“Dilli jo aik shahar tha aalam mai intikhaab
rahtay thay hee jahaan muntakhib rozgaar ke
us ko falak ne loot ke weeraan kar diya
hum rahne waale hain usii ujray dayaar ke”
This poignantly beautiful poem by Mir Taqi Mir symbolizes Delhi and for me is at the heart of the book by Raza Rumi as he lovingly traces the rise and fall of Delhi in his book “Delhi by Heart”.
It is rare that one comes across a book with a soul and this is a book which is all heart. It is an outpouring of love by a Pakistani based on his visits here.
I am ashamed to say that as someone born and brought up in UP which is Delhi’s neighbour and on my many subsequent visits I have never seen even half as much of Delhi as this ‘outsider’ has done.
Raza not only lived in Delhi during his visits, he lives Delhi in this book.
He takes his readers through the glory days of Delhi to the later trials and tribulations.
Through his eyes I revisited the Khanqaah of Hazarat Nizamuddin Auliya, paid my obeisance at the dargaah and danced in ecstasy swaying to the qawwalis of his beloved disciple Amir Khusrau.
I ate the biryanis and kebabs at Nizamuddin Basti, learnt of the history of cuisines which were born there and licked my fingers at the end.
For someone interested in the Sufi silsilas this book is a must read as it’s a virtual commentary on the advent of Sufism in India along with being a tour guide to all the dargaahs and khanqaahs housed in Delhi. In fact the Sufi theme is central to the book but then that was to be expected from a Rumi! […]
The gentle stories of Irshad Abdul Kadir have recently been published from India, adding another voice to the growing corpus of Pakistani writing. Kadir happens to be another of senior writers to have made a late entry in the world of fiction. Earlier, the beautiful, picturesque prose of Jamil Ahmad was introduced via The Wandering Falcon. Not unlike Jamil Ahmad’s story of ordinary lives invisible from the glare of mainstream media and discourse, Kadir’s stories are about the travails of common Pakistanis. A major dilemma with the characters in Clifton Bridge: Stories of Innocence and Experience from Pakistan is that they are neither aiming to espouse fundamentalism, nor thinking of planting bombs in their shoes, and thus remain marginalized in the global image of Pakistan.
Kadir’s prose is simple and the structure of stories is taut, reminding one of the original art of storytelling when the frills of literary cobwebs were avoided to retain the originality of the theme and authenticity of a character. Luckily there is a wide range of characters in Kadir’s stories, and they are not restricted to upper-middleclass households or the domestic servants working there-in. Instead, together these characters weave the mosaic of contemporary Pakistani society with all its contradictions, ugliness and dynamism. From frustrated housewives to slum dwellers, and from large land owners to babus, Kadir uses little brushes and measured strokes to present a tale which is familiar and yet a discovery. A total of 10 short stories with every day themes enabled me to read the book in one go. In Clifton Bridge, the story that inspires the title, a family of beggars informs the view of the metropolis. Kadir’s portrayal of beggars living under a bridge is humanistic as well as fulsome, for it does not judge the dregs as the privileged classes tend to do across South Asia. Instead, Kadir gets under the skin of his characters and presents a tale of intra-group dynamics and how adversity brings its own strengths.
“Their first ‘home’ – a lean-to against the boundary wall of a cement factory came about when Rana joined the ragged duo. Peeru always remembered the first meal – boiled rice and lentils – prepared by her. She told him to call her ‘Amma’, and later enrolled him in classes at the factory mosque.” […]