It’s a familiar observation that war, or even just the thought of it, constrains language and imagination. So, when tensions rise between India and Pakistan, finding ways to resist these restrictions becomes an act of defiance. This struggle has been ongoing since 1947 as both nations grapple with their pasts.
Pakistan’s Masculine Imagination
To start, Kishwar Naheed’s 1992 poem, *Girti Hui Diwar-e Berlin, Günter Grassaur main*, serves as a stark reminder of the impact that silence around trauma has on national identity. Naheed, like Grass, viewed the fall of the Berlin Wall as merely an enthusiastic collective gesture devoid of true resolution. The traumatic history of India and Pakistan’s division, frequently portrayed through women’s experiences, receives little attention in the collective imagination shaped by masculine narratives in Pakistan. This, perhaps, reflects a broader, warlike inclination. When we overlook the scars of conflict, we tend to rush headlong into the next war. Naheed’s poem acts as a counter to this public forgetfulness.
Faiz Ahmed Faiz’s *subah-e-azadi* explores the aftermath of war amidst this collective amnesia. Written after the partition, it critiques the manufactured utopias promised by leaders of both nations. In another work, Faiz addresses West Pakistan’s oppressive actions in East Pakistan in 1971, illustrating how even the clearest consent can maintain divisions along religious lines. His poem *Hazal Karo Male Tan Se* conveys his anguish during the 1971 conflict, expressing frustration over his inability to quench his thirst for bloodshed.
Land of Ram and Gautam
Ibn-e-Insha’s lyrical poem *Aman ka akri dyn*, penned in 1952, highlights the despair felt by poets who struggle to learn from historical horrors. The line reflects a haunting memory of conflict: “These are memories that refuse to fade, and we find ourselves at the threshold of war once more.” In India, similar themes resonate through the works of poet Ali Sardar Jafri, whose lines question whether the sacred lands of Ram and Gautam would become barren after bloodshed.
Even Ramdhari Singh Dinkar’s poetry speaks of mercy and peace emerging from just warfare. In *Kurukshetra*, Dinkar envisions ethical warfare as a means to establish a just world order, advocating for tolerance and compassion. Works by Aga Shahid Ali, like *Lennox Hill*, merge personal grief and public sorrow, hinting that war encompasses both realms.
“Qayamat Ka Shor”
Sahir Ludhianvi encapsulates personal loss within his anti-war masterpiece *Parchhaiyan*. His haunting lines address the pain of losing loved ones in conflict, emphasizing how an impending storm of war overshadows personal life: “A letter from the battlefield weighs heavier than your very existence.”
Some might argue that discussing poetry amid violent conflict seems out of place, especially when innocent lives are at risk, as seen during recent military actions post-attacks in Kashmir. However, it’s crucial to recognize that the costs of war are vast, and the suffering it brings may be incalculable. Yes, fighting injustice is necessary, but blindly stoking conflict can lead to bigger tragedies.
