Title: Dooja Paasa Writer: Anjum Qureshi Publishers: Sanjh Publications, Lahore Pages: 128, Price: Rs. 250/- (BOX) Dedicated to her children Ahmad and Ali and her mother and father, Anjum Qureshi’s new Punjabi poetry book, ‘Dooja Paasa’ (The Other Side), is worth a read. A beautiful brown and tea coloured title cover that comes with an affordable price makes this book look quite attractive for Punjabi poetry lovers. Anjum Qureshi confides in the introduction of the book, saying that the first edition of this work of hers was dearer to her, as she was left all alone back then in the circumstances. She explains, she could not publish this book the way it should have been as per the standard set by ‘Main Labban Chali’ due to her mental turmoil, which made her feel as if her world was finished at that time. And this is how she expresses her agony in the first stanza of the first poem in the book: “Chand Kei Kadd Lei Wall Mere Jei Wall Aida Tenu Awanda Aei/Jinni Banda Sahar Sakke Rabb Ohni Mushkil Pawda Aei/Aukha Howe Sokha Howe Waila Langh Hi Jawnda Aei (Press me as much as you can and take out all my crinkles. The Almighty tests His human beings only to the extent he/she can endure the difficulties. Good and bad times pass).” Touching upon the condition of womenfolk in our culture, she writes in her poem titled ‘Dooja Paasa’ (The Other Side), “Kahdi Aei Dhutkaar Ni Maaye/Kyun Na Utraan Paar Ni Maaye (O! Mother why am I being pushed to the wall? Why shouldn’t I react to this injustice? – page 14).” The rest of the couplets are full of determination for victory against prejudices. The poet says, “Larna Mera Kaar Ni Maye/Main Kyun Mannan Haar Ni Maaye? (To fight for my right is my goal, then why should I accept defeat?).” It was reported in MAGAZINE on October 2016 that a BBC investigation had found thousands of young women in conservative societies across North Africa, the Middle East, and South Asia being shamed and blackmailed with private, sometimes sexually explicit images. Daniel Silas Adamson looked at how smartphones and social media were colliding head-on with traditional notions of honour and shame. She has seen many big names stooping down in their stature, many righteous people turning to falsehood. In a society where one could locate Gurus, talented persons and spiritual leaders, one now witnesses fights and quarrels amongst them instead The next poem titled ‘Panna Mandi’ by Anjum Qureshi on page 16 exposes the real face of the man in her society. The poet enumerates the traits of a male prostitute that keeps on blackmailing his woman for money and favours. This poem has bold connotations. On the reaction to criticism on female independence, Anjum Qureshi writes in folk Mahiya format, “Bareen Barsi Khattan Gaya Tei Khat Kei Leande Mahiye, Khasman Nu Khaan Loki, Gajj Wajj Kei Bhangre Paaiye” – page 20. She gives a damn to the restrictions imposed on females in her society and desires to dance in Bhangra style with full gusto. Anjum Qureshi has many topics in hand to explore her poetry on. If she desires to die, because her beloved is not with her, there is poem ‘Waseela’ (Stepping-stone). If she desires the issue to be settled, there is poem ‘Hanne Banne’ (One way or the other) – page 23. Then, when she is not pushed about whether she is married or not as long as she is happy with the changing weathers and customs, there is poem ‘Ikko Ei Gall Aei’ (It is the same thing either way). She expresses boldly her love and feelings for her beloved in her poem ‘Dholan Yaar’ – page 27. See her bold admission: “Dholan Yaar Nei Ainj Gull Paai/Naal Saundian Hi Bun Aai (couldn’t help but sleep with my beloved the way he requested).” The poem ‘Saver Chai Wajje Taun Ba’ad Da Sach’ – page 31 (Truth after six in the morning) is a satire on the couple who agrees to be agreeable until six in the morning. Anjum Qureshi is an astute observer of our cleric culture today, the way religion is exploited by certain groups, and the sit-ins that disturb the normal lives of the masses until their financial demands are met etc. (poem ‘Khote’ (False) – page 29). She has seen many big names stooping down in their stature, many righteous people turning to falsehood. In a society where one could locate Gurus, talented persons and spiritual leaders, one now witnesses fights and quarrels amongst them instead. The expression ‘Daang Sota’ in Punjabi has no close expression in any other language. Here, Dr. Anis Nagi’s observation on Anjum Qureshi’s poetry is pertinent to be quoted, as she says that she transcends the physical world of realities and edges towards mysticism (poems ‘Aaar Mehra’, ‘Bhulyaai’, ‘Must’, ‘Arreya’, ‘Jugni’, ‘Mang’, ‘Phikka Gatta’, ‘Challi Aan’, ‘Laahidutta’, ‘Gatta’, ‘Numaani’, ‘Ander’, ‘Vigaar’ etc.) In the latter poem, I must quote the concluding lines, “Viraag Samajh Kei Jinhu Main Aina Chir, Sir Tei Chuk Kei Painda Kar Di Rahi, O Tei Vigaar Si” – page 69. The poetess discovers that meanings of words, life and love keep on changing with time. Dr. Anis Nagi states that the passionate sentiment of love, alienation from the beloved, and the unachieved existence culminate in personal suffering. The spellings of the title, ‘Preference’, on page 61 are typed wrong; this needs proof reading. In this poem, the poet complains of her beloved being more interested in worldly affairs rather than her. The poet yearns to meet her beloved in the poem ‘Jagraate Di Khashbo’ (Odour of Sleepiness) – page 64. She wants her beloved to not be shameful of the love-act; he could even do it in full day light. Anjum Qureshi’s tribute to mothers on page 71 and ‘Bhunchaal’ (Earthquake) on page 31 are commendable. During a recent debate on the role of women in our culture at PILAC, Lahore, where Anjum Qureshi was one of the speakers, she was asked a question as to why her poetic expression is so bold. It is still unknown whether she satisfied the audience with her answer or not, but the agony that she suffered when she was writing this book made her revolt against the system. Her agony could have been due to a broken marriage, some other reason, or her dear ones not standing by her side, when she was in crisis. In the inauguration ceremony of the book under review, in December 2017, intellectual Mushtaq Soofi said that Anjum Qureshi had written her poetry with an element of boldness, following in the footsteps of poets such as Fahmida Riaz and Amrita Pritam. Whatever she thought was important to highlight about women issues and their feelings, she expressed it through her poetry. Shoaib Mir added that the content of the book was extremely strong and had a nice fusion of romanticism and rebellion. Kalyan Singh Kalyan said that the poet had also raised the voice of the downtrodden. Anjum Qureshi’s poem ‘Chandra’ sees her in a mood of reconciliation. Here she says, “Tun Har Kei Vi Jit Javain Tei/Main Jittan Vi Tei Har Jaan/Ik Saanh Chandre Tei Dolni Aan/O Saanh Kich Laan Tei Mar Jaan – page 126 (You shall win if you loose and I shall loose if I win. My breath is for you and if I do not take it I shall die).” All women poets if bold in their expression, invite attention. Like Rehana Roohi, Fehmida Riaz and Kishwer Naheed, Anjum Qureshi too has managed to invite the attention of the readers. Published in Daily Times, April 21st 2018.