्ची के दिल में हमेशा ख़ौफ़ बैठ जाए।
दोहराने के लिए, छुटपन के नज़रिये का ख़ूब उपयोग किया गया हैं। बच्ची की मसमयत आख़िर तक बेक़रार हैं और उसकी आवाज़ में न ग्रह्ना हैं न घिन्न, जो इस कहानी की विवादग्रस्त प्रतिक्रिया से बेहद अलग है।
March 5, 2021
The story is told from the perspective of the child who admires Begum Jaan, her mother's sworn sister (मुंह बोली बहन). Her mother leaves her in the care of Begum Jaan for a week while she goes to Lucknow ( capital city of Uttar Pradesh, India).
What follows are events that are hard to comprehend for a child. The peculiar relationship between Begum Jaan and her caretaker Rabbo, Begum Jaan's behaviour towards the narrator when Rabbo is out of town visiting her son and the things that take place in Begum Jaan's quaters almost every night.
For a child the events that take place are obviously scarring but she doesn't even know what is happening. That's the beauty of chughtai's writing.
Her understanding of a child's mind and presenting a story from her perspective is very sensitively done. Her depiction of assault is also very carefully done and once you read it you realise that it's written in a way that's not that big a deal because it's a child's pov and she doesn't know what actually happened. But you as the reader know what a big deal the events taking place are. The story is a reality of many people, even today. This short story is set in 1940s ( I believe) and to think such things still happen in 2021 is unnerving.
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I'd recommend everyone read this story, if possible read it in hindi or urdu (I read it in Hindi) I'm in love with chughtai and I cannot wait to read more by her.
What follows are events that are hard to comprehend for a child. The peculiar relationship between Begum Jaan and her caretaker Rabbo, Begum Jaan's behaviour towards the narrator when Rabbo is out of town visiting her son and the things that take place in Begum Jaan's quaters almost every night.
For a child the events that take place are obviously scarring but she doesn't even know what is happening. That's the beauty of chughtai's writing.
Her understanding of a child's mind and presenting a story from her perspective is very sensitively done. Her depiction of assault is also very carefully done and once you read it you realise that it's written in a way that's not that big a deal because it's a child's pov and she doesn't know what actually happened. But you as the reader know what a big deal the events taking place are. The story is a reality of many people, even today. This short story is set in 1940s ( I believe) and to think such things still happen in 2021 is unnerving.
.
I'd recommend everyone read this story, if possible read it in hindi or urdu (I read it in Hindi) I'm in love with chughtai and I cannot wait to read more by her.
November 23, 2024
Terrifying.
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Later reflection : Recently I heard an argument that women can't rape. It was an argument between a couple. The boyfriend became very upset with such views of her girlfriend, thought them to be offensive to his sex and all the men who're victims of sexual assault done by women against them.
This morning, in shower, suddenly I was thinking about this story. Maybe because the argument was still working in the back of my mind.
Well, here's a woman... Ismat Chugtai.
Writing about a woman who commits rape.
Writing about a woman who rapes a child.
Writing about a woman who rapes a young girl child.
Writing about a married woman who rapes a young girl child.
Writing about a married woman who rapes a young girl child because she has sexual needs.
Writing about a married woman who rapes a young girl child because she has sexual needs which are unfulfilled by her husband.
Writing about a married woman who rapes a young girl child because she has sexual needs which are unfulfilled by her husband because her husband likes men!
And she wrote this in urdu!
Just phenomenally groundbreaking! In that time!
Now, I don't if she supports homosexuality or not (most likely not). She might think that it's sinful and was just highlighting the failures of repressed sexual appetites.. but man, she talks about it! She makes it come to life! She speaks the truth. She acknowledges this happens. Hats off!
~~~~~~~~~~~~~~~~~~~~~~~~~
Later reflection : Recently I heard an argument that women can't rape. It was an argument between a couple. The boyfriend became very upset with such views of her girlfriend, thought them to be offensive to his sex and all the men who're victims of sexual assault done by women against them.
This morning, in shower, suddenly I was thinking about this story. Maybe because the argument was still working in the back of my mind.
Well, here's a woman... Ismat Chugtai.
Writing about a woman who commits rape.
Writing about a woman who rapes a child.
Writing about a woman who rapes a young girl child.
Writing about a married woman who rapes a young girl child.
Writing about a married woman who rapes a young girl child because she has sexual needs.
Writing about a married woman who rapes a young girl child because she has sexual needs which are unfulfilled by her husband.
Writing about a married woman who rapes a young girl child because she has sexual needs which are unfulfilled by her husband because her husband likes men!
And she wrote this in urdu!
Just phenomenally groundbreaking! In that time!
Now, I don't if she supports homosexuality or not (most likely not). She might think that it's sinful and was just highlighting the failures of repressed sexual appetites.. but man, she talks about it! She makes it come to life! She speaks the truth. She acknowledges this happens. Hats off!
September 23, 2021
A brilliant collection of stories!
Ismat Chugtai has a deft touch in bringing situations and characters alive. Many of the stories are absolutely brimming with emotions and leave an impact as you read them. I don't go in for too much sentimental things about love, but the short All Alone was one of my absolute favourites.
It was also really refreshing to read woman characters who are very well-written. Her writing is feminist in a way that feels very ahead of its time. She has explored topics like women's sexuality and desires that are still mostly considered taboo. True, there are a few things that are problematic. But it is overshadowed by the great work.
The selection here deals with so many different aspects of life. All of them are also tonally different from one another, making it a really delectable platter of stories. I hope I can find more of her works to read soon!
Ismat Chugtai has a deft touch in bringing situations and characters alive. Many of the stories are absolutely brimming with emotions and leave an impact as you read them. I don't go in for too much sentimental things about love, but the short All Alone was one of my absolute favourites.
It was also really refreshing to read woman characters who are very well-written. Her writing is feminist in a way that feels very ahead of its time. She has explored topics like women's sexuality and desires that are still mostly considered taboo. True, there are a few things that are problematic. But it is overshadowed by the great work.
The selection here deals with so many different aspects of life. All of them are also tonally different from one another, making it a really delectable platter of stories. I hope I can find more of her works to read soon!
July 23, 2024
Rep: Indian cast & setting, Muslim mcs
August 14, 2020
It's so easy to read Lihaaf through eyes so used to today's issues that I initially had to keep reminding myself that this was a story written in a completely different time. Still, I couldn't quite keep myself from projecting my current-day thoughts onto Chugtai's work.
My uneasiness with the Nawab's fondness for (young) men and especially with Begum Jan's predatory behavior towards the narrator, a child, is perhaps the main annoyance I had while reading. I wanted so badly to love this story, to find no reason to stop admiring Chugtai as I do, but all in all, the story just left me somewhat disappointed. I'm pretty mad about it. So many anti-LGBT talking points today have to do with concerns regarding pedophilic or otherwise predatory behaviors exhibited by members of the community (the classic bathroom argument, for example). Is it really necessary to include Lihaaf in the list of fodder for that particular cannon? But again, it was written in an entirely different time. Forget the bathroom debate, the mere knowledge that there were sexualities aside from heterosexual (or at the very least, that sexual encounters between members of the same gender were a thing) were borderline criminal, as indicated by Chugtai's famous court battle regarding this piece and few others.
Also disappointing (though kind of exhilarating on my first read) was the relationship between Begum Jan and Rabbo. I'm not entirely convinced that it was wholly consensual; it very well could be, but there were some snippets of the story that made me feel otherwise. For one, there is a definite power imbalance. Begum Jan is a rich, beautiful woman that had just about everything going for her aside from the lack of attention from her husband. Rabbo, on the other hand, is very explicitly stated to be a servant of hers as well as someone who received financial help from the Begum, most likely without the Nawab's knowledge. For another, there is a line in the story where the narrator clearly says that Rabbo was sobbing after an argument with the Begum... which quickly moved right into implied sexual activity.
Side note: the narrator's child-like innocence throughout the story brings me inexplicable joy. Or maybe that's just because I enjoy understanding things the narrator does not. Yikes?
In my opinion, the short story was an incredible step in the right direction in regards to representation of queerness in desi media, and that too written by a woman. It's a flawed representation, sure, and definitely not the first instance of representation for desi women-loving women, but something is better than nothing... right?
My uneasiness with the Nawab's fondness for (young) men and especially with Begum Jan's predatory behavior towards the narrator, a child, is perhaps the main annoyance I had while reading. I wanted so badly to love this story, to find no reason to stop admiring Chugtai as I do, but all in all, the story just left me somewhat disappointed. I'm pretty mad about it. So many anti-LGBT talking points today have to do with concerns regarding pedophilic or otherwise predatory behaviors exhibited by members of the community (the classic bathroom argument, for example). Is it really necessary to include Lihaaf in the list of fodder for that particular cannon? But again, it was written in an entirely different time. Forget the bathroom debate, the mere knowledge that there were sexualities aside from heterosexual (or at the very least, that sexual encounters between members of the same gender were a thing) were borderline criminal, as indicated by Chugtai's famous court battle regarding this piece and few others.
Also disappointing (though kind of exhilarating on my first read) was the relationship between Begum Jan and Rabbo. I'm not entirely convinced that it was wholly consensual; it very well could be, but there were some snippets of the story that made me feel otherwise. For one, there is a definite power imbalance. Begum Jan is a rich, beautiful woman that had just about everything going for her aside from the lack of attention from her husband. Rabbo, on the other hand, is very explicitly stated to be a servant of hers as well as someone who received financial help from the Begum, most likely without the Nawab's knowledge. For another, there is a line in the story where the narrator clearly says that Rabbo was sobbing after an argument with the Begum... which quickly moved right into implied sexual activity.
Side note: the narrator's child-like innocence throughout the story brings me inexplicable joy. Or maybe that's just because I enjoy understanding things the narrator does not. Yikes?
In my opinion, the short story was an incredible step in the right direction in regards to representation of queerness in desi media, and that too written by a woman. It's a flawed representation, sure, and definitely not the first instance of representation for desi women-loving women, but something is better than nothing... right?
October 4, 2020
Read the English translation of the short story 'Lihaaf.' Will be reading the Hindi version soon.
June 28, 2021
Originally published in Urdu in 1941, these 15 short stories are astonishingly provocative, perceptive, and hmm… what’s the Hindi word for badass? The Quilt & Other Stories by Ismat Chughtai are of seminal importance in illustrating the development, acceptance, and historical progress of Indian women writers. The title story, “The Quilt,” is a pioneering achievement; when it was first published, Chughtai had to defend herself before the Imperial Crown Court of India! This fact alone was enough to get this book in my hands à la next-day-shipping.
These stories dive into the intricate and hidden worlds of Muslim women. Chughtai doesn’t shy away from homosexuality and the not-so-subtle tyrannies of middle-class gentility.
I had very high hopes for this one and was disappointed. Chughtai’s writing felt uneven across the stories and I can’t shake the feeling that there must’ve been a lot lost in translation. I had a difficult time distinguishing between which character was saying what and who was who. At times it felt like a chore getting through these short stories. But 3-stars overall and 5-stars for these standout stories; The Veil, The Quilt, The Rock, A Morsel, and A Pair of Hands.
These stories dive into the intricate and hidden worlds of Muslim women. Chughtai doesn’t shy away from homosexuality and the not-so-subtle tyrannies of middle-class gentility.
I had very high hopes for this one and was disappointed. Chughtai’s writing felt uneven across the stories and I can’t shake the feeling that there must’ve been a lot lost in translation. I had a difficult time distinguishing between which character was saying what and who was who. At times it felt like a chore getting through these short stories. But 3-stars overall and 5-stars for these standout stories; The Veil, The Quilt, The Rock, A Morsel, and A Pair of Hands.
March 13, 2024
Wow this is something. Our young girl protagonist goes to stay with her aunt and massages her, and as she does, her aunt praises her and tells her she’ll buy her gifts and dresses. The closer the girls gets to a spot (implied, not directly spelled out) the more her aunt praises her. At some point our child protagonist sees where she is massaging and is shocked.
Besides this, another mysterious and menacing event looms. The girl sleeps in the same room as her aunt. Every night there seems to be an elephant under the quilt, and the murmuring sounds of her aunts favorite (female) servant.
I love the description of what is under the blanket (an elephant), making menacing sounds and shifting and growing under the blanket. What was going on under that quilt?
This story captures a child’s mind well. The way as children we make sense of the unknown, trying to understand what we are witnessing without having the real-world knowledge to fill in the gaps, going off our imagination instead. Sex was once the great unknown, and I remember it was quite mysterious, with many haps in my knowledge.
This story also portrays well how quickly a child goes from trusting to not trusting an adult.
Besides this, another mysterious and menacing event looms. The girl sleeps in the same room as her aunt. Every night there seems to be an elephant under the quilt, and the murmuring sounds of her aunts favorite (female) servant.
I love the description of what is under the blanket (an elephant), making menacing sounds and shifting and growing under the blanket. What was going on under that quilt?
This story captures a child’s mind well. The way as children we make sense of the unknown, trying to understand what we are witnessing without having the real-world knowledge to fill in the gaps, going off our imagination instead. Sex was once the great unknown, and I remember it was quite mysterious, with many haps in my knowledge.
This story also portrays well how quickly a child goes from trusting to not trusting an adult.
February 23, 2021
A big bash which is delivering harsh reality of the world. this story has change the life of particular person written by chugtai in her autobiography.
Its story of homosexuality. It was a real story from her muhalla and after listening this story everyone know about whom she is talking about. she hesitate to meet that lady but in a ceremony she met her where it was revealed this story bring a change in the ladies life and she was thankful to her.
she face court due to this story and visit lhr very first time when case was over she was sad and worry to not come to lhr again.
Its story of homosexuality. It was a real story from her muhalla and after listening this story everyone know about whom she is talking about. she hesitate to meet that lady but in a ceremony she met her where it was revealed this story bring a change in the ladies life and she was thankful to her.
she face court due to this story and visit lhr very first time when case was over she was sad and worry to not come to lhr again.
September 25, 2014
A Collection of 10 stories by Ismat Chugtai, one of the most courageous Urdu writers in the 20th century. M.Asaduddin the translator is a professor of English literature and has done a good job in selecting some of Ismat 's best short fiction. Loved some of the stories in this book especially Roots which has dealt with India's partition in a touching manner.
March 13, 2016
Absolutely mesmerizing. I read it in it's Hindi script and fell in love with the writing style. Even though I loathe reading in Hindi I would suggest everyone who can should read it.
November 21, 2020
This is a 3.5 star read for me! Safe to say the last two stories were game changers!!
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