Ismat chughtai husband
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Masooma: A Novel, Ismat Chughtai, Translated from the original Urdu by Tahira Naqvi, Women Unlimited, 2011, pp. 143, Rs250.
Squeamish readers would do well to stay away from Masooma, for this book was not written for the faint hearted. Its writer, Ismat Chughtai, never one to pull her punches, is out to draw blood. The wit and gentle humour of earlier stories, the ones based on her experiences in Aligarh and the smaller provincial towns of Upper India, is entirely missing here. A gritty anger and a biting realism combine with a keen eye for detail to depict not merely the dark underbelly of Bombay (as it was then called) but also scratch the mask of sharif culture and expose its desperate poverty.
Ismat wrote voluminously till she was diagnosed with Alzheimer’s Disease in 1988. Her formidable body of work comprises several collections of short stories, novels, sketches, plays, reportage, radio plays as well as stories, dialogues and scenarios for the films produced by her husband Shahid Lateef as well as others.Much of her non-film writing was autobiographical; i
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Ismat Chughtai
Indian Urdu writer and filmmaker (1915–1991)
Ismat Chughtai (21 August 1915 – 24 October 1991) was an Indian Urdu novelist, short story writer, liberal humanist and filmmaker. Beginning in the 1930s, she wrote extensively on themes including female sexuality and femininity, middle-class gentility, and class conflict, often from a Marxist perspective. With a style characterised by literary realism, Chughtai established herself as a significant voice in the Urdu literature of the twentieth century, and in 1976 was awarded the Padma Shri by the Government of India.
Biography
Early life and career beginnings (1915–41)
Ismat Chughtai was born on 21 August 1915 in Badayun, Uttar Pradesh to Nusrat Khanam and Mirza Qaseem Baig Chughtai; she was the ninth of ten children—six brothers and four sisters.[1] The family moved frequently as Chughtai's father was a civil servant; she spent her childhood in cities including Jodhpur, Agra, and Aligarh—mostly in the company of her brothers as her sisters had all got married while she was still very
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Ismat Chughtai is considered by many to be the fourth pillar of modern Urdu fiction along with Saadat Hassan Manto, Rajendra Singh Bedi, and Krishan Chandar. In terms of notoriety and fame, controversy and popularity, she is ahead of any other Urdu novelist. Her personality and her writings are complementary to each other and consist of rebellion, compassion, innocence, and sincerity. She made a name for herself in the world of Urdu fiction and novel writing due to her startling themes and realistic style of writing. The microscopic incidents of human life are the subject of her works, but she presents these events with such dexterity and artistry that a complete and vivid picture of daily life comes to the fore. Through her characters, she tries to expel the evils of society and make them a symbol of beauty, happiness, and peace.
Ismat Chughtai was associated with the progressive movement of Urdu, but unlike other communist writers of her time, she made internal, social, and emotional exploitation the subject of her stories instead of external, social exploitation. In her writin
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