- Page 1: INFORMATION TO USERS This reproduct
- Page 6 and 7: THE UNIVERSITY OF ARIZONA GRADUATE
- Page 8 and 9: DEDICATION FOR ALLAN AND MY PARENTS
- Page 10 and 11: PREFACE The Modernist Movement has
- Page 12 and 13: vii The following journals were con
- Page 14 and 15: Prakash, and Balraj Mainra (Chapter
- Page 16 and 17: xi surface level features which may
- Page 18 and 19: xiii Jamia Millia Islamia, New Delh
- Page 20 and 21: TABLE OF CONTENTS Page ABS TRACT
- Page 22 and 23: xvii TABLE OF CONTENTS--Continued P
- Page 24 and 25: xix towards a greater experimentati
- Page 26 and 27: CHAPTER ONE INTROOUCTION Literary m
- Page 28 and 29: 3 This Introductory Chapter revie~s
- Page 30 and 31: The Fifties 5 In fact every tune of
- Page 32 and 33: 7 to political problems, specifical
- Page 34 and 35: 9 Krishan Chander, and also provide
- Page 36 and 37: in the Hindi majority areas (1950,
- Page 38 and 39: 13 for the promotion of Urdu (the a
- Page 40 and 41: 15 gone to Pakistan; it was difficu
- Page 42 and 43: egan to "go to ridiculous lengths,"
- Page 44 and 45: 19 But suddenly something very stan
- Page 46 and 47: 21 khilaf ~-i amal," 1953; "~ afsan
- Page 48 and 49: 23 p. 4). There was also no -group3
- Page 50 and 51: internally-oriented literature free
- Page 52 and 53: 27 Included among them is Askari, w
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e considered Islam" (Dahlavi, 1954,
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31 Islamic. Its point of view is Is
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literature free of slogans and form
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35 earliest articles. In a 1948 dis
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37 the fifties. An editorial in Nay
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39 A year later the individualistic
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41 Progressive Movement, and the at
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mimetic fiction towards experimenta
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Progressives had done,25 the Modern
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47 Urdu articles from the early six
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authors popularized these technique
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51 understand, uses a private langu
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53 This argument, given in a two-pa
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55 Urdu poetry in those poets of th
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57 that: • ••• our politica
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59 poetry became a puppet for their
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61 (leaving out the younger Pakista
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has been replaced by airconditionin
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65 searching for his self and for e
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the machine by searching inwardly f
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69 Tahrik between April and August.
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••• most of what has been pub
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73 new styles of expression (Kitab,
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75 industrial culture become lifele
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77 Like Dr. Narang, ~azir Ahmad too
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situations ••• [and that] •
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Modernists of the seventies, he say
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on the Progressives(1968),46 on Urd
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85 there have been several hundred
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87 the journals most heavily repres
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89 4 Raj Abe (Delhi, 1963), Qamar A
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91 Movement as a whole than to the
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93 number and types of authors name
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95 Husainu1 Haq (Gaya), Anvar Qamar
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97 center of Pakistan, the Rawalpin
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99 notable among the Rawalpindi/Isl
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101 authors added each year has als
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103 Another effect of the war was t
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105 Other recent publications inclu
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107 Mainra. These four authors are
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CHAPTER TWO PRECURSORS OF MODERNISM
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fifties was the pragmatic view of t
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("free verse") of N. M. Rashed 69 a
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115 SaadatHasan Manto, N. M. Rashed
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117 this survey are not progressive
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119 collection Sitaron se age (1948
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narrator, who is separate from Emil
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123 Qurratulain Hyder, "~l ~ dost"
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the Viceroy's Viceregal Lodge and t
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Sajjad Zaheer, -Bind nahin ati" 127
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129 In this example, both the sound
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abhorrence of scorpions. 84 She ask
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The contrast between England and In
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the pub, is himself "a prisoner of
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137 not free. He is bound by societ
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139 author seems to tell us, lies i
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141 the pellet of the hidden sun in
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143 for life. A cessation of human
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145 comes to a time-worn temple of
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Manto, wFirishtahft 147 Manto's ftF
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oriented surrealistic sequences, "F
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151 as good as in the grave even wh
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The discrepancy between Zenat's, an
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155 Balraj Mainra,93both of whom wr
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157 wedding of a woman whose child
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garden. Wrapped about her throat wa
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The parallels in imagery associate
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163 which become increasingly disto
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165 the laws of society, but the la
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167 pOint" of the tradition of abst
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169 symbolism in the Urdu short sto
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171 mythology.100The last section c
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173 The water fairy Euridice appear
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critic here predominates over the s
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177 how their souls had become one
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179 "~ malhar" chronologically has
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181 There were the inevitable Parti
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183 story, rather than about the na
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185 time and was also actively invo
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187 in 1973 became the Chairman of
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189 Theme of Oppression In his arti
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191 westernized women, who spurn th
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193 Westernization One notable aspe
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195 Enver Sajjad's use of similes i
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orn the child does not die, unless
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199 childhood, and that all became
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201 Husain's largely autobiographic
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203 Imroze. He later worked for the
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205 past. 124 His stories in the fi
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207 notable of the new writers (in
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209 Articles Another criticism give
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211 According to Intizar, the inner
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213 Early Stories Until 1958 his st
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215 only Cand gaban depicts the jou
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217 emphasis on atmosphere and char
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219 It was primarily the riots rath
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221 body slowly turning to stone (p
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223 prophesized in the Biblical acc
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225 shooting at twilight, and then
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youth, and snakes, by a tale which
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229 which the author expresses in h
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Intizar Husain~s 231 earlier storie
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At first that entire dream was seen
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235 ("AQiL" (1974». Line one is no
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who had lived through that era. The
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p. 11).l40Intizar Husain's works fr
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for the truth, the theme of the nea
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the name of God that wI was born in
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he realizes that he cannot know tha
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247 Bint al-Khizr. The line is repe
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efusal of martyrdom for the Truth o
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251 name if asked; inwardly writhed
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253 The story operates in three rea
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might at first Seem. Though they di
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257 Still be feels as though he is
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259 technique were Intizar Husain a
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261 less able to reflect the inner
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263 "Fjrishtah", for example, the i
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hallucinations in -Ankh ~ sayah-).
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267 disturbing_ The dissillusioned
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269 Most of Balraj Mainra's stories
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271 Surendra Prakash's ·Talgarmas
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273 the beginning of the story (as
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275 simultaneous presence of elemen
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277 alienation" (Kahler 1957, p. 14
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279 he described so often in his fi
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281 starting a mission to convert E
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those emotions which lower man from
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285 me? That person who is now at t
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metamorphosed into that of an anima
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289 society's failure to discrimina
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291 In R~ kutta n the protagonist i
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293 wonders: " ••• am I a man
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295 jackal rather than to die as a
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297 Throughout his career Intizar H
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299 news of the cease fire. The que
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302 of Jeremiah. 157 The theme of t
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304 with sorrow, therefore, that th
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306 indicate a disintegration of so
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308 morning. At Doomsday they will
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310 which has become too horrifying
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those they had thought to be their
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314 story is never told. Two friend
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316 continually wounded by their wo
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318 former home has fallen down. Af
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320 now strange to them and become
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there no goal, no route, and no dri
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324 symbolized by the fall of a cit
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326 its effect on Zakir, it begins
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328 immediately after Zakir hears h
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330 end of the fourth chapter the f
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332 which the hero Fayaz Khan menta
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334 Jerusalem, its gates burned by
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336 under the dead words of posters
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338 events from mythic and religiou
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and Lahore is wrapped in violence a
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342 In these works from the early s
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344 hallucination with a realistic
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346 himself left behind. The smuggl
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348 goal makes him temporarily lose
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350 increase the ambiguity surround
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352 consequently thrust a dagger in
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354 a stre.:lm of consciousness tec
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356 visual, a feature of Enver Sajj
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358 of the body of the protagonist.
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360 repeatedly return to this "cros
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362 white rather than dig a canal t
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364 "Shiraze" (1966b) who grows red
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366 in "Sazashi," to an enlightened
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368 Although the ending of "Sindira
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370 neo-colonialist attempts to inf
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372 its foundation, which the elite
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374 the dust has made his heart swe
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376 condones it. Intizar Husain's "
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378 oppression. The voices in the s
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380 which the portrait hangs. A fla
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382 but to him the sounds are still
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384 level. Except for the identific
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386 and "Sazashi," and earlier in "
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388 in his home, leaning against a
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390 Surendra Prakash Like the works
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interpretations for a single symbOl
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394 developed according to a previo
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396 Most of these stories, however,
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398 upon their situation, the narra
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400 of a sadhu who, like the protag
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402 The narrator watches him die in
- Page 429 and 430:
404 The 1967 story "Badyshak ki ~n
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opportunity to display their erudit
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doom: These tales are followed by i
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410 The narrator wonders how the ba
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412 question his existence. 21S fhe
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414 RDusre admi Ka ~'ing LUm" (1966
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416 second the sound of his stick g
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418 In the fantasy wEaL[ ~ mukalama
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420 come when "we will all swim lik
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422 Jipizan even if it means that t
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424 throne. When cases are brought
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426 of the direction in which the c
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428 and his brother; "Rone ki avaz"
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his position in relation to society
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(1959a», in the 1962 story "Roshni
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434 young artist (ftRoshni ~~" (196
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life of the flesh, says in a low vo
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438 makes no effort to attract the
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440 "~ Ki hayat" (1961a) but who is
- Page 467 and 468:
442 or unspecified hospital (Raj in
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The stories set in a coffee house o
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446 suicide, Giyan comes to the con
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as though in a hurricane, drinking
- Page 475 and 476:
450 a character in a later story an
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452 death of a man hauling a load o
- Page 479 and 480:
454 a hostel and the mortuary (p. 9
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456 and that character's preoccupat
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458 described as ·suffused with se
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In his earlier works, such as "Ana
- Page 487 and 488:
the relationship between man and th
- Page 489 and 490:
wider ~ignificance 464 than that in
- Page 491 and 492:
466 encompass something more than j
- Page 493 and 494:
(his inspiration or his desire for
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470 who is to be shot in the chest
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472 association of sex with art, th
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474 "Akhiri kampozishan" (1977b), w
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476 spatial in the sense that they
- Page 503 and 504:
478 individualized to enable us to
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480 the interminable deaths and sui
- Page 507 and 508:
482 lightning-swift") in the descri
- Page 509 and 510:
~he Followers of Modernism 484 As t
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486 Throughout all her works runs t
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488 Her stories are told in a strai
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of self, symbolized by the weightin
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492 October. Although their faces a
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494 contact with the narrator, thus
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496 The story makes extensive use o
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498 and hearing in "£t riportash")
- Page 525 and 526:
500 would assume to be a substance
- Page 527 and 528:
struck the haunches of the horse wi
- Page 529 and 530:
504 Rashid Arnjad has published fou
- Page 531 and 532:
Bezar Adam ke hete in which an inan
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eing murdered in the next room beco
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510 (murshid) which partake of fant
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512 "Jaik ~ jil ~ ~ beta," t.old fr
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514 enjoys their amazement, which h
- Page 541 and 542:
516 The style of a number of these
- Page 543 and 544:
518 attachment to the bonds of norm
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fiction of earlier authors, but the
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522 Most of the expressionist stori
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524 The only sentences of interest
- Page 551 and 552:
526 In order to convey the image or
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APPENDIX A: CHRONOLOGY OF PUBLICATI
- Page 555:
530 1954 INTIZAR HUSAIN "Rat. haena
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533 "At.ms. .IiUIl" "LambeD ka ghul
- Page 560 and 561:
535 "Tasyir ~ li" 1963 INTIZAR HUSA
- Page 562 and 563:
537 "Kampozishan U" "Kampozishan da
- Page 564 and 565:
539 The Altar and Other Stories (tr
- Page 566 and 567:
541 Makkhi "Satvin kahani" 1969 INT
- Page 568 and 569:
EWER SAJJAD "Andhi aa.ll" 543 "Xurj
- Page 570 and 571:
545 "Zindan namah" "Bat £a safar n
- Page 572 and 573:
547 "Sayah" AHMAD HAMESH "Kahani mu
- Page 574 and 575:
13. Gopi Cand Narang. "Urdu men 'a1
- Page 576 and 577:
39. Dr. Muhanunad Ulsin, "Afsanah m
- Page 578 and 579:
553 65. Dr. Hamid Chapravi. "Na'e U
- Page 580 and 581:
92. Sayyid Zamir Hasan. "'Asari afs
- Page 582 and 583:
557 their survey was published in t
- Page 584 and 585:
The disorder of world politics,S. N
- Page 586 and 587:
Figure One. 561 Authors named as Mo
- Page 588 and 589:
563 Figure One--Continued (Third of
- Page 590 and 591:
565 1962 1963 1964 1965 1966 1967 1
- Page 592 and 593:
567 70 6 0 50 30 20 10 o ~r::. - p;
- Page 594 and 595:
569 au Mr.. Nlia , ' : · , " \ 1/1
- Page 596 and 597:
APPENDIX E: TRANSLATIONS 571
- Page 598 and 599:
573 Looking at her she had caught s
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575 would lay eggs behind the bushe
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577 9612 PL. Traveling along they e
- Page 604 and 605:
579 decided that he too would becom
- Page 606 and 607:
581 Now she had become somewhat con
- Page 608 and 609:
583 which were her mother's, and di
- Page 610 and 611:
585 She ran after him, screaming, c
- Page 612 and 613:
587 Ever since he set out, the bark
- Page 614 and 615:
shawl. Part of it is covered with t
- Page 616 and 617:
591 towards the black, glossy, smoo
- Page 618 and 619:
593 unaware of the other, some dist
- Page 620 and 621:
595 I here the road in front a litt
- Page 622 and 623:
597 Talqarmas by Surendra Prakash I
- Page 624 and 625:
599 some problems of its own he alw
- Page 626 and 627:
601 postponement of his birth has e
- Page 628 and 629:
603 pictures made by your urine are
- Page 630 and 631:
605 together in the middle, becomin
- Page 632 and 633:
607 body is as though made of onion
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REFERENCES Fiction Ahmad, Rizvan. 1
- Page 636 and 637:
611 _________ • 19BOb. "~~ ~ ~ ka
- Page 638 and 639:
613 _________• 1978c •• ~ ka
- Page 640 and 641:
615 Hamesh, Ahmad. 1966. Rae zamini
- Page 642 and 643:
617 __________• 1951. "Ustad," in
- Page 644 and 645:
619 _________ • 1960a. WHadiyon k
- Page 646 and 647:
621 _________ • 1969. "Dusra rast
- Page 648 and 649:
623 __________ • 1981b. Kachve. L
- Page 650 and 651:
625 _____ 0 1963do .. ~ ti di.ya.r
- Page 652 and 653:
627 Majid, Iqbal. Do bbige bu'e log
- Page 654 and 655:
629 __________ • 1969a. "ChQra hu
- Page 656 and 657:
631 _________• 1977b. Nangi dopab
- Page 658 and 659:
633 ____ -:--,. 1961a. "Sab se pura
- Page 660 and 661:
____...-=. 1972a. "Yurika, yurika,"
- Page 662 and 663:
637 __________ • 1981d. -Ai-~,·
- Page 664 and 665:
639 ____ -""._,. liThe City of Sorr
- Page 666 and 667:
Jussawalla, Adil, ed. New Writing i
- Page 668 and 669:
643 ____....."""..... liThe Sound o
- Page 670 and 671:
645 Farid, Ibn-i. March 6, 1979. Fa
- Page 672 and 673:
647 Nughman, Shams. June 28, 1978.
- Page 674 and 675:
Secondary· Sources in Urdu "Afsana
- Page 676 and 677:
• "Shahar-i afsos, ek ja'izah," F
- Page 678 and 679:
653 Anjuman-i Taraqqi Pasand Musani
- Page 680 and 681:
655 • 1977b. Naya afsanah. A1igar
- Page 682 and 683:
Fatimah, Altaf. "Enver Sajjad se mu
- Page 684 and 685:
____ ~. 1955b. "Khubi Lahor men," M
- Page 686 and 687:
661 ____ ~. 1959. "Afsanah," Nugush
- Page 688 and 689:
o.alid, Anvar Mahrnud. Letter. Funu
- Page 690 and 691:
665 ____ ~. 1957. "Urdu adab ke jad
- Page 692 and 693:
667 Rafig, Sa'id Ahmad. "Adab ~ tag
- Page 694 and 695:
669 Sarhadi, Khamosh. Answer to que
- Page 696 and 697:
671 • 1979c. "Rizvan Ahmad ka 'Ma
- Page 698 and 699:
673 __________• 1979. ftThe Short
- Page 700 and 701:
Moazzam, Dr. Anvar. "Modern Urdu Sh
- Page 702 and 703:
677 "Zeno." "Rejection of Modernism
- Page 704 and 705:
679 Faulkner, Peter. Modernism. Lon
- Page 706 and 707:
681 Scholes, Robert, and Robert Kel