Nasreen Anjum Bhatti is among the foremost names in Punjabi and Urdu poetry. She is famous for her Urdu poetry collection ‘Bun Baas’ and Punjabi poetry collection ‘Neel Karaiyan Neelkaan’, the latter was published in 1979. She was a proponent of peace and love all her life but was a political activist at the same time. The hanging of Zulfiqar Ali Bhutto brought strain of resistance in her personality and hence this frame of mind was reflected in her poetry. Her book ‘Tera Lahja Badalne Tak’ was under publication at the time of her death on January 26, 2016. She was Christian lady by faith, a Balochi by birth (born in Quetta in 1943), a Sindhi for spending her childhood in Jacobabad and settled in Lahore, Punjab due to her job with Radio Pakistan and her marriage to the journalist Zubair Rana. She used to claim that she represented whole of Pakistan. She studied in National College of Arts, Lahore for a couple of years but completed her Masters in Punjabi later on while she was at job. We start with a specimen of Nasreen’s poetry titled ‘Ba’ad Kei Ba’ad’ (after and hereinafter) with the comments that Nasreen was a voice in support of women rights in the culture where she was brought up; a little short of being a feminist as her poetry touched on other issues prevalent in the society as well. Sah?fe Utarne Sei Pehle Nabiyoñ Kei Nuz?l Kei Ba’ad (After the dawn of holy books and arrival of prophets) Haath Sei Gire Hue Niv?loñ K? Tarah Hamaiñ Kuttoñ Kei Aage Daal Diy? Jaat? Rah? (We were thrown in front of dogs like food that fell from our hands) Is Darmiy?n, Añkhoñ Kei N?che Hum Nei Apne Haath Rakhe (All this time we kept our hand under our eyes) Keh Vo Paaoñ Par Na Gir Paraiñ Aur K?ñch K? Aitb?r Jaat? Rahe (So that they do not fall on feet and the trust of the crystal was not lost) Mujhe Aag Sei Likh Aur Paan? Sei Ug? (Write me with fire and grow me with water) Mitti Kei Saath Ins?f Maiñ Khud Kar?ñg? (I shall myself do justice with my soil) Woh Tau Qadam Qadam K?ñtoñ Kei Baad Tak Khud Chal Kar Ga.e Aag Pahn?v? Karte They Jo Log (They embraced fire as their shelter after walking step by step on thorns) Aur Jo Akel? Th? Us Nei Sargosh? Eij?d K? (And the lonely one created whispers) Aur Jis Nei Qab?la Ch?h? Uss Nei Ch??heñ Ban?.?ñ Aur Raat Kei Parindoñ Maiñ Baañt Diiñ (And the one who desired a tribe created screams and distributed them among night’s birds) Pardes? Hue Haath K?ñjeñ Pakarte Rah Ga.e (Traveler hands kept on catching birds) Hav? K? Bichhaun? Jud?.? K? Uñgliyoñ Nei Bun? Aur Muhabbat Karne Waale Dil Nei Samet? (The fingers of separation knitted the shelter of air and got gathered by loving heart) Kay? Paañv Jootoñ Kei Liye Bane They Y? Manziloñ Kei Liye? (Were feet meant for shoes or for reaching destinations?) Phir Thakan Nei Kis Kei Paañv Tore (Then whose feet were broken by tiredness?) accepted Aur Kaun Asiir Kiy? Kei Uss Sei J?toñ K? Qeemat Poochhe Aur Ins?n Kei Bhaav Bat?.e (Then who would ask for the price of the shoes and tell the price of human being?) Phir Aitib?r Nei Kis Ke Ta?hne Kaate Kei Woh Asm?n Samait Zameen Par Aa Rahe (Then whose ankles were cut by trust that it fell on earth along with the sky) Khud?vand! Bhiil Qab?le Ke Log Gosht Kh?n? Kab S?khe (O! God! When did the people of Bhiil Qabile learn to consume meat?) Jab Un Kei Muñh Ko Khoon Aur Dil Ko Khauf-e-Khud? Lag Gay? (When their mouth tasted blood and heart felt fear of God) Phir Is Kei Ba.ad Woh Sar Na Uth? Sake (After that they could not lift their heads) Az?d? Sirf Aik Thand? Saañs Th? Maqd?r-Bhar (Freedom was a mere breath of fresh air) Aur Ghul?m?! Umr Bhar K? Rotiy?ñ!! (And slavery, lifetime bread) About her native language Punjabi, Nasreen stated in her interview on Vimeo, that Punjabi language was closer to Sindhi and Urdu was nearer to Farsi language. She loved all these languages but loved Punjabi more as one could express fullest in this language. Nothing remained unsaid if expressed in Punjabi About her native language Punjabi, Nasreen stated in her interview on Vimeo, that Punjabi language was closer to Sindhi and Urdu was nearer to Farsi language. She loved all these languages but loved Punjabi more as one could express fullest in this language. Nothing remained unsaid if expressed in Punjabi. For instance if she used the word ‘Chandri’ in Punjabi, it existed in Sindhi language but not in Urdu or Farsi. Likewise there are many other words in Punjabi that are expressive of your emotions. The word Chandri means unlucky or evil-spirited. This is just a small example. Actually this language has faced many betrayals. More the reason that we need to stick and express ourselves in this language. The entire world over, people feel pride in speaking in their native tongue but we are hesitant to converse in it as though we are ashamed of speaking our mother tongue. Ironically those who oppose the ones raising their voices against the injustices done to this language are Punjabis. In Punjab Nasreen made friends and above all met her husband-to-be Zubair Rana who was a Punjabi from head to toe. To be honest she saw Punjab through his eyes. That is how she perceived Punjab, deeper and better. “We need to dispel the views of those who think that Punjabi is a language of oxen, a language in which we can speak and not write. They forget that all the Sufis like Buleh Shah wrote in Punjabi. Heer Warris Shah is in Punjabi language. One needs to have love and commitment such that one’s thoughts and point of view that is brewing inside one is expressed well. Because it is not a single person who is speaking, it is centuries old culture that supports one. We support the messages of Bulleh Shah, Marx, Najam Hossain Syed or Bhutto Saheb. We are from the lineage that Bulleh Shah, Shah Hussain or Shah Abdul Lateef Bhitai has left” she added. Nasreen stood for democracy. She stood against the system that did in justice to a woman or a man. Even her appearances in Halqa Arbab-e-Zauq made her popular with younger generation of poets and writers due to her ideas. On music Nasreen’s views were clear. If birds could sing, a peacock could dance then why not a human being! Here a woman was made to walk behind a man with bowed head. Her life was made to be within limits of a confine she was made to live in. Woman’s existence was like a ‘no-man’s land’. Her poem ‘Shaam Laath’ was said on this theme. Another poem is ‘Veh Kehra Aein?” (Who is this?). This poem describes the injustices faced by womenfolk in our culture and is a protest made by daughters to their parents. Vei Kehra Aein Meri Aandraan Naal Manji Unneda (Hey! Who are you knitting my bed with my intestines?) Mera Dil Daawan Waley Paase Rakhein Tei Akhaan Sarhaane Walley (Place my heart at my feet side and my eyes on my head’s side) Main Sarhaane Tei Phul Kadney Nain (I have to embroider flowers on the pillow) Dharti Di Dhawn Neevi Hovey Tei Oss Tei Asmaan Nahi Chuka Dai Da (When the earth’s head is bowed you need not load the sky on it) Baba, Koi Keera Kad, Karoondia Hovey Tei Menu Larra Daein (Baba, produce a serpent. And if it is scaly, let it bite me. After all it is mine) Tun Aaape Tei Aakheya Si Keh Aseen Dhiyan Nu Daaj Vich Keere Daine Aan (You said it, didn’t you that we give daughters serpents and snakes in their dowry, so do it) Baba, Dhiyan Putter Ikko Jidde Kyun Nahin Honde? (Baba, why are daughters and sons not equal and alike in worth?) The poem continues lamenting the parochial treatment given to a woman. The least she can do is to protest with her parents. Nasreen as a person: On January 27, 2016, I wrote her obituary, an extract from which is reproduced. “It was with a heavy heart that I received a message from Amjad Tufail that Nasreen Anjum Bhatti was no more. I know that she lived before Queen Mary College in Daultana House and each time I passed on that road, I wanted to meet her. I had dropped her a few times outside the lane leading to her house on way back from Radio Pakistan, Lahore. I remember the days when she with her best friends Shaista Habib (later became wife of Fakhar Zaman) used to share a room at Radio Pakistan. Once Munir Niazi walked in with a piece of paper in his hand, visibly excited as he had written a ghazal ‘Bechain Buhut Phirna Ghabraei Hue Rehna’ and handed it over to Nasreen for recording. Nasreen gave it to music composer Mian Sheherar who composed it for me and it was recorded the day after. It was much later that Ghazal singer Ghulam Ali sang it with some variations in tune and that item became a hit. Such are the fond memories I share with Nasreen. When I came to know of her ailment I telephoned her and she sounded very brave and told me ‘Main theek aan’ (I am fine). She mentioned that she was being treated at Ghurki Hospital. During this time, it was reported in a leading English daily “Once active and energetic, Punjabi poet Nasreen Anjum Bhatti has now become frail and weak to such an extent that it has become difficult to even recognize her. Well known for composing poetry of resistance, especially during Zia’s dictatorial rule, Bhatti is suffering from ovarian cancer. Diagnosed a few months ago with the cancer, which is spreading rapidly, Bhatti has now gone for chemotherapy which will help shrink the tumour. She is being looked after by her sister, Parveen who said that at first we tried to go for a surgery but the doctor strictly advised against it because of her frail health. The good part is that we have been doing chemotherapy for the past two weeks and she has begun to feel much better since then. Her regular energy seems to be returning”. Her first book of Punjabi poetry Neel KaraeaaN NeelkaaN as mentioned above was published in 1979 when Dictator General Zia-ul-Haq had come to power. This book has been organized in sections with thirty-two different poems but it reads as a one long poem composed in a lengthy monologue. Overpowered by the muse of poetry, it turns out to be an extremely emotional piece of writing that is full of rage and rebellion. Poems oscillate from one expression to another, making each line a separate poem in itself. It is penetrating poetry that brutally exposes a stinking socio-political order and laments a damned era. Maan Mainu Fair Jamm Tay Reejh Kar Kay Jam Pachtãva Kar Kay Nahi (Mother, give birth to me once again, not as a regret but with love) Dhiyyan Kyun Jammiãn Ni Ma’ay, Puttar Kyun Jammay Jehray Punnu Ho Ga’ay (It is not daughters but sons that became Punnoo) Dullia Ladhi Nu Aakh Ik Dhee Jammay, Main Kiklee Pavni Aei. (Give birth to a daughter, I shall dance with joy) Nasreen always spoke high of her friends. She is grateful to Najam Hosain Syed, who encouraged her to go for innovative experiments amid hostile criticism from literary pundits. She spoke high of Izzat Majeed, a fellow Punjabi poet and Mushtaq Soofi. Feminism was one of her cries from heart; pure, genuine and rooted in the native soil. The writer is the recipient of the prestigious Pride of Performance award. He can be reached at doc_amjad@hotmail.com