Pehli Chup ka Shor – Kamran Mughal explores the Literary Tapestry of Mah Jabeen Asif

By Kamran Mughal

The initial impression upon delving into Mah Jabeen Asif’s short stories in ‘Pehli Chup Ka Shor’ was that of Hajra Masroor, a cutting-edge narrator. Innately, every individual possesses the capacity to think, comprehend, and emote. This capacity varies – some have it in moderation, while others possess it abundantly. People channel their sentiments diversely – some through tears, some via prayers, and others through the art of writing.

Similar to shedding tears, writing fiction, poetry or other genres of literature also possess the divine power of the creator of the universe.  The poets and the writers think two steps ahead of the common man, earning them the status of mirrors reflecting nature and society. Through a perfect use of language, they evoke emotions and curiosity among the reader.

Mah Jabeen Asif holds the roles of poetess, fiction writer, historian, columnist, and passionate teacher at a time. Despite long acquaintance with her, our first in-person interaction occurred ecause of her book, ‘Pehli Chup Ka Shor’.

During this meeting, she revealed her book manuscript had remained unpublished for two years. After I committed support to get the book published, she shared the draft of the book. Skimming the book it struck me – the deserved an earlier release. Now, though delayed, the book is finally published.  Among the numerous books published in the last two years, “Chup Ka Shor” stands out, even though it’s entirely fictional.

Mah Jabeen Asif has cultivated a passion for writing since her student days. It would not be wrong to say that her journey as an excellent storyteller began early and has since evolved into a mature craft. She used to pluck fruits from trees and then transform those experiences into stories. Today, she can be counted among the fortunate few who were told stories at bedtime by their mothers during childhood. In contrast, today’s children often spend their nights engrossed in mobile phones, often unknown to their mothers.

Born in Karachi, Mah Jabeen Asif’s passion for writing columns blossomed during her school days and has persisted ever since. Enriched by her role as an active member of the literary committee, her college years were a time of immense joy and growth. Notably, she held the position of editor for the prestigious ‘Sahar Silver Jubilee’ magazine of the college. First published by different magazines, her imaginative fiction stories continue to captivate readers till date. Furthermore, a selection of her creations can also be found on the popular website of Urdu poetry ‘Rekhta’.

In the above poem, each word, character, and subject represent the titles of fictional works authored by Mah Jabeen. I have only changed the order. On the first page of the fiction named ‘Chup ka Shor,’ the word ‘Bismillah’ greets the reader—an indication that the author has concluded her laborious journey with unwavering devotion and trust in God. If you further explore, a closer look reveals the presence of both the initial intisab and the subsequent intisab—a rarity in the contemporary literature. This novel feature distinguishes the book from other works. Moreover, the book incorporates the viewpoints and critiques from eight artists and authors of fiction.  The comments shared by her mentor Mrs. Burgis Siddiqui, Professor Sahar Ansari, Muhammad Hameed Shahid, and others adorn the flap. Enclosed within the book are sixteen short stories, eighteen essays, and ten articles related to personal expression (khud Qalami).

Prior to and following Mah Jabeen Asif’s marriage, a distinct hue has emerged within the stories she has authored. She has authored number of important fictions centred around women, addressing subjects that often go unexplored. Being a sensitive writer, she delves into topics that others shy away from. One of her fiction works, titled ‘Sleeping Please,’ masterfully captures the hardships experienced by women.

In her prose, Mah Jabeen employs the full spectrum of poetic elements: analogies, metaphors, and similes. Through this lyrical style, her narratives do not let reader’s attention slip away. This quality is what sustains the reader’s captivation throughout her works. In a domain often overlooked, the feminine perspective acts as strength in her stories.

As an illustration, take her fiction “Nailon main lipti lash” (A Body Wrapped in Nylon). Employing the frame story narrative technique, unravels the layers of consciousness of the narrator and the characters. By adorning the philosophy of love with the exquisite feeling of emotions, Mah Jabeen has ushered in a new role to open doors for the readers to contemplate.

Mah Jabeen Asif’s original name was Mah Jabeen Siddiqui. However, after her marriage with Muhammad Asif, she changed her name to Mah Jabeen Asif. Muhammad Asif is a genuinely kind individual who played a crucial part in finalizing the book. He has shown himself to be a supportive and affectionate husband. Compared to her husband, you’ll notice a greater presence of Hindi words in Mah Jabeen Asif’s. She possesses an extensive repository of Hindi vocabulary due to her background as a fiction writer. Like that of Ahmad Nadeem Qasmi and Manto, she uses Hindi words in an artful manner in her literary work. This is the reason why her writings are equally popular in both Pakistan and India. Reading her novel ‘Khirkian Khol do’ , reminds the reader of Saadat Hasan Manto and his work ‘Khol do.‘ However, in stark divergence from Manto’s narrative, this noveldelves into the intricate inner world of a woman.

Asif embodies a remarkable diversity within him as a writer. While reading her stories, it seems she has experienced these stories firsthand. Her narratives are rooted in her own experiences of pain, endurance, bravery, longing, elation, and grief From Lucknow’s “Virgina Volte, Mein Jada Garia Kanan and fromBikini to Na Janun Raha Na Pari Rahi, all stories depict her suffering.

There is an Egyptian saying that every person must write a diary in his life so that people can know what he/she had learnt from life. Mah Jabeen Asif in the beginning of her book “Pheli Chup Ka Shoor”  writes, “the story remains the same but the style of the narrator keeps changing”.

Within her 190-page fiction, Mah Jabeen intricately tells her encounters, encompassing her hardships, character portrayals, and narratives interwoven with marriage-related elements. The challenges faced by the female gender are more profoundly understood by only a woman. The characters in the story remain anonymous, giving an advantage to the storyteller, allowing readers to perceive lines as if they were personally written for them.  Mah Jabin Asif, the character of the story suddenly goes in another direction which does not become too difficult for reader to comprehend, it rather keeps the reader in his grip. This is the success of his fiction.  She writes, “At times, the hands of the lost life make you put slippers on your feet upside down. Yet, the one wearing inverted slippers never reaches the destination.” In another story, she pens, “Life does not escape so easily from the cage of the body’s bones.”

According to Prof. Sahar Ansari “In contemporary times, the genre of fiction has notably developed by women writers. Among them stands out Mah Jabeen Asif. Her fiction deals with important and critical issues of social life. Her writing style is in perfect accordance with her themes. The name of the book ‘Pehli Chup Ka Shor’ is a reflection of her different and daring thinking. It is hoped that Mah Jabeen Asif will get enough recognition in the literary circles.”

On my behalf and on behalf of KK Publishers, I extend my congratulations to Mah Jabeen Asif Sahiba. May Allah bless her with increased creative insight and greater resilience. Amen.

Note: The above article was read during the book launch event on August 8, 2023 at the Arts Council of Pakistan Karachi. The event was presided over by Professor Sahar Ansari, and other participants including Zeb Azkar Hussain, Zahid Hussain Johari, Dr. Arshad Rizvi, among others. Khalid Moin moderated stage responsibilities.