Daily Times

What inspires me is Anjum Qureshi’s resolve to contribute, through poetry, towards the acceptance, promotion, appreciation and existence of Punjabi as a living language.

She devotes her creative talent in achieving these goals she has set for herself.

Anjum Qureshi has a strong educational background. She passed her BA Examination from PECHS College, Karachi in 1988, with English Literature as one of her majors. Earlier, she did her FSc from Pakistan College, Sharjah, UAE in 1983. She has Certificate in Education Unit I and II from University of Bradford. Her first love is for Punjabi language to grow and she found poetry as her domain of expression. Lately she has also started writing short stories in Punjabi.

Anjum Qureshi has been a rebel since her childhood. She did not accept happily the standard norms like getting her hair oiled or being dressed up in traditional, conservative manner. She would apply colours of different shades on her nails to invite attention. Her first reaction to the standard norms was to cut her hair short. Such minor happenings indicated her resistance to the standard way of living. She was raised in a conventional set-up, born to a banker. She was a victim of being kept away from her mother tongue, Punjabi, like any other urban Punjabi family. In an interview with Naeem Sindhu, published in local English daily, she disclosed that her first poem in English was published in 1978 in the Khaleej Times in the UAE, where she was residing with her parents. Listening to Nurjehan when she was thirty made her realize that earlier she was being deprived of access to a large treasure of Punjabi music. Unfortunately, her elders were victims of the general perception that Punjabi was a vulgar language and the family made her concentrate on developing her skills in English and Urdu languages.

Moving to Lahore was a game changer. She met with Punjabi people socially who spoke Punjabi and even execrated fluently in Punjabi language without any complex. She started admiring the beauty of Punjabi language, along with admiring Punjabi people. This environment enticed her to start writing poetry in Punjabi language, shifting from English. She disclosed in an interview that she used the blunt expression and slangs as she knit her poems. She was told that she was bold and hence unacceptable to the Punjabi intellect. She started calling on veteran Punjabi scholar Maqsood Saqib to consult if her poetry was vulgar and as to who would publish her poetry. Maqssod Saqib encouraged her and advised her not to change her style and published her poetry in his magazine. She wrote spontaneously with natural rhyme. She stuck to her own diction and refrained from following the footsteps of her contemporary poets or gets influenced by them.

In music, I am aware of music composer Khayyam who had a style of his own; romantic, melodious and rebellious occasionally. Once when he was out of work and era of RD Burman’s Hoo-Haa commercial music came (not that he could not compose melodious music), Khayyam was about to shift his music to commercial trends that he came across SD Burman who advised him against it. Time proved that with the music of hit films like ‘Footpath’, ‘Phir Subah Ho Gi’, ‘Shagoon’, ‘Akhri Khat’, ‘Kabhi Kabhi’, ‘Trishul’, ‘Bazaar’, ‘Ahista Ahista’ onwards he ended up with his own style becoming not only appreciated but also commercially viable. His films ‘Razia Sultan’, ‘Umrao Jan’ vouch for his popularity and respect until his demise last year when he was given State funeral. I advise Anjum Qureshi to stick to her style and not budge in. Like Khayyam she should go for quality not quantity.

Along with embarking upon Anjum Qureshi’s books we shall also mention the magazines in which her poetry was published.

• Monthly Puncham – 1999

• Book ‘Main Labhan Chali’ – 2002

• Book Dooja Paasa – 2006

• Book ‘Main Tei Amaltaas’ – 2016

• Book ‘Dhup Da Naan Badnam’ -2018

• Book ‘Khach’ -2019

• Seven poems being taught in five universities in MA Punjabi in Indian Punjab

• MPhil thesis on ‘Main Labhan Chali’

• PhD thesis on ‘Dooja Paasa’.

Dedicated to Zafar Iqbal and Muhammad Tehseen, this book comprising 88 Punjabi poems was printed by Suchet Kitab Ghar, Lahore in 2002 and has now been reprinted by Sulaikh Bookmakers. The first poem is ‘Main Labhan Chali’. It says,

Hijr Da Rangya Chola Pa Kei

Aina Painda Kat Aai Aan

Chunni, Chugga, Suthan, Jutti

Sab Raste Vich Sutt Aai Aan

Aei Rajjan Waali Pukh Nahi

Aei Bhullan Waala Dukh Nahi

Jeewain Peer Jehi Satt Dee Reh Jaye Aei Chaa Nahi Oh Jo Leh Jaye

Aei Dassan Waali Gall Nahi (this is not a thing to be disclosed)

Aei Kaddan Waal Wall Nahi (this is not a twist that can be solved)

Jiwain Harr Keh Maan Nayane Nu (like a mother that budges under her child’s wish)

Main Tanghan Yaar Sayane Nu (I yearn for my beloved)

Dooja Paasa (the other side):

The publishers of the second edition of Anjum’s second poetry book are Sanjh Publications, Lahore. Anjum Qureshi has dedicated this book to her children Ahmad and Ali and her parents. A beautiful brown and tea coloured title cover that comes with an affordable price makes this book quite attractive. Anjum Qureshi confides in the introduction of the book, that the first edition of this book was dear to her, as she was lonely in those days. She explains, she could not publish the first edition of the 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 (Winnow me/Shake me as much as you can to straighten out all my tangles if you can/The Almighty tests His human beings only to the extent that he/she can endure. Good and bad times pass).”

In my already published book review on April 21, 2018, I have mentioned that 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 should I not achieve my goal or reach my destination and why am I being pushed to the wall? 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?).”

The next poem titled ‘Panna Mandi’ by Anjum Qureshi on page 16 exposes the real face of frustration in the society. The poet enumerates the traits of a male prostitute that keeps on pursuing women 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 and use them in her verses. If she desires to die, because her beloved is not with her, there is a poem ‘Waseela’ (Stepping-stone). If she desires the issue to be settled, there is a 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 a 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 disagreeable 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 he says that she transcends the physical world of realities and edges towards mysticism (poems ‘Maar Mohra’, ‘Bhulyaai’, ‘Must’, ‘Arreya’, ‘Jugni’, ‘Mang’, ‘Phikka Gatta’, ‘Challi Aan’, ‘Laahudutta’, ‘Gatta’, ‘Namaani’, ‘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 poet 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 her personal suffering.

In a 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 Wakefulness) – page 64. She wants her beloved to not be shameful of the love-act; they could consummate their love even in broad day light. Anjum Qureshi’s tribute to mothers on page 71 and ‘Bhunchaal’ (Earthquake) on page 31 are commendable.

Anjum Qureshi’s poem ‘Chandra’ sees her in a mood of reconciliation. Here she says, “Tu Har Kei Vi Jit Javain Tei/Main Jittan Vi Tei Har Jaan/Ik Saah Chandre Tei Dolni Aan/O Saanh Khich Laan Tei Mar Jaan – page 126 (You shall win if you loose and I shall loose even 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.

Role in debates on society issues:

During a 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 the book ‘Dooja Paasa’ 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 this book in December 2017, poet cum writer 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.

Mushtaq Sufi’s comments:

In his column Punjab Notes Mushtaq Soofi writes on January 19, 2018 that now women slowly but gradually are mounting the stage that was a few decades back the sole preserve of males. One of them is vivacious Anjum Qureshi who entered the stage at the beginning of this century with a swagger rarely seen in our conservative cultural milieu. With the publication of her first book of poetry, she made her debut with a bang when literate women were expected not to even whimper. ‘Dooja Pasa’ (The other Side) is her book of verses recently republished by Sanjh Publications, Lahore.

“She can create the ambiance of a home and then make everything stand on its head, anthropomorphizing every inanimate thing,” comments Nadir Ali, one of our senior fiction writers. Anjum focuses on what is ordinary and familiar that has lost its sheen of meanings because of its overexposure. But what is overexposed always has the other side, the hidden one that remains unexposed or underexposed. She, scattering indiscretions, pounces on it with gay abandon. Poems “Panna Mundi” (it’s about a male prostitute), “Doojay Wiyah Tu Baad” (musings on incest)” and “Duji Vaar” (it’s on erotic love) are examples of such a poetic attitude. Despite all the sufferings and meanness that Anjum sees all around her, her poems are rhapsodies of optimism due to her refusal to accept what is unacceptable. “Some difficult journeys yield joy in the end/they be undertaken/some comfortable journeys lead into darkness in the end/they be avoided/There are some words that please the listeners/they be uttered/There are some words which grate on the insides of one who utters them/they be lent ears to”.

Main Tei Amaltaas:

Published by Sanjh, Lahore, I wrote in my book review on that Anjum Qureshi is also the voice of female gender. She rose to fame from her first poem of her book ‘Main Tei Amaltaas’, the last couplet of which is ‘Haar Di Bhar Garmi Ch Pei Gaye/Peele, Main Tei Amaltaas’ (in the hot summer, the Golden Shower tree/Cassia tree and I turned pale). I am amazed the way Anjum knits the story of a girl in her long poem ‘Ohde Hath Saiyo’ (because of him, my friends) – Page14. Deeply immersed in love and not being able to say no to it, she says ‘Ohde Hath Saiyo, Reejhan Dei Bhare/Nahi Murde Jai Main Karan Pare/Ohde Hath Saiyo, Paranh Kaun Kare? Ohde Hath Laaiyan Jind Jaan Sarre/Ohde Hath Saiyo, Reejhan Dei Bhare’ (His hands are full of cajoling, cannot rebuff his hands. The moment he touches with his hands, my body and soul fill with life). Why everyone says that the first love is very powerful is because getting a sudden surge of emotions that you may not have felt before and getting introduced to it for the first time makes the first love so powerful. That is what Anjum had portrayed in the quoted stanza.

Anjum also decides to send a letter to God to come down and resolve her love issues. She says ‘Yaar Manaana Jokhum Bhaara/Tun Mun Neela Ho Jaye Saara/Allah Saaein Nu Arzi Panwaan/Thale Aan Kei Kara Natara’ (To lure the lover is a difficult proposition. Body and soul turn blue. Shall send a request to the Almighty to come down and decide my case on merit) – Page 39. Anjum makes the ‘Meri Tasbeeh Dei Daane’ (My prayer beads) as metaphor for her woes. In one of the stanzas of the poem with the same title, she says ‘Meri Tasbeeh Dei Daane Bunh Lei Toon/Tei Saari Galaan Mun Lei Toon /Peeraan Dee Saari Bhun Lei Toon /Mere Taare, Mere Chun Lei Toon’ (take all the beads and agree to all my requests and take all my pains, stars and moons) – Page 36. How do you love? Most people do not realize that there are really only two ways to love, either with a worldly love or the love of God. The easy way to distinguish between the two is that “worldly love” is always about self, whereas the “love of God” is always driven by a deep commitment for the other. Anjum in her poem amalgamates the two forms of love.

In this modern world, a poet coming out with old diction and fresh metaphors is therefore a blessing that we witness in Anjum Qureshi’s poetry. She is thankful to her father: Saleem Qureshi, Zafar Iqbal, Muhammad Tehseen, Khaqan Haider Ghazi, Zahid Hassan and Raheel Ahmad Khan for their guidance. The book contains more than fifty poems. I shall now quote the last poem ‘Rang Rangeela’ that says ‘Fair Milan Gei Kehnda Rehnda/Torr Charhan Gei Kehnds Renda/Eid Karan Gei Kehnda Rehnda/Sheher Phiran Gei Kehnda Rehnda’ (He promises to meet next time when they shall consume the love. They shall celebrate Eid together and roam in the city – but that is never to be) – Page 128.

Munir Niazi:

Famous poet Munir Niazi observed that Punjabi language has the characteristics of being acknowledged in every big country. Apart from acknowledging the works of old writers, the ideas and diction of new writers and poets has brought Punjabi in forefront of big languages. Anjum Qureshi’s poetry is an addition in Punjabi literature that is at par with great verses being written in any language in the world. That is great tribute!

The writer is the recipient of the prestigious Pride of Performance award. He can be reached at doc_amjad@hotmail.com