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Manto Speaks Post Partition Truth with Relentless Fury

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Manto Speaks Post Partition Truth with Relentless Fury

~By Saeed Naqvi

Nandita Das’ film on the subcontinent’s greatest short story writer, Saadat Hasan Manto, brought alive memories of days when it was fashionable to be on the left. That is where all the progressive writers were – Ali Sardar Jafri, Kaifi Azmi, Ismat Chugtai, Sahir Ludhianvi, Krishen Chander, Rajinder Singh Bedi, Majrooh Sultanpuri, the lot. The Pied Piper who lured them to Bombay (Mumbai) was the innovative Secretary General of the CPI, P.C. Joshi. As part of the trend, actors like Balraj Sahni gave a boost to the Indian Peoples’ Theatre. Socialism even in Raj Kapoor films was influenced by the ambience that this lot had generated. They determined the character of Bollywood by their lyrics, dialogue and sheer presence. Subsequently, the influence disappeared, but not totally. Witness Nandita Das.

At one level, Manto’s uncompromising realism sustains the tension throughout the film because it clashes with the dogmatic idealism of his colleagues. Das assembles many of them and their friends in cinema, Ashok Kumar, Shyam (Chaddha) in the first Independence Day party where the legendary Jaddan Bai regales the gathering. The teenage girl behind her mother Jaddan Bai is unmistakably Nargis. It is superb casting. The way Manto protects Ashok Kumar through a mob of Muslim rioters is unbelievably realistic. His parting with his closest friend the handsome actor Shyam because of Partition is rich in poignancy.

The Partition of India is replete with many tragic ironies but tragedies pale before the incident that Manto picks on as a metaphor for the mayhem: Toba Tek Singh.

Manto Speaks Post Partition Truth with Relentless Fury

When the newly formed governments of the two countries complete the identification of Hindus and Sikhs in Pakistan’s mental asylum and Muslims left in such institutions in India, the governments decided to transfer them to the countries they were now deemed to be citizens of.

When Bishan Singh, a Sikh in a Pakistan asylum is being transferred to India under police escort he learns that his hometown, Toba Tek Singh has been left in Pakistan. Bishan Singh begins to walk in the opposite direction. The last scene shows him lying in no-man’s land. Let Manto end the story in his own words: “There, behind the barbed wire, on one side, lay India and behind more barbed wire, on the other side, lay Pakistan. In between on a bit of earth, which had no name, lay Toba Tek Singh. This is just one of the Manto stories Nandita Das weaves effortlessly into her film.

“Thanda Gosht” or “Cold Meat”, a controversial masterpiece, becomes one of the film’s supporting columns. It provides occasion for a court drama where Manto defends himself against charges of obscenity. Faiz Ahmad Faiz as a witness in the case exposes the earliest fissures in the Progressive Writers Movement. In his testimony, Faiz describes “Thanda Gosht” as not the “highest form of literature” but clearly not obscene either.

The backdrop, once again, are the riots following Partition, the cataclysm Manto could never wrench himself away from. A well built Sikh, Ishwar Singh, has returned after joining the looters. In fact he has even murdered five men with his kirpan (sword). But when he is unable to make love to the passionate Kalwant Kaur, she, in a moment of suspicion and jealousy, slits his throat with the very same kripan, demanding that he tell her who he has slept with.

The story’s final climax is – it has many – when a dying Ishwar Singh confesses: yes, he lifted a “very beautiful girl” from a house, but when he laid her down, he realized to his horror………………….she was dead, “Thanda Gosht”.

An effort to critique Nandita Das’s film has involuntarily, meandered past the brilliant short stories which many readers must already be familiar with. There is a simple reason for my diversion. The succinct, vivid, picturization of so many of the stories have made them more intimately accessible. Those who have read Manto will be enriched. The selection of stories is uncanny. When a doctor asks his helper to “open” (kholdo), the window to allow some light, Sakina (recovered from a riot affected area) gropes for the string of her shalwar in a daze and loosens it. She has developed a pavlovian response to the sound “Kholdo”, so repeatedly has she been raped in captivity. There is a disturbing, Mantovian irony attending the end. On this occasion the instruction “kholdo” is for the window to be opened so that Sakina’s distraught father, who has spent days searching for her, can see her face. I can go on and on.

The extraordinary directorial success lies in what Nandita Das has avoided. Despite the world’s finest short stories at her disposal, she has refrained from creating a catalogue of Manto masterpieces, however seductive the idea may have been. The stories are in the service of the director’s primary purpose: to bring out the multilayered life of a genius, struggling to keep the wolf from door, a difficult proposition when tight fisted publishers buy a short story only for rupees 20 against Manto’s demand for rupees 50. He accepts the humiliation because he is in desperate need for money for his child’s medical treatment.

To be proud, sensitive and constantly in need is a lethal combination. Initially, when Manto copes with the humiliation, he reminds me of Majaz Lucknowi.

“Banyeen sael e gham o sael e hawadis

Mera sar hai ki ab bhi khum naheen hai.”

(A gathering storm of tragedy and pain approaches

But I have not bowed my head – the struggle continues)

Eventually, on a cold December night, Majaz was found in a coma on the terrace of a Lucknow country liquor shop. He died the next morning in Balrampur hospital, surrounded by comrades who happened to be in Lucknow for a Conference of Progressive Writers – Ismat Chugtai, Sardar Jafri, Sahir Ludhianvi. Manto also dies of alcoholism but his is a slow end, by attrition. Both died in their 40’s.

The film’s other attraction is the portrayal of an era along a distinct track – post Partition, mayhem, breakdown of friendships, relationships, Manto’s parting from Bombay deliberately preserving a one rupee debt to a cigarette seller as a “precious” link with the city he loved.

Book reviews

Walking On The Razor’s Edge: The path of the seeker

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The Power of Karma Yoga by Gopi Chandra Das (Jaico Books) is an attempt to unravel the mystique of the Bhagavad Gita in the contemporary context. Is Lord Krishna’s counsel to Arjuna still relevant in today’s time and social space ? How can the timeless teachings of Lord Krishna be adopted by people struggling to cope with the stresses and challenges of modern life? Is there a key teaching which can be easily adopted by stress-torn people? These and many more questions are answered by the author in his easy-to-read style.

The basic premise is that the stress is a function of identity; identity with ego or with role-playing. We all play roles in life: in the family, the office and in the social sphere. These roles demand close identification and exact their cost by way of fear, frustration and failures.

The way out is to ease one’s sense of identity with one’s temporal roles. At the metaphysical level, it means keeping oneself in a detached state from one’s ego. This requires sustained spiritual discipline, but automatically yields to mental distancing with mundane roles as well. No wonder the Katha Upanishad compares the spiritual path to a razor’s edge.

Lord Krishna sought to instil this detached perspective in Arjuna by underlining the perishable nature of the body and the transitory nature of the world. However, the key is to strike a balance between total detachment and total attachment. The golden mean is attained by letting go with discrimination. If we detach too much, it will become difficult to perform our duties; if we cling too much, the material will become a millstone. The idea is to be in the world and yet not be of it. As the Persian saint Abu Said said, “To buy and sell and yet never forget God.”

Detachment, however, doesn’t mean irresponsibility. On the contrary, it means working with utter responsibility; with a sense that the job at hand is a moment to glorify the divine. It is not only work for work’s sake; work is taken up as a tool for self-realization. This is more deeply grasped if we acknowledge that the Gita is not only a handbook of divine knowledge or spiritualised action but essentially a guidepost for the man treading the path of enlightenment.

Sri Aurobindo says: “The Gita is not a weapon for dia­lectical warfare; it is a gate opening on the whole world of spiritual truth and experience, and the view it gives us embraces all the provinces of that supreme region. It maps out, but it does not cut up or build walls or hedges to confine our vision.”

Or as Paramahansa Yoganananda puts it: Gita sheds light on any point of life in which the devotee finds himself in.

Delving yet further, Gopinath explains in the book that letting go is made easy by the practice of apagriha, or being unattached to desires with conscious control on attachment-driven strivings. In the process, one’s motive gets transformed from want-driven to purpose-driven. The aim, at the highest level, being self-realization: the acme of spiritual strivings. For all material strivings ought to be in essence spititual strivings.

When we shift from want-driven to purpose-driven action, the need for personal validation ceases. In our quest for a spiritual-centric action mode, yagna plays an important role. The concept of yagna is transposed from a religious fire-rite to diurnal mundane acts in which personal motives are quenched. As the borderline between the spiritual and the material gets increasingly dissolved, the quest for enlightenment becomes the summum bonum of life.

The direction and blessings of a sadguru is also needed in this eternal quest for soul freedom. In the ultimate sense, the material life and its duties become a stepping stone for a higher life which man embraces to achieve the state of kaivalya. The book lucidly interweaves real-life stories with philosophical concepts, which make for interesting reading.

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Entertainment

Justin Bieber shares unseen pictures from Anant Ambani and Radhika Merchant pre-wedding sangeet

Justin Bieber’s energetic performance on Friday was the highlight of the sangeet ceremony, which took place at the Nita Ambani Convention Centre in Bandra, Mumbai.

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Justin Bieber shares unseen pictures from Anant Ambani and Radhika Merchant pre-wedding sangeet

Global popstar Justin Bieber brought the energy at Anant Ambani and Radhika Ambani’s pre-wedding sangeet on July 5 in Mumbai. The soon to be married couple (wedding in July 12th) was spotted enjoying themselves as Bieber belted out his hits. While glimpses from the night went viral earlier, Bieber has now shared unseen photos and videos from his memorable trip to India.

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The heartwarming pictures show Justin Bieber bonding with Anant Ambani and Radhika Merchant and their family. In one picture Justin stands with Anant and Radhika, all three dressed festively for the sangeet ceremony. Another photo captures a casual moment where Justin Bieber is seen chatting with Akash Ambani on a couch while Anant and Radhika are posing with him.

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The group also posed for a larger picture that included Shloka Mehta and Anand Piramal. The final photos show Justin Bieber and Anant Ambani engaged in a friendly conversation, solidifying the warm atmosphere of the visit. Justin’s trip to India started on Friday morning with his arrival in Mumbai.

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That night Bieber transformed the Jio Convention Centre into a party zone with his hit songs and celebrities like Salman Khan and Alia Bhatt grooved along with him. Videos circulating on social media show Justin Bieber dancing with Orry and receiving a hug from Alaviaa Jaffrey( daughter of Javed Jaffrey). According to reports Justin Bieber has been paid $10million for this special performance.

https://www.instagram.com/p/C9GAO8_I5NH/?utm_source=ig_embed&ig_rid=24b3f57f-b3b7-4956-9144-a3e6c0230b27&img_index=1

https://www.instagram.com/p/C9Fu5I5oxBm

Bieber’s energetic performance on Friday was the highlight of the sangeet ceremony, which took place at the Nita Ambani Convention Centre in Bandra, Mumbai. The singer made the guests groove on his songs Baby, Love Yourself, Peaches, Where Are You Now and Sorry. Bieber’s fresh off his triumphant return to the stage once again set the internet ablaze with his electrifying performance at Anant and Radhika’s sangeet ceremony.

https://www.instagram.com/p/C9Fv2nuI1_e

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Entertainment

Yashraj Mukhate collaborates with Amit Trivedi for Mann Dhaaga song

In a post circulating on Instagram Yashraj Mukhate talks about his experience of listening to Amit Trivedi’s music and recalls how he had always dreamt of collaborating with Amit Trivedi. He said his dream came true 2 years later in 2024 where he collaborated with Trivedi on the song Mann Dhaaga.

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Amit Trivedi is known for his soulful compositions which weave profound lyrics, captivating music lovers. His songs spark a deep desire in aspiring artists to collaborate with him. Music producer and You Tuber Yashraj Mukhate had immense admiration for Trivedi’s artistry. In a post circulating on Instagram Yashraj Mukhate talks about his experience of listening to Amit Trivedi’s music and recalls how he had always dreamt of collaborating with Amit Trivedi.

He said his dream came true 2 years later in 2024 where he collaborated with Trivedi on the song Mann Dhaaga. He wrote that he had been listening to the entire Dev D Album carefully in 2012. And he kept listening to it on loop for 3 weeks. He continued to listen to Amit Trivedi compositions in Aisha, Kai Po Che, Udaan, Lootera, Queen, Fitoor continuously. He said he could not stop himself and became a big fan of the music director. He said he started dreaming of meeting his idol one day and collaborating with him.

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He recalled that he had to download songs from songs.pk and listen to them. He said the songs kept running inside his mind all through the day. He added that he even remembered Amit Trivedi’s ad jingles word for Fanta, Frooti, Dish TV and all of them.

https://www.instagram.com/p/C35NUIVNz5h/

Mukhate said he always dreamed of meeting Amit Trivedi and wanted to thank him for giving this experience. The post has gone viral on social media with 96,445 likes till now. Large number of social media user commented on the social media post where one user Parth said the Yashraj Mukhate was truly an inspiration. One user said his dedication had brought him to level. One user said a man should make all his dreams come true by going through one hustle at a time.

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