Manto stands more or less alone in the position he takes on women, contends Raza Rumi, in an exploration of Manto’s relationship with his female protagonists
Perhaps the most well-known and also controversial Urdu writer of the twentieth century happens to be Saadat Hasan Manto. He left us with a stupendous literary output, which continues to remain relevant decades after his death. Manto, not unlike other ‘greats’ died young and lived through the greatest upheaval in the Indian subcontinent i.e. the Partition. As a sensitive writer, he was influenced and traumatized by political turmoil during 1947 and beyond. His stories reflect his repeated attempts to come to terms with this cataclysmic event especially for millions in North India. For Manto, partition remained a mystery but he did not keep himself in a state of denial about it. He always used the word ‘batwara’, never partition.i Manto felt that it was the ripping apart of one whole and would lead to greater divisions among the people of the subcontinent. This coming to terms with the ‘batwara’, is experienced in his works by unusual characters driven by plain ambitions, mixed emotions and above all sheer humanity.
Like Nazeer AkabarAbadi, Manto’s characters are universal and often it is difficult to condemn or dislike them since their humanity remains overarching. Manto raised the slogan of humanism at a time when the subcontinent presented the picture of a boiling cauldron of religious riots and protests, of acts of misogyny committed in the name of communal honour and ‘nationalism’. For example, in the story Sahai, Manto writes, “Don’t say that one lakh Hindus and one lakh Muslims have died. Say that two lakh human beings have perished.” Manto uses his characters as metaphors to highlight the prevalent abuse of humanity in those times.