As the literary world pauses to honor its icons, Mumtaz Shireen’s name shines brightly, illuminating the path for female writers in Urdu literature. This week, marking 100 years since her birth on September 12, 1924, we reflect on a century of her influential work that continues to captivate and inspire.
Early Life and Education
Mumtaz Shireen was born in Andhra Pradesh, India, in 1924. Her early life was nurtured by her grandparents, who played a significant role in her education and supported her intellectual pursuits. Even as a child, Shireen demonstrated remarkable academic prowess, securing the first position in her 10th standard examinations.
In 1941, Shireen completed her B.A. from Maharani College in Bangalore. The following year, she married Samad Shaheen, and together they launched the journal Naya Daur (New Era) in Bangalore in 1943. After the partition of India in 1947, the journal continued from Karachi for a few years before closing down. This publication was a testament to their commitment to literary and intellectual discourse.
The Art of Correspondence
Shireen was a prolific letter writer, corresponding with relatives, friends, fellow writers, and prominent personalities. These letters offer a window into her personal life and her reflections on the literary and cultural milieu of her time.
A superb literary critic, Shireen was known for her epoch-making debates on trends and ideologies. Her contributions to Urdu criticism are two-fold: she not only provided critical analysis but also set exemplary standards of practical critique
Focusing on Female Protagonists
Shireen’s stories often centered on female protagonists, reflecting her commitment to portraying women’s experiences and issues. She was not content to adhere to a single narrative technique; instead, she experimented with various styles, contributing to the evolution of modern Urdu short stories. Her innovative approaches have set new benchmarks for fiction writers and critics, establishing her as a standard-bearer of literary excellence.
Her short stories are notable not just for their evolved vocabulary and contemporary relevance but also for their deep engagement with both local and international issues.
Critical and Creative Contributions
Shireen’s critical and creative contributions extend beyond her short stories. Her incomplete autobiography, Hameen So Gaye Dastan Kehte Kehte (We Ourselves Slept While Telling the Story), reveals hidden aspects of her personality and adds depth to our understanding of her literary journey. Her collections, including Apni Nagariya (One’s City), Megh Malhar, and Footfalls Echo, along with her critical essays such as Me’yar (Standard), Nuri Na Nari (Neither Heavenly Nor Hellish), and Zulmat-e-Neem-Roz (Darkness at Noon), remain precious assets of Urdu literature.
A Master of Languages and Literary Traditions
Shireen’s command over multiple languages—Urdu, English, Farsi, Hindi, Kannada, Turkish, and French—further underscores her distinguished literary identity. Her ability to blend Eastern and Western literary traditions provided Urdu literature with a unique direction and fostered a harmonious dialogue between Urdu and global literary landscapes.
Despite her immense contributions, Mumtaz Shireen’s work has not always received the recognition it deserves. Nevertheless, her skill, literary consciousness, and creative sensitivity have significantly shaped Urdu short stories and criticism.
