Ismat Chughtai (Urdu: عصمت چغتائی) (August 1915 – 24 October 1991) was an eminent Urdu writer, known for her indomitable spirit and a fierce feminist ideology. She was considered the grand dame of Urdu fiction, Along with Rashid Jahan, Wajeda Tabassum and Qurratulain Hyder, Ismat’s work stands for the birth of a revolutionary feminist politics and aesthetics in twentieth century Urdu literature. She explored feminine sexuality, middle-class gentility, and other evolving conflicts in the modern Muslim world. Her outspoken and controversial style of writing made her the passionate voice for the unheard, and she has become an inspiration for the younger generation of writers, readers and intellectuals.
I had heard about Ismat Chughtai as one of the most provocative and bold afsana-nigars (or short-story writers) in Urdu literature and had always been interested in reading some of her famous works. My interest was piqued in particular when I learned about her friendship with Manto and their writing styles and subject matter being somewhat similar.
So with that, I decided to read Chughtai's Amarbail, a potent and unflinching exploration of human relationships, social dependency, and the corrosive effects of class and constraint. Chughtai uses the metaphor of the amarabail, a vine that clings to and slowly saps the life from its host tree, to dissect the complex, often suffocating, bonds that tie individuals together, particularly within the confines of conservative society.
The book is a masterpiece of realism, focusing on the tangled emotional lives of its characters, whose desires are often stifled by their economic circumstances or societal expectations. Chughtai excels at crafting characters who are deeply flawed, yet painfully human. You feel the claustrophobia of their existence and the desperation of their silent struggles.
Amarbail is particularly significant for its subtle yet powerful critique of societal structures. The relationships depicted are less about love and more about necessity, control, and the parasitic nature of emotional or financial reliance. While not as harrowing and hard-hitting as some of Manto's works, the story does force you to confront uncomfortable truths about how individuals, particularly women, navigate a world where their choices are heavily dictated by external forces.
Amarbail was an excellent start into the world of Ismat Chughtai's writings. I can clearly see why she is considered one of the most revolutionary and legendary writers of the Urdu language, and I will be exploring more of her works in the future.