Abstract: Pre Independence India is shrouded with
the haze of colonial presence. However it has witnessed some of the most
stupendous ideological transitions in the same phase.
Saadat Hasan Manto
is a well-known name in the literary world. His writings have given some
legendary fictional characters like Toba Tek Singh which are still afresh in the
minds of the people. He was a magnificent author who captured some of the most
lamentable episodes of India’s partition in his writings. Also, he was
considered an outspoken feminist who voiced the shunned voices of women. His
collection of stories entitled “Bombay stories” illustrated the squalid
realities of prostitutes and demanded a reputed and justified place in the
society for these women. He questioned the stereotyped attitude of society about
the expression of her desires by a woman. In stories like Khushiya, Siraj,
Mozelle and Janaki, he terrified the male chauvinism with the intrepidity and
audaciousness of his female protagonists. His writings were garlanded with
extreme hatred and criticism by the champions of Patriarchal society who
surnamed Manto as an outre and impudent writer.
An undaunted man like Manto never revered the society of dress makers who wished
to cover all dark corners of human desires with patches of shame and
concealment. He was a social archaeologist who wanted to unearth the multiple
layers of the social apparatus and lift up the microbes of disparities,
barbarity and religious fanaticism to reveal to people their real complexion.
This research paper would study Manto’s works in the context of Women
emancipation and would be solely based on primary and secondary sources.
Keywords:
Chauvinism, Feminist, Bombay, Prostitutes, Patriarchal.
You can bind me in chains
But you cannot chain me
I am a spirit
All agile and free.
Words synonymous to freedom and vivacity have adorned masculinity since
millenniums and epithets like adorable, dutiful, disciplined and forgiving were
the most precious accompaniments of a women’s character. Literature of the
bygone eras were motivated with the intention to attach all sorts of paradigms
of sanctity with a women’s character and left men with their own choices to
decide their course of action. Taking a note of the few literatures belonging to
different periods of time we find a similar pattern of thoughts engulfing the
sentiments of each succeeding generation. Conspicuous literatures of ancient
India such as-Manusmriti, Mahabharata and Ramayana have cornered the entire
corpus of a women’s identity by ornamenting her as the mere shadow of her man.
Early Medieval Indian history garnered Kalhana as the first Historian of India
as he wrote the first chronicled history of Kashmir but vehemently rescinded the
contribution of royal women in administering the court affairs. History for him
was only the conversations blurting out the episodes of male adrenaline rush
with women having almost no place to hold. Efficacious characters of Medieval
India like- Razia Sultana, Mehrunissa, Nur Jahan, Jahanara Begum and others too
got their stature belittled by the disparaging tone of gendered history written
during that time. The lofty ambitions of these women were considered as
chimerical and was bruised with defamation and negligence. Modern India though
cradled the leftist ideologies of equality, freedom and Democracy but writers
who drafted the history of Indian War of Independence neatly deleted the reels
of women’s contribution in various Political and Social movements. However,
there were few intrepid, assertive, and conscientious like Saadat Hasan Manto,
who gave voice to the utterly marginalised and demeaned folk of Indian
population i.e. women, through various fictional characters of his novels and
short stories. Pages of Indian struggle for freedom is embellished with tales of
bravery and sanguine affection towards one’s motherland. Also, it is hued with
the trauma of unnatural deaths, loss of right to live and freedom to follow
one’s own faith. These harrowing episodes were captured comprehensively by Manto
who himself was a victim of Partition. He broadcasted the wholesome and
intimidating content of India’s partition in his novels and most of his stories
talked about the psychological impact of this episode on different sections of
society, especially the most vulnerable ones. Apart from partition one can also
find the fragrance of feminist ideology in his ferocious writings on women’s
right to choose. His stories have created a different cult of women who are
independent in her decisions and are as dangerously ambitious as their male
counterparts. Women of Manto’s world are intrepid, outrageous, disobedient,
revengeful and demanding. He has sculpted one of the most stunning portrait of
twenty-first century women and have received staunch criticism as rewards from
the disciples of patriarchy.
This research paper would take around six of Manto’s stories which revolve
around women and project them not as puppet dolls in male- made society but as
genesis which nurtures the society.
“She was always waiting. It seemed to be
her forte.”
-- D.H LAWRENCE
Manto wasn’t alone in his pursuit to grope for the crevice of light in the
squalid and murky minds of Indian society, who knew how to materialize women but
respecting her was a jargon for them.
D.H Lawrence was one such novelist who experimented with several pre-existing
ideologies of capitalist society of Europe and concluded that though Industrial
Capitalism has boarded the train to progress in prosperity but has never
transcended the station of progress of intellect. His novel
entitled
Lady Chatterley’s Lover, published in 1928 was a revolutionary piece of writing
which discussed something never had been discussed by anyone before. It was
greeted with vitriolic comments and blasphemous phrases, like Manto’s “Bu”
because it unveiled the not-so-talked about sexual desires of a female. The
story indeed stressed upon the extra-marital affair of a lady which made the
obstinate gentry of the upper class society agape in bewilderment. Much like the
female protagonists of Manto who were strong enough to comprehend and divulge
their sexual and romantic feelings, Lawrence’s heroine Lady Connie was trying to
recuperate from the malaise of an incoherent marriage. Her husband, a war
soldier was a man of the age. He possessed all attributes of a machine age man
which included, niggard portion of human emotions, colossal desire for wealth,
higher degree of intellect with meagre amount of sensibility and unending quest
for hegemony. These chemicals were staple diet for an ambitious man but
poisonous for a married man. Lady Chatterley’s Lover cannot be surnamed as a
mere love story coming at a time when the entire human civilisation is taking a
sharp turn towards a different style of living, as it is a satire on the mind
boggling concepts of capitalism and gendered approach of society which in the
end leads to broken families and loss of love. Like Saadat Hasan Manto, Lawrence
has dealt with various social inhibitions constructed only for a woman to
project her as sanguine and chaste and once she crosses the threshold to find
her own piece of sky she is poked and profaned. Lady Connie of D.H Lawrence,
like Saugandhi, Siraj, Janaki, Mozail and Latika of Saadat Hasan Manto was
flamboyant in expressing the urges of both her body and soul. She stringently
dejected to burden herself with the corpse of a failed marriage and felt herself
virtuous enough to choose her own partner. There is a genuine bitter taste of
veracity in the stories of Manto and Lawrence which are full of obscenity for
the World but are testimonies of naked truth. The rigid, narrow and filthy
thought process of a man regarding women’s body and her social status is
boisterous in the writings of these writers. The peculiar characteristic of
these writings is that the degree of subjugation is same for an upper class
woman of Lawrence and a Prostitute of Manto. The stories of such women with
courage were fictitious but it dismantled the well-articulated notions of a
patriarchal society which boasted of a damsel always waiting for her Beau. Thus,
we find that ferocious female characters of writers like Manto, Ismat Chugtai
and D.H Lawrence have played an epochal role in retrenching the weed of
obscurantism and opening the doors of women inclusivity into the mainstream of
society.
This research paper would discuss around nine fictional female characters
sketched by Manto in his novels. A comprehensive analysation of these female
protagonists would foment us to deconstruct the gendered approaches of the
society towards a woman and restructure the entire paraphernalia of human
community with the idea of inclusivity for all.
“Love
me and I will make you live in paradise,
For Infidels!
I am the face of hell”.
Lord Ram as a ruler is celebrated for his fortitude and benevolence towards his
subjects. However, his unlawfulness towards his wife Sita is most often
condemned. It is quite grotesque to learn that inspite of all adversities Sita
bore as a result of King Rama’s decision, she was expected to accompany him to
Ayodhya when he came to escort her after conducting her into an exile for twelve
years. The story of Sita’s refusal to accompany Rama and her assimilation into
mother earth is quite a famous episode of Ramayana and yet an intriguing one.
Sita, though a loving and dutiful wife denied to offer any remission to Rama for
the wrong he did to her, as was always expected for a woman. The story entitled
Wild Cactus of Manto is a dark tale of revenge which dissolves the stereotyped
image of a woman who is supposed to forgive. Alike Sita of Ramayana, Manto’s
Heroine Shahina after getting enlightened about her husband’s infidelity hatches
a plot to take her revenge and teach her partner a bitter lesson.
The story opens up with the description of monotonous life of a young Prostitute
Nawab. Writer discusses the marital desires of Nawab, who though a prostitute
wishes someone to love her soulfully. Through his initial description of a
prostitute’s life Manto wishes to convey the urge for Platonic love in this
section of the society who are compelled to get indulge into flesh trade for
their livelihood. Nawab’s character painted by Manto is a portrait of naiveness
as she had no conscience of the profession of adultery she is involved in and
thus doesn’t consider herself a sinner. It is quite an evident thought that-
Paupers cannot afford the tantrums of honesty and ego. Fulfilment of material
needs of Nawab and her mother Sardar prevented them from introspecting the type
of profession they were practising as they know they had no other shoulder to
lean on. Nawab was happy with the life she was living with her mother in the
little three bed room mud house. Things took a mellifluous turn with the
introduction of Haibat Khan into the scene. He was the biggest landlord of the
neighbouring district and was a young man with handsome features. On the very
first day he entered Nawab’s house he branded the girl with his name and
instructed her mother Sardar that he want no more customers for Nawab now. He
gave a lot of money to Sardar and a diamond ring to Nawab before he left. The
creaky sound of note wasn’t something Nawab was concerned with rather it was the
melody of affection coming from the Haibat Khan’s diamond ring captured the
strings of her heart. Manto may have included this episode in his story to help
the readers to recognise the heart of even a prostitute as the heart of a woman.
With each preciding visit the feelings of affection succeeded and love started
to bloom in the tender heart of Nawab. Writer has boldly discussed about the
sexual embellishments involved in the nurturing of this relationship. While,
Nawab felt love was it the same for Haibat Khan or was he only interested in
having a different experience in physical love? As the story progresses forward,
Manto expresses Haibat Khan’s fear of getting caught, his restlessness with
Nawab, his sudden conniption of frustration and his frequent nightmares. All
such incidents raise questions over the veracity of his feelings for Nawab. On
one unfortunate day Nawab asks him to bring her gold bangles without knowing
that it would be her last wish. Next day Haibat Khan comes accompanied by his
wife Shahina who introduces herself to Nawab as Halakat. Shahina took Nawab to
her bedroom and sends everyone else out. Few moments later, Haibat Khan enters
to find the repercussion of his infidelity in the form of Nawab’s slaughtered
body. Story closes with Shahina explaining herself as the one intolerant towards
infidels and admitting that she killed even her first husband because he was
disloyal to her.
Story though had a traumatic and unjustified ending with the innocent getting
punished but it presents before readers an avenging woman who cannot afford to
forgive her man for his infidelity.
“Loving
you has given me so many scars,
I wish I could have more flesh to have
love you more.”
Male gentry since time immemorial has used the phrase “Poor Woman” for
womenfolk. The one who incubates the seed of life on earth for nine months in
her womb, the one who sacrifices even the greatest joy and the slightest comfort
for her family, the one who stands erect in sorrow and distress with every one
of her acquaintance and the one who adds value to the life of a man as a mother,
sister, wife, daughter and friend is called a woman, or more evidently a poor
woman.
Manto, in his story, On the Balcony,
has experimented with the genre of Women Psychology. The narrator of this story
is a male whose contemplation and comprehension dominates the script, however
the character he contemplates and comprehends is that of woman. The first two
pages of the story gives a vivid description of narrator’s romantic feelings for
Sheela. Author has used the same old adjectives while describing a girl as has
been used by author of yesterdays. He has quoted Sheela as pretty, slender,
timid and innocent girl who possess attractive yet intriguing eyes. Author
through the character of narrator has quoted that, “a woman’s eyes can only be a
woman’s eyes when they are drowned in tears”. Such annotation reflects the
narrow minded- gendered approach of society which expects woman to play the role
of help seekers instead of help providers. Nevertheless, narrator’s tone changes
when he actually sees what he was willing to experience. One evening he sees
tears rolling down sheela’s pale cheeks. The conversation between the two that
followed thereafter is not just exemplary but enlightening too. Percy Bysshe
Shelley wasn’t wrong when he said that the word love has been profaned by those
who doesn’t understand the depth of it and so he doesn’t wish to name his
feeling for his beloved as Love. Sheela’s lover was one such man who profaned
the sanctity of love by betraying his partner and left her with welled up eyes
and wailing heart. The narrator of this story comes as a rescuer who himself is
in love with the lady without any temptation to receive the same in
reciprocation. He tries to cherish her slackened spirits and motivates her to
give up the idea of suicide. This story is nothing more than the dialogues
shared between the two. The character of Sheela has been sculpted with the
colours of both fire and water.
Although she is weak after getting betrayed, however she sounds as tenacious as
the colossal tree who stands erect when pelted with stones and promises to
provide his fruits and shed even to the ones who harmed him. Her sacred
determination to love and honest dedication to live only for her lover is quite
impractical but heavenly. The tenacity of her love and the pain she is under
after getting betrayed outpours from her hearts when she says before narrator
that- this betrayal has come to her from the hands of the one she loved the
most. She knew that he has destroyed her life but it doesn’t matter to her
because she perceive love as a game, which she played and lost. She hasn’t given
just the best of her life to this love but has even promised to give up her life
for the sake of it. Hence, she says that she is brave enough to face death for
she knew she has loved the wrong person but she has loved him righteously. The
conversation continues between the two till the narrator convinces her to quit
the idea of giving up her life in bereft of someone who doesn’t deserve her
sanguine love and makes her realise his love for Sheela. The story has a happy
ending with Sheela rising up with determination in her eyes and a new hope
flickering in her heart to conceive true love.
When the tears deny to,
Flow down the two sides,
So deep is the grief,
That in the heart it resides,
Life flows in the veins,
But eyes appear dried,
You must see then how nature
Fuels to stride
When a leaf falls,
A sapling comes from other side
Siraj, in the words of author was a girl of slender physique and pretty face.
The most mesmerising feature of her face was her eyes which were like outsize
windows on her oval face. She reminded author of a glass goblet which had been
filled to the brim with strong, undiluted spirits. Her feminity was intrepid and
concrete but as a human she appeared perplexed and annoyed with everything
happening around her. Dhundhoo was the second lead character of this story and
was the guy in mediation for bringing customers to Siraj. There are several
episodes of conversation between Dhundoo and author where he describes about the
eccentric behaviour of Siraj which most probably doesn’t suit a prostitute.
There is one incident in the story where Dhundhoo explains to author that he
thinks that Siraj is still a virgin and she would continue to be even if she
stays forever in this profession. This statement of him is something that speaks
about the psychology of human emotions that even if someone is having a sexual
intercourse with somebody, she or he would remain a virgin if she/he isn’t
engrossed in that sacred ritual of love making happily. Such bold statements in
a literature written in pre-Independent India where women and her desires were
considered a thing of null importance is not just commendable but revolutionary
indeed. Dhundoo, who presumably wasn’t in love with Siraj but had a soft corner
for her because she was thrown out her past workplaces as a result of her
grotesque behaviour and he doesn’t want the same for her in Bombay too. Unlike
other ladies of her age, she had no interest in expensive gifts, food, clothes,
ornaments and other such material stuffs.
Narrator finds a tone of affection in Dhundoo voice when he says that he doesn’t
want Siraj to go because he likes her a bit and explains her as different from
other ladies in this profession who are only after money.
On a rendezvous meeting, author once went to see Siraj in person. He took her to
a hotel room where he tried to elicit the anger inside her by holding her arms
and sitting by side but failed. Later he gave her a good sum of money and drop
her home. Author has meticulously described the features of her face after
getting drunk with him. He says that her eyes though were beautiful but lost all
their charm and her face resembled the look of a devastated city. Author speaks
in a worrisome tone that the devastation suggests she has been plundered before
and that raid has left nothing of herself in her. The robber hasn’t only robbed
off her with the wealth of joy and peace but has looted crux of her soul too.
After a month, author met Dhundoo once again to be startled by a surprising
revealation. Dhundoo told him that the money author gave to Siraj in hotel
motivated her to go to Lahore. Along with Dhundoo Siraj boarded the train
Lahore. For few days both of him wandered through the streets of Lahore from
doon to dine till one day their search ended. Dhundoo took the man to Siraj, who
she has asked for. When Siraj confronted that man, she grabbed him tightly and
blurted out everything she had incubated in her heart for so long. She
questioned him for the reason of betraying her, when he knew that Siraj has left
her family, brothers and sisters and every piece of her past life to draw her
future with him. The man started crying and begged for forgiveness.
If Siraj would have been an ordinary woman stereotyped by society to be
forgiving, generous and dedicated, she should have acquitted her beloved for all
of his sins. But, Manto’s Siraj failed to correspond to the definition of
womanhood suggested by the pathetic male-chauvinist society and took her revenge
like a woman of spirit. In his story Manto has paraphrased this belief that,
“As some roads never lead to
destinations, so some mistakes can never be forgiven.”
Thus, Manto’s Siraj defined herself in
her own words and avenged her betrayal.
Days have passed and turned to years
But the pursuit has never ended without
fear,
Many tears came and many smiles died,
But the thirst to be love was never
satisfied,
Several hurdles were born and many
winters trembled,
But the determination to smile was never
pacified
The story opens with the miniscule
description of Saugandhi’s room’s interior. The most special of the entire
discussion was the details of that wall which held the picture of Lord Ganesha.
It was Saugandhi’s daily ritual to rub her earnings against the picture of
Ganesha with the intention to invite good luck. The purpose of giving space to
this not so uncommon religious ritual of everyone’s life will expose one to the
most desperate and turpitudinous attitude of society which shamelessly promotes
layered society and mocks at prostitutes for following their religious beliefs
by naming them as worshippers of money. This genre of thoughts don’t belong to
pre- Independent India but exist since generations in every society of every
nation. In Bible, there is one story about a prostitute who was blessed by
Jesus. Since, she was indulged in adultery so she was considered as unholy.
Once, a Pharisee invited Jesus to dine with him. He had all sorts of luxury in
his house but what he lacked in his heart Christ found it in the selfless
devotion of a humble prostitute. She came to Pharisee house when she heard of
Jesus’s coming and brought an alabaster Jar of Ointment with herself. The
intensity of her devotion was so high that when confronted with Jesus she began
to bath his feet with tears and dried them with her hairs.
The story is relatable to this episode of
Saugandhi’s life as it reflects the fact that prostitutes too are humans. Manto
has worked hard while drawing the Saugandhi’s character for he has intricately
sculpted the corridors of her heart which disgruntles after receiving an
expression of disgust from one of her customer, which is ferocious to fall in
love and which is so magnanimous to collect money by inviting more customers for
her to pay the train fares of her widowed neighbour and her young daughter to
return to their hometown. Manto has also added the colour of determination,
decisiveness and self-esteem in the stature of Saugandhi because when she
realises that Madho, her lover, is taking advantage of her by asking a good
share from her earnings regularly, she baffles him with her courage and self-ego
and scratches Madho’s portrait off the wall, which once used to embellish her
little room, to sternly tell him that he is no more her God of love.
Saugandhi’s whimsical behaviour at the
end of the story exterminates the various paradigms of sobriety and courtesy
preserved for women to follow exclusively. Manto’s Saugandhi is not someone who
can be belittled by abuses of the custodians of morality in society but she is a
phoenix who knows she will make her presence felt in this world for she knows
how to rise from her ashes.
My bashfulness, my fragility, my
timidity,
All disappeared so soon,
When a part of my soul inherited my
womb.
Motherhood is a blessing when it comes
from a legitimate relationship which fulfils the criteria set up by the society,
whereas unmarried mothers are cursed and welcomed with derogatory remarks.
Manto has brought to light one of the
most serious injustice practiced under the umbrage of male chauvinist society
i.e. to accuse a woman for being an unmarried mother without punishing the
unforgivable act of adultery practiced by the fugitive biological father.
Usually, it is the weak who suffers and it is quite obvious that in any society
no matter how sophisticated it is, the most vulnerable and marginalised section
is that of a poor woman irrespective of her caste and religion. The heart-
wrenching story of a forlorn mother scripted by Manto challenges the lofty
ideals of pragmatism, egalitarianism and emancipation. He raises the questions
that why can’t a woman live independently with her child in the society without
revealing the name of child’s father, why it is always a woman who is tested for
the degree of morality in her character and not that man who has left her with
scars and responsibilities for life. Manto’s mother from his story “By the
roadside” is a loving mother like any other woman. Initially, thought of her
being alone with her child facing accusation and derogation frightens her and
for a while she thinks of getting rid of that debris crawling in her belly but
with a fraction of seconds her motherhood regains consciousness and she gears up
her spirits and sums up all her strength to shield her baby from every speck and
every slice of adversity coming after him/her. She emboldens herself with the
intrepid thoughts and says thinks that she will chop off all fingers raising an
eye of suspicion against the identity of her child. She will go dumb to shun all
voices of disgrace, she will go blind to avoid all sorts of gestures of disgust
expressed by people and she will go deaf to restrict all lewd cacophony. She
would only see the heavenly smile of her child, she would only listen to the
mellifluous lisping of her baby and she would open her mouth only to sing
melodious lullabies to her baby. The story meets with a sad ending and leaves
its readers with tears in their eyes and questions in their conscience.
What powers do I have??
I am only the greatest delight for your
eyes to cherish
And the deepest grief for your heart to
sigh.
When Didda showed her strong ambitions to
annex the throne of Kashmir she was called arrogant and power thirsty woman,
when Nur Jahan started taking interest in Mughal court affairs she was called as
an usurper of Shah Jahan’s regal rights, Razia Sultana was defamed by her court
officials because they didn’t want to be yes men of a lady ruler and many such
episodes of history are testimonies of male intolerance towards the escalating
capabilities of their female counterpart.
Manto has raised this sensible issue in
one of his story through the character of an empowered, intelligent and strong
woman Latika. Latika is emotionally prudent while making relationships, matured
and logical in her decisions, opportunistic and optimistic in her approach. Her
choice of her marital part keeping in mind the common professional interest of
both partners helped her to establish an equitable relationship. With the
commencement of her acting career she surprises the readers with her tenacity
and hardworking attitude. Her planning to establish production house, the way
she advices her husband to conduct himself into professional relations, her
consistent love for gardening and the sublimity with which she handled her
enormous success is generously commendable. The main plot of the story begins
when people jealous of her success began to air rumours regarding her illicit
connection with the heroes of her films. Her husband grew sceptic about his
wife’s moral character and her fidelity towards him. The story has many episodes
of quarrels and arguments in between the couple and it was always Latika who
remained silent and waited for the storm to pass. She was such an outstanding
performer in her real life too that she accepted her descent with the same
naivety with which she once accepted her upheaval. The story ends with the
mourning scene of Latika’s husband’s death and murmurings from the studio about
her hand in it.
Saadat Hasan Manto through his writings
has unfolded the rusting knots of narrow minded society and has provided voices
to all such unnoticed challenges faced by a woman in order to thrive. Latika,
unlike the primitive woman isn’t an example of pativrata woman always concerned
about the daily chores of her home and kitchen but she is the face of rising
civilisation. She is the beacon light to guide the ignorant ones and assist them
to emancipate themselves from the shackles of serfdom of patriarchy.
1.
Manto, H.S., Mottled Dawn;
Fifty sketches and stories of Partition. Translated from Urdu by Khalid Hasan,
Pemguin Random House India, Haryana, 2011.
2.
Manto, H.S., A Wet Afternoon;
stories sketches, Reminiscences. Translated from urdu by Khalid Hasan, Alhamra
printing, Islamabad, 2001
3.
Manto, H.S., Bombay Stories,
Translated from urdu by Matt Reeck and Aftab Ahmad, Penguin Random House India,
Haryana , 2012
4.
Manto, H.S., Bitter Fruit; The
very best of Sadat Hasan Manto, Translated from by Khalid Hasan, Penguin India,
2008
5.
Lawrence , H.D, Lady
Chatterley’s Lover, Penguin UK, 5th January 1982
6.
Ansari, Mehmood Umama; Saeed,
Sohail and Sattar, Firza. Reading the silence of women in Sadat Hasan Manto’s
selected short stories , Global Language Review, Vol VI, p.p 216-221
7.
Ranjan, Vishal, Empowered at
the Margins; Women in Manto’s stories, Journal of Emerging Technologies and
Innovative Research, Volume 5, Issue-6, June 2018
8.
Mukhopadhyay, Pratyusha, Sadat Hasan
Manto’s Women Heroes: “Seeking Truth in Persuasion”, International Journal of
Research on Social and Natural Science, Vol .I , Issue – 2, December, 2016
9.
Manto, H.S, Fifteen Stories ;
selected by Nandita Das, Rajkamal Prakashan, October, 2018
10.
Mahto, Mukesh, Manto: An Alter
Ego of the Subalter, International Journal of Advance Research and Innovative
Idea’s in Education, Vol-6 , Issue-5, 2020
11.
Jalal, Ayesha, Pity of
Partition; Manto’s life, Times and Work across the India –Pakistan divide,
Harper Collins , 2013
12.
Rumi, Raza, Reclaiming
Humanity; Women in Manto’s Short Stories, Social Scientist Journal, Vol. 40, No.
11/12, 2012
13.
Lawrence , D.H, A Propos of
Lady Chatterley’s Lover, Haskell House, 1973
14. Lawrence , D.H, A Propos of Lady Chatterley’s Lover, Penguin UK, 5th January, 1982