Aayesha Aslam Malik hails from district Talagang but lives in Lahore. She is normally seen in the literary circles of Lahore, in Radio Pakistan premises and occasionally at PTV Lahore Station. She is an excellent broadcaster, writer and poet. She writes in her mother tongue, Punjabi. She is proud to be daughter of Aslam Malik for whom Abul Asar Hafeez Jallandhri himself penned a copy of the National Anthem on 25th May 1968. Ayesha has uploaded this image on her Facebook account. Her father had a long close association with him. Aayesha rose to fame when PTV producer late Sharafat Naqvi’s Punjabi Play ‘Faisla’ was telecast from Pakistan Television Corporation, Lahore. The play highlights a very burning issue of a poor family in which the wife bears daughters every year and her mother in law blames her for the child’s sex, the usual rhetoric in our illiterate families. They are unaware of the biological fact that it is the male sperm that determines the sex of the baby. The husband applies for loan in his office for the forthcoming child but is refused. Back home the mother in law constantly scolds her daughter in law and prays for his son’s second marriage. This play was telecast in the days when PTV used to make use of the services of its dedicated producers/directors. The scripts used to be vetted by script editor and proper rehearsals were conducted in advance. Fareeha Jabeen bagged PTV’s regional award for playing the lead in this play. Unfortunately nowadays PTV telecasts second hand plays of private channels and is not making use of its permanent staff. Aayesha touched the sensitive issue with delicacy and comprehensive dialogues. On the question as to how mom or dad lives can affect the sex of their baby too, a number of studies have suggested that factors like nutrition, wealth, and even where the parents live can affect the odds of having a boy or a girl. In this play when the expecting mother visits the health clinic, she is told to take nutritious diet which is not available. Aayesha has been working for Radio Pakistan since 1975. She feels that working for Radio Drama is more difficult. One has to create the same emotional upsurge through voice which is done at TV by physical movements and facial expressions, Aayesha disclosed in an interview on a private TV Channel to the host Sunmbal Basheer in the programme ‘Ajj Di Aurat’. It is unfortunate that the respect in terms of appreciation and emoluments is not given to artists, Aayesha complained. One has to look at the fee structure to appreciate these comments by Aayesha. She read some lines from Sajjad Haider’s drama during this interview. Her role was young to old and the story is about a woman whose hands are empty as she has distributed all what she had to the people around her. Ayesha’s first love is poetry. Sense of total deprivation is exhibited in her poem ‘Main Sun Rahi Aan Aei’ as follows: Warhe Nu Chola Paa Kei (covering the year with some dress) Bhangra Pownde Nain (we celebrate with Bhangra dance) Tei Samey Di Surat Gawande Nain (time passes by) Na Main Ghungroo Banenna Sikhe (I did not learn to put dancing bells on my ankles) Na Meku Nachan Di Jaach (neither did I learn how to dance) Na Vereheyan Naal Pugga Thaal (neither was metal tray in the yard) Na Main Rajj Kei Paai Dhamaal (nor did I dance on Dhamal beat with gusto) Wat Hi Har War (still each time) Main Chete Naal (I remembered) Rabb Nain Uche Banere Tei (on the tall boundary of my roof wall) Matti Dei Pakheru Bana Kei Dharni Rahi (I laid on it mud toys of birds) Sadaran Di Pohri Vi Charhdi Rahi (I climbed the stairs of desires) Kothe Utte Takkar Ni Thaan (on the corner of the roof wall) Apna Maas Vi Paandi Rahi (I even laid my flesh) Par Chuggan Koi Naa Aaya (but nobody came to eat) Ayesha however started her poetic journey in 1987 with her Urdu poetry book ‘Neend Ki Silvet’, Her poem ‘Un Ginnat’ comprised kisses to all the holy or worldly beings; her first one was to God, then parents, then brothers and sisters, then to knowledge and act, to word and the list continues. One of the other Punjab poems by Aayesha Aslam Malik’s titled ‘Lagi Sambhan Dharti’. It is as follows: Dharti Sambhan Lagi (land started saving) Tei Sar Tei Digga Asmaan (then sky started falling on head) Aseen Tei Sufne Akh Vich Panwande (we grow dreams in eyes) Tei Jagraate Muth Vch Lei Kei (kept sleeplessness in my fist) Sirhane Kadde Phul Wangu Chup Rehnde (kept quite like flowers carved on a pillow cover) Aseen Tei Bhanvain Kis Di Gurti Naal Koratan Chakhi (wonder who gave first touch of honey on my lips!) Kanaan Vich Seesei Waang Galaan Mahine Sun Kei (the gossip poured in my ears like molten steel every month) Apne Munn Nu Raazi Kitta (tried to pacify my heart) Aiho Tassala Ditta (consoled me) Keh Maan Di Jeeb Nei Lori Ditti (that my mother lips sang lullaby for me) Aseen Tei Jhalian Waang Hayati Bhuggi (I spent my life like a mindless person) Kehri Chaughaat Nu Phar Kei Haasa Kadede (which door to hold for laughter?) Kaun Asaade Sach Nu Chumma Dewey? (Who would accept our truth?) Kaun Asaadi Kand Tei Thapra Dewe? (Who would give pat on my back?) Kaun Asaade Naan Nu Izzataan Dewe? (Who would provide respect to my name?) Fair Vi Numberaan Di Ginnti Nu (still I counted) Ya Harfaan Nu Dhoonde Haan (or look for numbers) Tei Saun Rabb Di (by God) Bande Nu Janor Bundean Dhil Nahi Lagdi (a human doesn’t take long to become an animal) Aseen Vi Dandaan Vich Maas Nu Paa Kei (we too put flesh under our teeth) Rajj Jaane Aan (our stomachs get full) Tei Koi Puche Phukh Nu (let somebody ask hunger) Ucha Haasa Hass Kei Aakhne Aan (we ask aloud with a roaring laughter) Hun Bhuk Nahi Lagdi Sohneyo! (My love, I am not hungry anymore) Kakh Tei Kaaney – First Punjabi book of poems 1983: This is the first poetry book by Aayesha Aslam Malik on which veteran poets of that time gave comments wholeheartedly. Mustansar Hussain Tarrer stated that that when Aayesha first came to see him, he wrote on her autograph book that there was H. Rider Haggard’s novel She, who when caught in fire became more pretty and the Aayesha Malik who neither was burnt in fire nor was pretty. (She, in full She: A History of Adventure, romantic novel by H Rider Haggard, published in 1887, about two adventurers who search for a supernatural white queen, Ayesha, or “She-Who-Must-Be-Obeyed,” who is the ruler of a lost African city called Kôr. Ayesha has waited for 2,000 years for the reincarnation of her lover, whom she killed out of jealousy. She is beautiful and powerful and finds her reincarnated ideal in Leo Vincey, who is her lover’s descendant. He falls under her spell, and she attempts to make him immortal; she tries to persuade him to pass through a magic fire, but in doing so herself, she ages and crumbles into dust). Mustanssar realized later that he was so unwise as to take ocean as a lake and desert as a particle. He regretted that he only looked at Aayesha superficially and did not judge her deep inside. He could not feel the warmth that lay hidden inside Aayesha. Till then he had not read her poems. After having read her poems he got enlightened to the fire that was turning her into ashes. She was a woman living in fire in a male dominated society. She was devastated and felt like grinded wheat. It was this heat that made her say: Lamme Ho Gaye Saah (my life continues) Koi Aaya Nahi (nobody came) Beri Lagge Bair (tree was ripe with fruit) Kisse Mul Paaya Nahi (there was no buyer) In the end Mustassar has a strange prayer for Aayesha. He says ‘Jundi Raho Tei Sardi Raho (live long and keep burning) for unless she burnt from inside she would not be writing such a creative poetry. One of Aayesha’s poems is ‘Menu Kih?’ It says Jay Main Sohni Aaah (if I am pretty)/Manu Kih? (what is it to me?/Jay Main Koji Aaan (if I am ugly)/ Koi Na Koi (somebody shall)/Kadi Na Kadi Aawey Ga (somebody shall come one day)/Lei Jawey Ga (shall carry me along). Aayesha keeps her hopes alive and says in the poem ‘Nawaan Sheher’ (new city) ‘Oss Gali Dei Har Banne Tei/Ik Deewa Peya Balda Si’ (on the every parapet of that street, one lamp kept on burning). All poems in this book are a mixture of loneliness, deprivation and sadness. However, the poetess does not lose hope after having burnt from her inside! Ahmad Rahi observed that after many years he read such poems as said by Aayesha. It seemed that somebody had joined hands with him to open up her heart and shared her pains. Slowly and steadily there was a soft laughter, or a tear in eye. These poems were devoid of any superficiality. They seemed like everyday household conversation that took shape of poems. The treatment that was given by Majeed Amjad and Akhtar ul Iman to their poems in Urdu poetry was inherited by Aaesha Aslam Malik in Punjabi poetry, observed Ahmad Rahi. She has the capacity of catching the flying moments and shades with delicacy. Munnu Bhai observed that it is not necessary that all the lines are in rhyme. Nor it is necessary to convert happiness into laughter nor is it essential to count sorrows with the number of tears. There are people who cry without shedding tears. They could be happy without laughing. So why can we not talk through poetry? It has become necessary to talk in poetry as many words have lost their meanings. Aayesha Aslam Malik does that. Main Teri Ho Muki (I am all yours): Encouraged by the boost by her seniors, Aayesha came out with her second poetry book titled Main Teri Ho Muki (I am all yours) published by Sanjh Publications in March 2009. It comprised 110 poems. The first few poems are of Hamdia nature. She looks for the Almighty in her poem ‘Peer’ (pain) – Page 38 in which she says in the first few lines ‘Loki Kehnde/Rabb Labho Tei Mil Painda Aei/Main Tei Lakh Dargahwan Tei Deeve Baale/Tasbeehan Pharolian Tei Nafal Parhe/Fair Oss Di Parchaeen Di Loh Banai/Par O Koonda Nai’ (people say one finds God if one looks for Him. I lit lamps at many shrines, I read on beads, imagined Him with picture in mind but he was nowhere to be seen). As Kahanikar (story writer): We shall take up some of her stories. Sawaal (question): One shade of Aayesha’s personality is short story writing, both is Urdu and in Punjabi. She has a book of Punjabi short stories collection as well. We shall discuss a story titled ‘Sawaal’ (question) taken from her book ‘Kook’ – 1986 published by Punjabi Adabi Board, Lahore. She claims it to be based on her own life history. Telling her name as Shahnaz, she says she was writing for Radio and Television for almost a decade basically to feed her family ignoring her own hunger and desires. Her first poem was ‘Iklapa’ (loneliness) and first story ‘Faisla’ (decision). She was selling her voice to Radio and exploiting her face on TV. She called her poems and stories as her illegitimate children. She felt that she was like an unseen fire in which she had burnt into ashes. She also joined women organization called ‘Aikta’ that proved just to be a noisy platform and an organization namely ‘Sangam’ that aimed at to revive old traditions as well as introduce modern trends. They used to meet over a cup of tea. Her job was to write scripts and provide suggestions during production. The group was very productive and had managed to produce a couple of dozen songs’ videos. Actually this organization was male dominated. Her mother allowed her to participate but back home she backed out of her permission. So, Shahnaz, who had high aims to achieve, sat home to quench the thirst of her family that appeared good to others but otherwise for Shahnaz! The above story highlights the struggle for a working lady in the male dominated society to fulfill the requirements of her family. ‘Bila Unwaan’ (without title): One of Aayesha’s poems is titled ‘Bila Unwaan’ (without title). In the story the protagonist knew that all the moments in life could be converted in poems, so he used to write poems. He never gave any title to his poems but somehow or other they touched the hearts of the readers. He did not keep copies of his poems. His fans waited for his poems. One day a female fan asked him as to why he did not give title to his poems? He felt that the girl had addressed his soul. He did not know the answer. He had habit to forget many things, even his beloved’s name. The friends and relatives found an answer in his marriage. Even that did not help. He had forgotten the names and titles of his favourite poets. Perhaps his beloved was to be blamed who was nowhere to be found. The question arose if she was dead then any stone with her name existed on the grave? This strange story points at the impact of loss of a dear one on the psyche of a person, especially a creative and sensitive being. Positivity: This Punjabi story deals with the problem of this world’s bitter fact of the divide between rich and poor where eyes are full of want and words full of poison. She missed the personalities of her father and paternal aunt. In this scenario, she looked for happiness within herself. Na Jit Na Haar (neither victory nor defeat): She knew that one cannot see in darkness but she did not know that brightness also destroys one’s sensibility of seeing. All said that in this state of mind, one loses the sense of taste and odour loses its path. She did not know of these bitter realities. A time came when she saw animals in human beings. Some looked like snake, wolf, fox or a tortoise. She was not ready to accept the fact that humans could be that poisonous. She did not accept this state of affairs so she went deep into her own self and closed her eyes knowing who and what the relationship with other person was. Aayesha Aslam Malik has knack of summing up her experiences in this world into whatever domain she desires to choose, poetry or fiction! The writer is the recipient of the prestigious Pride of Performance award. He can be reached at doc_amjad@hotmail.com