Daily Times

Literature has continued to influence various aspects of life. When it comes to utilizing literature for entertainment purposes, throughout history, it has been presented in different forms to soothe and provide comfort to the human mind. In ancient Greece, Aesop’s fables and in India, the dramas and theatrical literature of Kalidas are examples of this genre. Similarly, storytelling and narrative traditions in different countries around the world also highlight this fact.

In Asia, particularly in the Indian subcontinent, literature has been presented in various languages for recreational purposes. The arts of storytelling and writing have endured in South Asia, including Pakistan and India, for a considerable period of time. It can undoubtedly be said that the promotion and dissemination of Urdu language cannot be denied the importance of stories and narratives.

The longest narrative in Urdu literature, “Dastan-e-Amir Hamza,” along with the works of Munshi Mohammad Hussain Jah and Ahmed Hussain Qamar, is considered a valuable treasure of classic literature. Similarly, it can be said that at Calcutta ‘s  Fort William College, the process of composition, authorship, and translation brought Urdu literature from the realm of intellectuals to the masses. The gatherings of Haider Bakhsh Haideri (آرائیش  محفل (the multitude of stories)  (ہزار داستانby Ratna Nath Sarshar, and the tales of Tuta Mina   ki kahani gave Urdu literature opportunities to make an impact on various branches and dimensions of life.

The journey of recreational literature’s advancement became significant when a new genre from the West entered Urdu literature towards the end of the 19th century. In English literature, this new genre was referred to as the “novel,” meaning something new. It was only towards the end of the century that this new genre gained widespread acceptance, including in various Western languages, including English. This was a time when the Urdu novel was in its early stages of development. The writings of Nazir Ahmed, his advice, and social stories exemplify the concept of the novel during that era. Later, Abdul Halim Sharar and other esteemed authors took Urdu novels to new heights.

The task of blending history and fictional elements to publish novels perhaps did not impress the general readership as much as the trend of detective or spy novels did. Subsequently, this genre came to be known as the “serial literature.” Prior to partition, the influence and penetration of spy literature were limited to two classes in British India and Pakistan: those who could read English and those who had access to James Hadley Chase, Agatha Christie, and other authors. He was capable of reading novels by Agatha Christie and Earl Stanley Gardner, and he was content with relying on translations of those novels. This class consisted relatively of fewer avid readers. Tirth Ram Ferozpuri  and Zafer Umar (the author of “Neeli Chatri” were renowned during those days for their translations. Instead of paying attention to the publication of original novels, these individuals simply relied on translations.

When we evaluate the era of spy novels, we also realize that these novels were brimming with elements of indecency and obscenity. The success and popularity of spy novels were primarily attributed to the carefully chosen weapons of immorality and vulgarity. Consequently, during that time, very few people were inclined towards writing novels beyond obscenity and indecency. The respectable members of society considered it inappropriate to have such novels in their homes.

The formal beginning of detective writing in India and Pakistan can be attributed to the novels of Israr Ahmed, who gained fame under the pseudonym Ibn-e-Safi. Writing detective or spy stories requires a sharp and brilliant mind. In all his novels, Ibn-e-Safi not only advanced the events with great skill but also unraveled the intricate knots hidden behind the veil.

When Ibn-e-Safi’s detective novels entered the world of serial literature, most people believed that the creation of a novel would be futile without the inclusion of obscenity, indecency, and tales of love and romance. To some extent, it was true that for a long time, translations of foreign novels and spicy content continued to be popular in the vastness of India. Therefore, there was hardly any room for doubt that Ibn-e-Safi’s novels would be different from those of Khan-Mahboob’s. Ibn-e-Safi initiated his literary abilities with poetry but, prior to partition, he had already begun his prose skills by writing satirical articles under the name of Tughral Farghan in the monthly magazine “Nikhat.” As he possessed immense creative abilities, he soon gained public recognition. This was probably around 1948 when he resided in Allahabad. It was here that he wrote the first spy novel, “Diler Mujrim,” for the magazine “Nikhat” in 1952. The central idea of the story was derived from a Western novel, but the characters of Faridi and Imran were undoubtedly his own creations. Additionally, the inclusion of further intriguing elements in the plot contributed to the popularity of the novel. Later, when Ibn-e-Safi moved to Karachi, he also started the Imran Series in August 1955, alongside the  ‘ Jasusi Dunya’ ( spy world). Although there were contradictions between the Imran Series and the  ‘ Jasusi Dunya’ s spy novels, these elements did not diminish the impact of his skills and artistry. In fact, these qualities were consistently present in his novels, which the readers, who were familiar with Ibn-e-Safi’s novels appreciated. They were saved from disappointment and despair. During the time when Ibn-e-Safi’s spy literature was embarking on its initial stages of popularity among enthusiasts in India and Pakistan, there were already a significant number of readers in the English-speaking class who were reading novels by Agatha Christie, James Hadley Chase, and A.A. Fair.

The mention of foreign spy literature has been mentioned for the interest of readers, highlighting the mention of a few famous fiction writer. In 1952, when Ibn-e-Safi’s novel “DilerMujrim” was released, around the same time, Agatha Christie(1890-1976)  ‘s novel “McGinty Is Diad” was already in the hands of readers. Similarly, in those days, three novels of Erle Stanley Gardner(1889-1970) from the Perry Mason series were also circulating among readers:

1) The Case of the Moth-Eaten Mink

2) The Case of the Grinning Gorilla

3) The Court of Last Resort.

Fiction readers in Pakistan and India had already gained access to novels. Some years ago, in a documentary film about Ibn-e-Safi, his son Ahmed Safi confidently stated that during his father’s peak era, Agatha Christie, Stanley Gardner, and James Hadley Chase were among the most popular detective writers that he studied. Without a doubt, all authors have drawn inspiration from other literatures to some extent. However, unlike Hadley Chase and Agatha Christie, Lester Leith, a character by  Stenlay-Gardner , was highly regarded among fiction enthusiasts for possessing supernatural qualities similar to Imran. It was precisely this unique trait that captivated the viewers at first glance, leaving them in awe. Just like Imran, Lester Leith was adept at changing disguises and defeating enemies.

Stanley Gardner, known for creating novels under various pen names, initially worked as a typist in the Department of State in California, USA. He later pursued formal legal education and became a lawyer. However, until the end of the First World War, he found himself increasingly drawn to writing stories and emerged as one of America’s most popular novelists. Initially, he preferred the pen name Charles M. Green, but later also wrote under the name A.A. Fair. It is not improbable that Lester Leith by Stanley Gardner served as an inspiration for Imran and other characters in Ibn-e-Safi’s novels. However, it is worth noting that Ibn-e-Safi’s created characters, such as Ambar Hamza and Talism-e-Hosh Ruba, had their own unique contexts. Nevertheless, Stanley Gardner and Ibn-e-Safi share a commonality in that both wrote close to three hundred novels.

Earl Stanley Gardner’s stories were adapted into film, but unfortunately, none of Ibn-e-Safi’s stories were successfully brought to the screen. The extraordinary nature of his characters and intricacies of their situations made it challenging to depict them accurately, and commercial constraints often hindered the film adaptation of his stories.

While it is true that an author has firsthand experience of their surroundings, it is undeniable that a novelist also shapes their readers’ sensibilities through character development. Therefore, despite the diverse nature of characters in the Imran Series and Jasoosi Dunya, Ibn-e-Safi molded them into various molds for his readers. He presented adventure, travel, and science fiction in his novels. He crafted his stories in such a captivating and suspenseful manner that it freed the reader’s mind from stagnation and provided immediate escape from entanglements.

Ibn-e-Safi was an exceptional storyteller and a writer who respected the law. He wrote a total of two hundred and fifty novels in the Imran Series and Jasoosi Dunya, ensuring that the law was never defeated anywhere. It is true that his characters possessed extraordinary qualities, and the general perception was that Imran, Faridi, Hamid, and others could never be defeated, and that they were always overshadowed by evil.

However, it is entirely incorrect to say that Ibn-e-Safi’s characters are always overshadowed by negative characters. We often overlook the fact that Ibn-e-Safi created some characters who consistently stood for the law. For example, characters like Sung Hi, Teresa Bumble bi  of Bohemia

)  (تھریسیا بمبل بی آف بوہیمیاـ and Leonard( لیونارڈ), who consistently oppose the law and require Feridi, Hamid, and Imran’s efforts to suppress them. They can never be defeated in any way. Ibn-e-Safi’s popularity can be gauged from the fact that his name alone sold in the market. During the 1960s, his writings became scarce for a few years due to some severe circumstances. In fact, during that time, several names emerged that were similar to Ibn-e-Safi, such as Ain Safi, Naghma Safi, Najma Safi, and who knows how many individuals used those names to gain success. Many copycats emerged, but none could match his caliber. However, these individuals tarnished the reputation of JasoosiDunya and Imran Series characters by their cheap imitations. Some even started publishing Ibn-e-Safi’s stories without permission. In the long journey of detective fiction, a few notable rivals emerged, including Akram Allahabadi, Izhar Asar, and Masood Jawed.

Akram Alahbadi created the characters like Colonel Khan and Captain Baley کرنل خان ، کیپٹن بالے) ( as creations of Ibn-e-Saf I ‘s Colonel Faridi and   Captain Hameed  of ’  Jasusi Dunia ‘   .

As for as  Izhar Asar is concerned , he initially emerged as a translator and later became a successful author. He was born on June 15, 1928, in the village of Kartarpur in Bijnor. He only completed his metric education and began his practical life in Lahore.

Despite a lack of formal education, he possessed an extraordinary intellect. He wrote nearly a thousand novels. In the 1950s, his Nagin series gained popularity, and his   science fiction novels, “Adhi Zindagi” ,” Mashinon ki Baghawat “ ,”Bees Hazar sal Baad” and “La Shareek,” established him as a leading science fiction writer in India.

Izhar Assar is described ‘ a prolific writer’ of extraordinary  merit .He is said to have  written about  a thousand books of science fiction , detective literature  and other books of popular appeal  while having remarkable seriousness on his part  .  Assar’s  talent was acknowledged through the receipt of around ten prestigious literary awards. In 2006, he was awarded the famous Ghalib Award  .

The passing of Izhar Asar took place on April 15, 2011, at the age of 84. Another writer namely  Masood Jawaid’s personal laziness and his distinctive writing style, these were the few things that became obstacles to his popularity and success. Consequently, he also resorted to translations, and gradually, he too faded into the background. Nonetheless, there are still millions of fans of his work in Pakistan and India .Some critics describe Assar’s stature in the Urdu world   comparable to that of Ibn Safi.

I is said that when the famous novelist Agatha Christie while travelling stayed for hew hours at  the Karachi Airport,  she to a question,  smiled and confessed that although she did not know Urdu, she had some knowledge of the Indo -Pak spy literature  .” In fact, Ibn-e-Safi is the sole creator of spy fiction in the sub-continent “. No one has surpassed him in this genre. Until a couple of decades ago, it could be confidently said that some rigid and narrow-minded individuals were not willing to accept spy fiction. However, later evidence clearly demonstrated that Ibn-e-Safi’s novels played a significant role in the promotion and development of Urdu literature. The late Maulvi Abdul Haq (بابائے اردو(, (the father of Urdu) , acknowledged Ibn-e-Safi’s immense contribution to Urdu literature, and these words alone are sufficient to establish him as a great writer.

After a long period of stagnation in literary movements, Ibn-e-Safi’s novels are once again gaining popularity. Not only that, English translations of many of Ibn-e-Safi’s novels are also being published. In India, renowned writer and critic Shamsur Rahman Faruqi (late) translated four of his novels into English few  years ago. In Pakistan, the terrifying novelخوفناک عمارت ) ( has been published in English. ‘The House of Fear’ ‘s version.

The renowned author and columnist Zahida Hina revealed in her column that during the 1970s, when the establishment of ISI took place, Ibn-e-Safi had given training lectures to some officers of ISI. In this context, when Raqam Al-Huruf wanted to clarify this thought with the organizers of the website ‘Wadi Urdu’ and author Rashid Ashraf, they explained that firstly, the establishment of ISI was carried out in 1948, and secondly, Ibn-e-Safi did provide lectures to some trainee officers of ISI in the early 1970s (this information was mentioned with reference to the famous religious scholar Allama Zamir Akhtar Naqvi). Recently, Rashid Ashraf has published a book titled

‘‘کہتی ہے تجھ کو خلق خدا غائبانہ کیا’’

‘Kehti Hai Tujhko Khaleq KhudaGhaibana Kya’ based on Ibn-e-Safi and his art, which has been released by the literary organization ‘TakhliqAdab’ in Karachi. Ibn-e-Safi passed away on 26th July 1980.

اب ایسا اور ڈھونڈ کے لائیں کہاں سے ہم ۔۔۔۔۔۔۔۔۔۔۔۔۔۔۔ ابن صفی  کی بات تو اہلِ صفا کی تھی

Now, where can we find such extraordinary and elusive words… Ibn-e-Safi’s words belonged to the Ahle-Safa.