Critical Reading - Chugtai

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CRITICAL REALISM, MIMICRY OR DISCURSIVE COLONIALISM:

ANALYSIS OF ISMAT CHUGHTAI'S DEALING OF QUEER THEMES
Article · January 2017
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PAKISTAN JOURNAL OF SOCIETY, EDUCATION AND LANGUAGE
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CRITICAL REALISM, MIMICRY OR DISCURSIVE COLONIALISM:

ANALYSIS OF ISMAT CHUGHTAI’S DEALING OF QUEER THEMES
Ayesha Aamir
M. Phil Candidate (Linguistics and Literature) Department of Humanities
Air University, PAF Complex, Sector E-9, Islamabad, Pakistan
Email: [email protected]
Tariq Khan
Assistant Professor, Department of English University of Malakand
Chakdara (Dir Lower), Email: [email protected]
&
Inayat Ullah, PhD
Assistant Professor, Department of Humanities (English)
Air University, PAF Complex, Sector E-9
Islamabad, Pakistan, Corresponding Author ([email protected])
Abstract
Queer studies have monolithically been considered as a taboo in most parts of South Asia,
mainly because of the overall culture prevailing in these societies. Yet, writers such as Ismat
Chughtai, following the footsteps of the global north challenges these myths contribute to the
field of Queer Studies under the banner of Progressive Writers Movement of India, ending up
in getting summoned by, and finding herself defending her literary texts at, the court of law
in Lahore. This study examines Chughtai’s oft-quoted critical-cum-realistic stance that
makes her go against the prevailing culture and writes so boldly about queer issues. The
study uses the Postcolonial scholarship, with special focus on the issue of mimicry, as the
theoretical underpinning for this study.
Keywords: Queer Issues; Mimicry; Progressive Writers Movement; Fanon; Ismat Chughtai.
1.1. INTRODUCTION:
Ismat Chughtai occupies the position of the most bold and controversial female writer in the
history of Indian short story. Her bold attempt in writing about a female’s body is seen as a
PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

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part of the active project of modernity that she and the other radical feminist writers were
engaged with. She was the first Urdu female writer who boldly unraveled the psychological
and social aspects of a woman’s sexual life in her stories. She started her literary career as
the translator of French and Russian Fiction and this practice played a great role in the
shaping of her revolutionary literary intellect. The Russian and French masters of fiction-
Tolstoy, Gorky, Chekov, Maupassant, and Zola were the few whom she loved to read again
and again (Negi, 2003). It was Anton Chekov and some other European writers about whom
she once said, “They were the great influence for me because I encountered them when I was
looking around for a guiding spirit”. She was greatly inspired by the cotemporary European
writers and tried to copy the style of her favorite French and English writers in many of her
short stories.
About Chekov Ismat said, I believe in Chekov, I read him to be blessed” (Negi,
2003).Chughtai was one of the most prominent writers of the Progressive writers Association
and played a very active role in Progressive writers movement which was at its peak in 1930s
and 1940s.This was the time for the blossoming of her literary career. This research will
investigate that how the strong impact of European literature on her mind and the company
of Progressive writers lead her to write on the topics which were unacceptable for the
common reader at that time. She tried to break the religious and cultural mold of the
respectable Indian Muslim woman by writing about the unmentionable topics like woman’s
sexuality, Lesbianism and Prostitution.
The present study examines the main factors working behind the introduction of bold
concepts by Ismat Chughtai in her stories with a particular focus on her two famous and
controversial short stories The Quilt and The Homemaker. Ismat chughtai’s most
controversial story Lihaaf translated as The Quilt has been predominantly cited by the critics

68
as a bold instance of radical feminist perspective. The story was first published in an Urdu
literary Journal entitled as Adab-e-Latif in 1941. This story created a great controversy at
once and the main point of the entire controversy was the account that has been narrated in
the story by a teenage girl, and depicted the homosexual relationship between Begum Jaan,
wife of a Nawab and her maid servant Rabbu. This concept was in complete contradiction
with the prevailing social and religious values and hence opened the doors of harsh criticism
for chughtai. Story of ‘The Home maker’ shows how a woman can extract benefits by
offering her charms and body to men. Lajjo, the main female protagonist of the story denies
all the moral values in order to get herself provided with material and physical needs.
In both of these stories she has questioned the institution of marriage in Muslim families
through the choices made by the female characters of her stories. This study is particularly
significant as it will help to provide the understanding of different negative and bold
ideologies and complexities present in her mind. It will also help to indicate that how these
westernized concepts stand in complete contradiction with the local culture and traditions,
and hence are upsetting for the minds of young readers.
1.2. STATEMENT OF THE PROBLEM
Ismat Chughtai is assumed to be engaged with the project of boldness and impudence in her
writings and the vocalization of this boldness and modernity makes her a true personification
of the Colonized Psyche. There must be some factors and motivations that led her to present
bold western practices in her writings as a true moral standard. It is important to trace all
such elements of her writings to prove the claim of modernity and boldness in her stories as
has been hypothesized in present study.

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1.3. OBJECTIVES OF THE STUDY
The present study aims to explore the important social and psychological factors which
played an important role in presenting the revolutionary and bold concepts in Ismat
Chughtai’s stories. This research primarily intends to bring all these factors into light. The
study is also focused to demonstrate different ways in which her female characters show
divergence from the established traditions of Indian society. The study attempts to reveal her
female characters as sexual beings that are unashamed at their desires and goes beyond the
limits to satisfy their physical gratification.
1.4. RESEARCH QUESTIONS
The Present Research is guided by the Following Questions.
1. What are the factors, behind the project of modernity in Ismat Chughtai’s fiction as are
reflected in The Quilt and The Homemaker?
2. How do, according to the perspective of Fanon’s Postcolonial theory, these two stories
of Ismat Chughtai provide an evidence of the strong colonial impact on her mind?
1.5. LITERATURE REVIEW
Realism in literature is the theory or practice of conformity to nature or to real life and to
actual representation without any idealization. It was taken up as a movement by young
fiction writers of the late nineteenth and early twentieth century. They rejected the trends of
idealism and romanticism of early fiction and poetry in literature. Ismat Chughtai was one of
those writers who strengthened this tradition of social realism which already had been
established by Ahmad Ali. She used to read famous Russian and French masters of fiction
who were like a guiding star for her. She read Greek tragedies, Shakespeare, Wordsworth,

70
Shaw, Gorky, Chekov etc. The writer she was inspired by was also charged for their
writings. Zola for a short period of time was banned in France and England, so was Anton
Chekov because charges of obscenity were leveled against them (Kiran, 2012). She also
admired Dr Rashid Jahan for her independent spirit and her advocacy of women’s
emancipation through education. A political and social rebel, Rashid Jahan was her senior in
Aligarh days. Dr Rashid Jahan along with her three friend’s i.e Ahmad Ali, Sajjad Zahir, and
Mahmud-uz-zafar published a collection of explosive short stories, Angaare. The stories in
that book changed the direction from romanticism to realism in literature. There was a great
controversy and uproar about the book and Ismat Chughtai recorded the reaction, which the
book received in her college. For Chughtai there was nothing controversial or obscene in that
book. She was greatly inspired by the Progressive writer’s movement in India who
introduced new standards and trends in literature by their bold writings. These writers
introduced the tradition of social realism in literature. Realism is defined as “an approach
that attempt to describe life without idealization of romantic subjectivity” (Khuman, 2010,
P.78). This tradition of social realism which consisted of Russian inspired belief about the
function of literature in a Revolutionary social society was followed by progressive writers.
The founders of progressive writer’s movement- Ahmad Ali, Saadat Hassan Manto,
Krashenchander, Ahmad Abbas are the prominent representative of this tradition. Ismat
Chughtai also joined this association in 1935. She said, “The purpose revealed in the
expression of the progressive movement was heartily accepted by my conscience” (Negi,
2003). The progressive writers displayed a tendency to write on bold topics. Under the
influence of Marxist and Freudian theories, importance was given to sexual conflicts and to
lay bare the conscious and subconscious aspect of the characters. They wrote realistically
about the so far muted, yet very much present desires of their characters.
The detailed survey of the relevant literature has shown that although ample research has
been done on works of Ismat Chughtai, but all that investigation reveals her efforts for

71
women empowerment in the male dominated society. The research which already has been
carried out, simply attempts to highlight her concerns about the subject of female
suppression. These previous studies do not raise any objection or question on her bold
attempts; rather she has been admired by the critics for her revolutionary concepts in the
world of fiction. It justifies her as the strong supporter of equality between men and women.
Not much work has been done to highlight the negativity in her writings from cultural and
religious perspective. The present research is aimed at exploring the factors responsible for
her bold, controversial and naked endeavors in her writings. It is focused to bring into light
the conflicting ideology, operative in Chughtai’s stories and reflects the influence of culture
of the British colonizers. Hence, the present study will fill the gap by providing the material
to show the negative aspects of the western influence on her style, that makes it un-
acceptable for the local readers from social and cultural perspectives.
1.6. THEORETICAL FRAMEWORK
Theories of colonial discourses are very influential in the development of postcolonial

studies. Frantz Fanon’s theory of post colonialism has been adapted as the theoretical
framework of this study. His few ideas about colonialism as are theorized in his two famous
essays ‘Black Skin, White Mask’ (1952) and ‘On National Culture’ (1967) have been taken
as the theoretical framework of this research. ‘Black Skin, White Mask’ (1952) is an essay
about the mind set or psychology of the colonized people, written by a great post colonialist
thinker in which he has theorized some basic concepts of his theory. He analyzed the
psychological effects of colonialism on both the colonizers and the colonized. Fanon thus
develops a psychoanalytical theory of post colonialism in which he suggests that “in an
attempt to deal with psychological inadequacy, the ‘Native’ tries to be as White as possible,
by adopting the western rules, religion and practices of the ‘White’, and by rejecting his own
culture” (Fanon, 1952). Fanon calls this phenomenon of wearing white masks over black

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skin resulting in a duality. Further the sense of inadequacy in the colonized psyche results in
violence, which is a form of self-assertion. Fanon also talks about the inferiority complex in
the mind of the colonized being as “For the black man there is one destiny, and it is white”
(Fanon, 1952). He is of the view that in order to get rid of his inferiority complex, the black
or the native person tries to imitate or mimic the culture of the colonizer. He suggests that the
‘black man’ should not forget his real identity. This theory of Fanon has been employed to
trace the influential factors that forced Ismat Chughtai to imitate the culture of west in her
stories.
In his essay On National Culture Fanon gives the idea of ‘Native intellectual’. The term
‘Native Intellectual’ refers to the writers and thinkers of the colonized nation who often have
been educated under the auspices of the colonizing power. Consequently, the western
educated native intellectual is in danger of identifying more with the colonizing nation rather
than with the indigenous masses (Fanon, 1967).
1.7. ANALYSIS & DISCUSSION
The Quilt and the home maker by Ismat Chughtai are the stories that label her as a writer
who loves to break the established social, religious and cultural norms of society. In these
stories, she appears as a rebel for her own culture, who blindly wants to follow the western
traditions without any religious concerns. Ismat Chughtai hence portrays an image of a true
‘Native intellectual’. The western educated native intellectual is in danger of identifying
more with the colonizing nation rather than with the indigenous masses (Fanon, 1967).
The bold concept of lesbianism or homo sexuality that she has introduced in her short story
The Quilt (lihaf) can be taken as an attempt to get herself identified with the European
culture that was the culture of the colonizers. The presentation of such a bold concept gives
an insight to work out the main factors which were active behind the project of modernity in

73
her writings. Ismat rejects her culture when she describes the scene of the lesbian activity in
the story because such concepts are strictly unacceptable in Indian culture both for Hindus
and Muslims.
This aspect of her literary style is completely in terms with Fanon’s post-colonial theory
according to which “the ‘natives’ try to be as white as possible, by adopting the western rules
and practices of the ‘white’, and by rejecting his or her own culture” (Fanon, 1952).
“I woke up at night and was scared. It was pitching dark and Begum Jaan’s quilt
was shaking vigorously as though an elephant was struggling inside. “Begum
Jaan”, I could barely form the words out of fear. The elephant stopped shaking and
The Quilt calm down. “What’s it? Get back to sleep.” Begum Jaan’s voice seemed
to come from somewhere.” (Chughtai 38)
It is important to notice that the language and the metaphors, she uses to show this sexual
activity reveal her inner fascination and philosophy for this hostile act. The details that she
adds in the scene as are narrated by the little girl clearly show what is going on inside The
Quilt.
Sr-sr-phat-kitch……… in the darkness, begum Jaan’s’slihaf was swinging again

like an elephant, ‘my god’ I murmured, my voice faint with fear. I did my best to lie
still ………but the lihaf began to take on such strange, grotesque shapes that it sent
shivers down my spine. It seems like a huge, blotted frog inflating itself about to
string on me… The elephant lifts inside the lihaf and then lay still. I heard noises,
slopped, slop – as if someone was eating something with great relish…. I decided
that I should gather all my courage and switch on the light at the head of the bed.
Hesitatingly I brought my legs down on the other side of the bed, groped for the

74
switch and press the button. Under the lihaf the elephant turns a violent summer
salt and collapse. But the summer salt had lifted the corner of the lihaf by a foot ---
‘Allah!’ ………. I dived for my bed. (Chughtai, n.d)
“The scene is never opened completely in front of the readers. The reader is supposed to get
the meaning from the described scene. He has to imagine and analyze the situation.” The
non-naming of the space beneath the Quilt also served a practical purpose when Chughtai
faced a trial for writing obscene literature (Kumar, 2012). Although there is not any explicit
evidence of homosexuality, but the reader can easily get the idea by reading the whole story.
The Quilt is a story of a married woman Begum-Jaan who is married to an aged Nawab to
lead a comfortable life. But the Nawab does not pay any attention to her and she lives a life
of loneliness. This thing makes her sexually frustrated, being married to man who could not
fulfill her physical needs. Instead of getting depressed she acts in a proactive manner and
begins to fulfill her sexual desire from her maid servant Rabbo. It is important to mention
that both husband and wife have been shown to be involved in a lesbian relationship. Nawab
sahib was considered to be a very virtuous man because “No one had ever seen a Notch girl
or prostitute in his house” but the reason was that, he was homosexual and was attracted
towards young boys. This is shown in the story as:
He kept an open house for students, young, fair, slender-waisted boys whose
expenses were borne by him--- when begum Jaan watched through the drawing
room door the increasing number of firm-calved, supple-waisted boys, she felt as
though she was being hauled over burning embers! (Chughtai, n.d)
When Begum Jaan witnesses these things, she too engages herself in homosexual
relationship with her maid servant. She does not try to reform the immoral ways of her
husband but reacts in a proactive way and gets involved in finding sexual satisfaction from

75
the girl. This choice by Begum Jaan makes it clear that Ismat Chughtai does not believe in
compromise by a female in her domestic life. Chughtai through the act of homosexuality
tries to empower the character of begum Jaan. Lesbian existence is a lesbian continuum that
records women’s’ struggle against patriarchal system (Ferguson, 1982). She rejects the
cultural ties by presenting these immoral choices of her characters. Such concept by her
proves her identity as a born rebellion since her childhood. It gives some idea to readers
about her own conflicting psychology which is actually a true mind set of the colonized
subject. For the black man there is one destiny, and it is white (Fanon, 1982). The clashes
and disagreement that Chughtai had with her family over the issues of her education and
Marriage further confirms this claim of the present study. She vividly describes the scene of
her conversation with her father in her autobiography “KaghazihaiPerhan”.
I want to go Ali Garh to study, I blurted out and there was no tremor in my voice
You are studying here with your bade Abba (AzeemBahi)
I want to take the matriculation exam
“What is the use? Jungu has just two years of study left…. And then….”
“I want to do matric”
“It’s no use (going to Aligarh)”
“Then I will runaway”
“Where will you go?”
“Anywhere”

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“Just like that…”
“Yes, I ‘will take the Tonga to go to the station. I will get into a coach”
“And then”
“I will get down at any station and ask people about the mission school (in Banna
Devi area of the city) once there I will become a Christian. Then I can study as
much as I want” (chughtain.d)
While her mother cursed herself and her fate at having given birth to such an evil brat and
flung a shoe at her to express her disgust, her father was compelled to reconsider his
decision, since the choices were obviously limited. The readers must not ignore the
psychoanalysis of the female characters of her story who surrendered to sexual indulgence
for their satisfaction. The readers of the subcontinent cannot accept the idea of this abnormal
romance i.e. homosexuality as the main subject of the story because it can corrupt the mind
of the young people. Begum Jaan sexualizes the place which was traditionally supposed to be
desexualized. In her attempt to come to terms with her on sexuality, she rejects her
traditional role and treads the path of modernization (Khanna, 2014). Ismat chughtai in her
life faced the harsh consequences of writing such a bold story. A trial was held against her in
Lahore high court in 1945 in which she faced the charge of obscenity for writing “lihaf” that
was considered as an obscene story in the literary circles and caused a great uproar in the
society. She herself said in her auto biography:
“I am still labelled as the writer of Lihaf. The story brought me so much notoriety
that I got sick of life. It became the proverbial stick to beat me with, and whatever I
wrote afterword’s got crushed under its weight.” (Ismat chughtai)

77
It is noteworthy that the European writers she was inspired by were also charged for their
bold writing. Zola for a short Period of time was banned in France and England and so was
Anton Chekhov because charges of obscenity were leveled against them. Although she faced
many consequences, but she always defended this product, which was very particular of her
psyche. She herself says about it “In my stories, I have put down everything with objectivity.
Now, if some people find them obscene, let them go to hell.” These remarks show her
rebellion soul, who is always ready to reject the moral values and the social norms of society.
Another important factor behind such drastic and radical concepts was her strong emotional
attachment with progressive writer’s movement. Her own statement that she gives in
Kaghazi Hai Pairahan gives a strong evidence for this claim. She states as “the group of
progressives I got involved with was a bunch of undisciplined revolutionaries. I remember
spending very exciting moments in the company of these out spoken, crazy but intelligent
people. I have never seriously taken it to be my mission to reform society and eliminate the
problems of humanity; but I was greatly influenced by the slogans of the Communist party as
they matched my own independent, unbridled and revolutionary style of thinking.”
In both of the stories which have been selected for consideration in present research, Ismat
Chughtai has questioned the ‘institution of Marriage’. This according to her seems the best
perspective to see the sexual power plays between men and women (Hussain, 2014). So,
marriage for her is more like a sexual play rather than a strong bond of dignity and social
protection.
Her story The Homemaker is about a girl named Lajo. She was an illegitimate orphan and
worked as a maid in different houses. When she was grown- up, her body was used by many
men in the society, and she enjoyed it. It is quoted in the story as:

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Her body proved to be her only asset. She did not haggle. It was wonderful if it was
cash down proposition; if not, it was sex on credit. And if someone could not pay
even on credit, it was sex on charity. (Chughtai, n.d)
Now these lines strongly support the claim of present research that the female characters of
Chughtai stories want sex to satisfy their physical needs and lust. It’s not the need of money
that compels them to do such disgusting acts. Lajo is happily willing to present her body to
anyone who asks for it, no matter if she gets any money out of it or not. She can do it for free
because this sexual play makes her happy. Her favours and charms are for every man who
gets attracted to her. Lajo’s smiles are for all and her relationships are open-ended (Ghosh,
2016). Wherever Lajo worked, she was used by the male member of the family and pushed
out of the house after their use. When Bakshi’s wife was full month pregnant, she was taken
into his house for his wife’s help. Then Bakshi brings her to his friend Mirza’s house, who
was a grocery shopkeeper. He did not like her in the beginning, but later appreciates her for
her household duties being done. Later he was involved in a sexual relationship with her,
whom the girl was waiting for, because she knew Mirza went near the courtesans for the
sexual satisfaction which she didn’t want because of jealously.
Till now, where ever employed, she gave full satisfaction to her masters in every
way. But here, a full chaste week had passed. Mirza seems like an iceberg.
(Chughtai, n.d)
But she continued her efforts for sexual satisfaction. Finally, one night she got a chance to
attract him. When he heard the tinkling of her anklets, he felt disturbed as a flame was
burning inside him. He felt thirsty and drank a lot of water. She advanced boldly to fulfill her
physical desires.

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Lajo turned on her side and grabbed him. Mirza was dumbfounded. He had never
encountered anything like this before. He went on pleading as Lajo seduced him
thoroughly. (Chughtai, n.d)
This type of boldness by a female is a western concept and is completely in accordance with
Fanon’s concept about the Imitation of the culture of the colonizers. Fanon talks about the
blind imitation of the culture of ‘White’ by the native ‘Black’ which is very harmful for his
own identity (Fanon, 1952). This particular boldness cannot be expected from a girl in Indian
culture. Lajo was so beautiful that everyone in the vicinity was attracted towards her and it’s
mainly because of her flirting charms and gestures. After few days, Mirza lost his interest’s
in the girl and started coming late to the house and puts restrictions on his wife. She is then
attracted to the neighborhood boy Mithwa who has sex with Lajo. She was caught by her
husband and beaten. He consults his friend Miran Mian for his advice to divorce her. The
response of Mian for his friend’s suggestion of divorce was, ‘Divorce the whore, and get rid
of her’. Mirza divorce her right there. Since she did not like a relationship of married life
and wished that there had been no one to question her, she happily accepted divorce and felt
greatly relieved as if a nightmare is over.
Lajo heaved a sigh of relief as she heard about the divorce. It was as though a heavy load
was off her shoulders. Marriage did not suit her. (Chughtai, n.d)
This again is the rejection of her culture and values by Chughtai in the story because in the
local culture of India and Pakistan divorce is the most unwanted thing and like a fierce
punishment for a woman especially in a middle-class family. It is important to notice that
how Ismat has questioned the sacred bond of wedding. The act which is liked by Allah
means Nikah is disliked by her characters in the story. In the same way the act which is
disliked by Allah i.e Divorce is liked by Lajo. By showing all these things Ismat wants to
signify that the married life of a woman is very frail thing.

80
Then the Mullah says that their marriage was not proper because she was the illegitimate
child whose parents were not known. So, if there was no Nikah, there is no question of
divorce. But this is not the true verdict of Marriage in Islam as has been shown in the story.
Both of them were happy knowingly that their wedding was actually not legitimate. Mirza
could not digest her attraction towards other man after marriage. Lajo had no guilt of being
caught with other man. And when she was divorced she was happier than leading a married
life. She lived a life with many men and she could not lead now a controlled life. The end of
the story is also very shocking when after few days of their divorce she asks Mirza to employ
her again as a maid. He gets agreed and she comes back to his home and resumes all her
previous duties. Both of them again start living together without any relationship.
At night when she spread two curtains on the kitchen floor and lay down, Mirza
once again felt severe bouts of thirst…. he got up from his bed abruptly and gathered the
The Homemaker in his arms. (Chughtai, n.d)
This type of radical thinking is not appreciated by other women. It also indicates the
psychological complexities in the mind of the writer. Ismat seems to break the established
moulds and ties of the respectable Muslim families by introducing such concepts. It is
shocking for a reader that how she attempts to present the relationship of Marriage in this
story. Lajo was very charming and full of attraction for Mirza before their marriage and once
they get married she loses all her charms and is neglected by her husband. Once the marriage
is over by divorce, she again becomes charming and delightful for him. This concept is
completely contradictory to her own cultural values. The episode of Ismut’s own marriage in
her life also brings out the element of liberty deeply rooted in her soul. She rejected all the
proposals chosen by her family and made her own choice in selecting her life partner. Her
family didn’t even attend her marriage with Shahid Latif, a script writer in Indian film

81
industry. She mentions in her autobiography that before getting married to him, I explained
to Shahid that I am troublesome woman. That I have broken all the chains of my life and I
would never be able to stay bound in them. To be an obedient and blameless wife was a role
not suited to me. Hence, she has not fabricated the character of blameless wife in her stories
also. The present research demonstrates clearly, that Ismat Chughtai at each and every stage
of the story confirms her label as a bold writer who likes to look at the things with a western
perspective. Ismat argued that she was writing for female empowerment in the patriarchal
society, but this rationalization cannot be accepted by the people even at present time.
Instead of taking the bold steps in her writings it was much better for her to take some baby
steps for the emancipation and freedom of women in society. She could fabricate the
character of a female fighting for her rights to get education or protesting against the forced
marriage etc. These baby steps could also be influential in her efforts as an active feminist
but the concepts like sex and Lesbianism only labeled her with the reputation of an obscene
writer and a radical feminist in the history of modern fiction.
1.8. CONCLUSION
The main influences and factors functioning behind the project of modernity and unabashed
directness in the stories of Ismat Chughtai are: her born rebellion soul, Colonized psyche,
emotional involvement with Progressive Writer’s Association as well as her Russian and
European inspired beliefs. The study well illustrates her inspirations with western culture that
she freely presents in her writings through her characters. Sexual Indulgence of Begum Jaan
which has been exhibited through a homosexual relationship and Moral degradation of
Lajo’s character, the way she seduces Mirza are purely western concepts and are still
unacceptable in Indian society. Detailed analysis of The Quilt and The Home Maker from
postcolonial perspective clearly describes the strong impacts of the European western culture
on her mind that made her reject her own cultural values. A drama has been based on the

82
story of The Quilt which was telecasted through Hum TV channel, but it caused the same
explosive reaction that it did in 1942, when the story was first published in an Indian literary
journal. PEMRA (Pakistan Electronic Media Regulatory Authority) issued a Notice to HUM
TV for promoting the homosexual content. The issuance of this notice by PEMRA and a
harsh criticism that the play received on social media confirms the claim of the present study
that people even today are not ready to absorb and accept such bold and impudent concepts
in their lives. Sana Hussain a critic on Ismat Chughtai has rightly said about her: The
Chughtai woman takes ownership of her own body, rejecting the customs and edicts to
satisfy her and get what she wants.
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CRITICAL REALISM, MIMICRY OR DISCURSIVE COLONIALISM:

Article · January 2017

Tariq Khan Inayat Ullah

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CRITICAL REALISM, MIMICRY OR DISCURSIVE COLONIALISM:

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

1.2. STATEMENT OF THE PROBLEM

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

1.3. OBJECTIVES OF THE STUDY

1.4. RESEARCH QUESTIONS

The Present Research is guided by the Following Questions.

1.5. LITERATURE REVIEW

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

1.6. THEORETICAL FRAMEWORK

Theories of colonial discourses are very influential in the development of postcolonial

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

1.7. ANALYSIS & DISCUSSION

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

Sr-sr-phat-kitch……… in the darkness, begum Jaan’s’slihaf was swinging again

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

You are studying here with your bade Abba (AzeemBahi)

I want to take the matriculation exam

“It’s no use (going to Aligarh)”

“Then I will runaway”

“Where will you go?”

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

“Just like that…”

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

Azmi, F. (1994).IsmatChughtaiki Novel Nigari (Novel Writing of IsmatChughtai)

IsmatChughtai: Shakhsiyataurfunn(Personality and style). Dr. M. Sultana Bukhsh. (Ed.)

Chughtai,I. (2001). We People. My Friend, My Enemy: Essays, Reminiscences, Portraits.

Chughtai, I. (2012) "Autobiographical Fragments Excerpted from IsmatChughtai's

Chughtai, I. "Lihaaf" Trans. M. Asaddudinn.d.

http://www.manushi.in/docs/179-short-story-lihaaf-the-quilt.pdf. English. 9 June 2014.

Chughtai, I. (2009). Lifting the Veil: selected writings of Ismatchughtai. Trans. M.

PJSEL VOL- 3 (2) JULY 2017 ISSN 2521-8123 2523-1227 (Online)

Ferguson, A. Jacquelyn, N. (1982). On Compulsory Heterosexuality and Lesbian Existence:

Ghosh, P. (2016). Ismatchugtai’s inimitable take on marriage and sexual liberation.

Hussain, S. (2014).Reclaiming the narrative: exploring sexual power plays in

IsmatChughtai: An unexplored Territory” Jazban

Khuman, P. (2012). Social realism in major novel of Mulk RajAnand. Retrieved on

Kiran, S. (2012).Modernism and the progressive movement in Urdu literature.American

Kiran, S. (2016).An analysis of lifting the veil (A collection of short stories) by

Khanna, T. (2014). Gender, Self-Representation and sexualised spaces: a reading of

Kumar, D. (2012). Sexuality and Self-Representation: The New Woman in IsmatChughtai

M. Asaduddin (1999). Kaghazi Hai Pairahan. “Autobiographical Fragments.”Manushi.no.

Mittapalli, R. and Rajasekhar, V. (2007). “Burining together in the Snow: Orchestration of

Menon, N. (2007). Feminism Sexualities. Ed. New Delhi.