Journal Takhleeq ed. Sonaan Azhar Javed

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Amjad Parvez

This reviewer had met late poet Muhsin Naqvi once with late Dr Hassan Rizvi on lunch and enjoyed his company. My introduction to him was through his ghazal “Ye Dil Ye Pagal Dil Mera Kyun Bujh Gaya Awaargi” popularised by ghazal singer Ghulam Ali. Mohsin Naqvi was born on May5, 1947 and died on January 15, 1996.This reviewer came to know him further through Syed Mubarak Ali Shamsi’s essay in the monthly ‘Takhleeq’ March 2015 issue. For instance his real name was Ghulam Abbas. He was born in Dera Ghazi Khan. His childhood was spent in struggling to overcome his poverty and when he used to return in the evening, his mother’s appreciation was his reward. On one of such moments he wrote ‘Hum Ana-Parast, Tehi-Dast, Buhut Hain Muhsin/Yei Alag Baat Keh Aadat Hein Ameeron Jaisi’ (I am happy with my ego and poverty despite that my temperament is that of the rich). Dr Saleem Agha Qizilbash details various colours of novel with reference to Dr Anwar Sadeed’s latest book Urdu Novel Kei Rang. Dr Sadeed feels that as far as documenting history with elements of imagination, suppositions and creativity is concerned; it has a silver lining that this approach gave a new turn to the domain of novel writing. He went far enough to analyze representative novels of many popular writers in a balanced manner. The other essays included in the journal under review comprise ‘Lisaniyat Aur Tanqeed’ (languages and criticism) by Dr Sikandar Hayat Mekan, ‘Inshaiya-Fikr-o-Asloob Ka Naya Mausam’ (Inshaya – New weather in thought and treatment) by Munawar Usmani, ‘Dr Kanwal Dheer Ki Kahanian’ by Professor Qaiser Najfi, ‘Naghme Ko Noha Na Banene Dijiye’ (Do not let a song become lamentation) by Dr Sheikh Iqbal, ‘Kaun Teri Tarha Hafeez’ by Saima Naureen Bukhari and ‘Talat Mahmud-Ghazal Gaiki’ (Ghazal Singing by Talat Mahmud) by this reviewer. This reviewer observed that Talat Mahmud’s diction and intonation were word perfect and his expressive style and emotional nuances were unparalleled. The vocal maturity and sweetness distinguished him from his contemporaries because of its freshness! The style was absolutely new at that time different from the theatre school of thought. His film’s solos and romantic duets numbered in hundreds as hit after hit followed and he soon grew into a living legend. For example, Khayyam was one music composer who was in full praise of Talat Mahmud’s voice and personality. His top most composition for Talat Mahmud was for Zia Sarhadi’s film ‘Foot Path’. This song “Sham-e-Gham Ki Qasam/Aaj Ghamgeen Hain Hum” picturised on Dilip Kumar is an ever-green song just because of its soft melody and rhythmic pattern.

The other portion of the journal under review is ‘Afsaney’ (short stories). It contains twelve short stories. Rasheed Amjad’s short story ‘Aakhri Chalaang’ (last leap) points out towards a white collar struggling family where both husband and wife work all their lives and take steps for improvement, the symbol being change of better house for the family. The last jump perhaps is too ambitious as its dream for moving to a house in Defense posh area does not materialize but manages to winonly two yards of space in its graveyard when the bread earner dies. The story both pinpoints at the struggle of honest living and its limitations. Corruption on the other hand flourishes and is seen in the shape of palatial bungalows and cars. Seemi Kiran’s short story ‘Bhari Taala’ (heavy padlock) touches upon the suffocation of the third wife namely Riffat of a rich landlord who desires to get free from the heavy chains of rich but unhappy life. She always remembers inner vision of a blind writer as ‘three days to see’ and yearns to see the happy outer life if freed from her imprisonment of marriage. The respite comes when she is diagnosed with cancer and she does not opt for treatment.The story ‘Benaam’ (nameless) by Seema Piroze is about a man totally devastated (and ends up his life after killing his father) by his corrupt father’s deeds who sells young boys to Arabs etc. under disguise of an orphanage.

The short stories by others; ‘Chamkeeli Cheekh’ by Muhammad Hamid Siraj, ‘Bahoot’ by Agha Gul, ‘Bheegi Hui Cigarette’ by Mushtaq Azmi, ‘Pani Ka Ghaiz’ by Najeeb Umar, ‘Khushbudar Kachra’ by Farheen Chaudhry, ‘Barish Main Gulabi Tehni’ by Durdana Nausheen Khan, ‘Pehelwan’ by Jameel Hayat, ‘Mueen Paan Shop’ by Zaheera Saman Ali and ‘Chaader’ by Nida Aili are also on varied social subjects and are thought provoking.

The present issue of Takhleeq continues with the legacy of former editor Late Azhar Javed by his son Sonaan. Javed had reserved his life for the regular publishing of the literary magazine for over four decades.

Amjad Parvez , “Journal under review ,” in Daily Times, April 7, 2015. Accessed on April 7, 2015, at:

The item above written by Amjad Parvez and published in Daily Times on April 7, 2015, is catalogued here in full by Faiz-e-Zabaan for non-profit educational purpose only. Faiz-e-Zabaan neither claims the ownership nor the authorship of this item. The link to the original source accessed on April 7, 2015, is available here. Faiz-e-Zabaan is not responsible for the content of the external websites.

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