Noted writer Hajra Masroor passes away:
A renowned writer and author of several Urdu books and short stories, Hajra Masroor, passed away on Saturday 15th September 2012 morning in Karachi. She was 82.
Hajra Masroor’s death a great loss for Urdu literature
LITERATURE in Pakistan is a lot poorer after the death of Hajra Masroor. However, the veteran short-story writer has left an impressive body of work that will continue to influence future generations of Urdu writers. Born into a Lucknow family with literary tastes, Hajra Masroor was a versatile writer who worked in various media. She began publishing her short stories before Partition, with her first story published when she was only 16. Together with her equally gifted sister, writer Khadija Mastoor, she also recorded stories for All India Radio before Partition. To their credit, both sisters rose quite quickly on the subcontinent’s literary horizon, which at the time also featured major women writers such as Qurratulain Hyder and Ismat Chughtai. Hajra Masroor also worked for a time with the women’s wing of the Muslim League. After migrating to Pakistan, Hajra Masroor co-edited the literary journal Nuqoosh with Ahmad Nadeem Qasimi. However, the publication would court trouble from the authorities of the time due to its progressive leanings. Demonstrating her versatility, the writer also wrote the story and dialogue of a film Aakhri Station, which was shot in East Pakistan.
The sad demise of renowned fiction writer Hajra Masroor has caused a great loss to Urdu literature as she was amongst a very few writers who had played a dynamic role for the cause of progressive and enlightened literature in this sub-continent.
Prominent writers and representatives of Anjuman Tarraqi Pasand Musanifeen (Progressive Writers Association) have expressed their deep shock and grief over the sad demise of Hajira Masroor.
Dr Muhammad Ali Siddiqui (Ariel), Saleem Raz, Dr Jamal Naqvi and Dr Mazhar Haider observed that Hajira’s works were a great asset for Urdu literature, as she and her elder sister Khadeeja Masroor both proved to be revolutionary writers with their immense contributions in progressive literature.
Prominent poet Ahmed Omar Shareef pointed out that Hajira Masroor was considered to be a giant of Urdu literature like Ismat Chughtai who had rejected the so-called social taboos in her stories, depicting the odd and negative values prevalent in society. Hajira’s stories also proved to be a rejection of so-called norms and social taboos exploiting women, he said.
Shareef highlighted that the whole family of Hajira Masroor served the cause of literature. Her younger brother Khalid Ahmed, a writer, brought out a literary magazine called “Bayaz”, whereas her elder sister Khadija Masroor came up with novels and short stories.
Noted short story writer and poetess Musarat Afza Roohi notes that both Hajira and her sister Khadija have enriched the Urdu literature and their juniors, especially female writers, used to follow the two sisters (Khadija, Hajira) and other contemporaries like Qura’atulain Haider and Asmat Chughtai.
Roohi says that she herself had started writing while following the same role models. When the stories by Hajira Masroor got published in famous Urdu monthlies such as “Naqoosh” and “Funoon”, they gained much ground among the students of Urdu literature and many girls came forward to write stories while following the trends set by Hajir Masroor, Roohi commented.
Roohi pointed out that Hajira Masroor had a command over writing stories on contradictory values of society and the so-called ethical values set by a male-dominated setup as well as other social and political issues. Her bold style of writing was acknowledged by all her contemporary writers as she boldly exposed the negative postures of this society, Roohi concluded.
In one of her writings, Hajira has described the details of her meeting with Manto. She writes that she and her sister were well familiar with the Manto’s writings but they had never met him. Hajira writes that it was her desire to see the great writer (Manto) but it seemed hard to meet him. Once, when she (Hajira) was attending a meeting she came to know that Manto was also coming at the meeting that was held in Lahore. Interestingly, there was no one to tell her about the arrival of Manto and then she inquired about Manto from a man sitting in front of her. The man smiled, but did not make any positive comments about Manto. Later, when Manto’s name was called from the dais, the same man stood up and assumed the seat of the chief guest. It was only then when she came to know that the same man was Manto, but he did not disclose his identity to her owing to his modesty, Hajra concluded.
According to a senior journalist and writer, Hajira Masroor was a writer who patronized the young writers in terms of promotion of healthy literature as well as expression and creativity.
The journalist said that she used to attend meetings of young writers in Lahore and Karachi and read very useful papers on literature and criticism. She was highly acclaimed by critics, writers and students of Urdu literature. She had written script of an Urdu movie titled “Aakhri Station” that was termed an excellent work. She also gave short stories collections, titled: “Hai Allah”, “Chori Chupay”, “Chand Ke Doosri Taraf”, “Tisri Manzil”, “Andhere Ujale”, and “Woh Log”.
Hajira Masroor was married to renowned journalist Ahmed Ali Khan, her elder sister Khadija Mastoor was married to another prominent journalist Zaheer Baba and her third sister too married famous journalist Hasan Abidi. Renowned writer and poet Ahmed Nadeem Qasimi, who himself joined progressive writers movement, had encouraged the two writers of their time and played an important part in managing the marriages of the three sisters.
A renowned writer and author of several Urdu books and short stories, Hajra Masroor, passed away on Saturday 15th September 2012 morning in Karachi. She was 82.
Hajra Masroor’s death a great loss for Urdu literature
LITERATURE in Pakistan is a lot poorer after the death of Hajra Masroor. However, the veteran short-story writer has left an impressive body of work that will continue to influence future generations of Urdu writers. Born into a Lucknow family with literary tastes, Hajra Masroor was a versatile writer who worked in various media. She began publishing her short stories before Partition, with her first story published when she was only 16. Together with her equally gifted sister, writer Khadija Mastoor, she also recorded stories for All India Radio before Partition. To their credit, both sisters rose quite quickly on the subcontinent’s literary horizon, which at the time also featured major women writers such as Qurratulain Hyder and Ismat Chughtai. Hajra Masroor also worked for a time with the women’s wing of the Muslim League. After migrating to Pakistan, Hajra Masroor co-edited the literary journal Nuqoosh with Ahmad Nadeem Qasimi. However, the publication would court trouble from the authorities of the time due to its progressive leanings. Demonstrating her versatility, the writer also wrote the story and dialogue of a film Aakhri Station, which was shot in East Pakistan.
The sad demise of renowned fiction writer Hajra Masroor has caused a great loss to Urdu literature as she was amongst a very few writers who had played a dynamic role for the cause of progressive and enlightened literature in this sub-continent.
Prominent writers and representatives of Anjuman Tarraqi Pasand Musanifeen (Progressive Writers Association) have expressed their deep shock and grief over the sad demise of Hajira Masroor.
Dr Muhammad Ali Siddiqui (Ariel), Saleem Raz, Dr Jamal Naqvi and Dr Mazhar Haider observed that Hajira’s works were a great asset for Urdu literature, as she and her elder sister Khadeeja Masroor both proved to be revolutionary writers with their immense contributions in progressive literature.
Prominent poet Ahmed Omar Shareef pointed out that Hajira Masroor was considered to be a giant of Urdu literature like Ismat Chughtai who had rejected the so-called social taboos in her stories, depicting the odd and negative values prevalent in society. Hajira’s stories also proved to be a rejection of so-called norms and social taboos exploiting women, he said.
Shareef highlighted that the whole family of Hajira Masroor served the cause of literature. Her younger brother Khalid Ahmed, a writer, brought out a literary magazine called “Bayaz”, whereas her elder sister Khadija Masroor came up with novels and short stories.
Noted short story writer and poetess Musarat Afza Roohi notes that both Hajira and her sister Khadija have enriched the Urdu literature and their juniors, especially female writers, used to follow the two sisters (Khadija, Hajira) and other contemporaries like Qura’atulain Haider and Asmat Chughtai.
Roohi says that she herself had started writing while following the same role models. When the stories by Hajira Masroor got published in famous Urdu monthlies such as “Naqoosh” and “Funoon”, they gained much ground among the students of Urdu literature and many girls came forward to write stories while following the trends set by Hajir Masroor, Roohi commented.
Roohi pointed out that Hajira Masroor had a command over writing stories on contradictory values of society and the so-called ethical values set by a male-dominated setup as well as other social and political issues. Her bold style of writing was acknowledged by all her contemporary writers as she boldly exposed the negative postures of this society, Roohi concluded.
In one of her writings, Hajira has described the details of her meeting with Manto. She writes that she and her sister were well familiar with the Manto’s writings but they had never met him. Hajira writes that it was her desire to see the great writer (Manto) but it seemed hard to meet him. Once, when she (Hajira) was attending a meeting she came to know that Manto was also coming at the meeting that was held in Lahore. Interestingly, there was no one to tell her about the arrival of Manto and then she inquired about Manto from a man sitting in front of her. The man smiled, but did not make any positive comments about Manto. Later, when Manto’s name was called from the dais, the same man stood up and assumed the seat of the chief guest. It was only then when she came to know that the same man was Manto, but he did not disclose his identity to her owing to his modesty, Hajra concluded.
According to a senior journalist and writer, Hajira Masroor was a writer who patronized the young writers in terms of promotion of healthy literature as well as expression and creativity.
The journalist said that she used to attend meetings of young writers in Lahore and Karachi and read very useful papers on literature and criticism. She was highly acclaimed by critics, writers and students of Urdu literature. She had written script of an Urdu movie titled “Aakhri Station” that was termed an excellent work. She also gave short stories collections, titled: “Hai Allah”, “Chori Chupay”, “Chand Ke Doosri Taraf”, “Tisri Manzil”, “Andhere Ujale”, and “Woh Log”.
Hajira Masroor was married to renowned journalist Ahmed Ali Khan, her elder sister Khadija Mastoor was married to another prominent journalist Zaheer Baba and her third sister too married famous journalist Hasan Abidi. Renowned writer and poet Ahmed Nadeem Qasimi, who himself joined progressive writers movement, had encouraged the two writers of their time and played an important part in managing the marriages of the three sisters.
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