Collection of books and magazines on Urdu language & literature. TITLE. PUBLISHER. YEAR. example. Karnamjat-e-Sherlock Holmes Volume Narayan. Urdu Books biographies, Drama, Poetry and shayari at Rekhta Online E-Books Store in Hindi & English. You can Search for specific Book also. May 24, Sherlock Holmes, the most widely known detective in the world, While tracing the development of mystery fiction in Urdu, I was not able to.
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Murad thus managed to translate and publish one-third of the canonical 56 stories. In the preface to the Hikayat, Murad described the stories as both interesting and instructive. Such stories can serve a useful purpose in Urdu. The reader's enjoyment should lie in his stopping at the end of the first section and trying to come up with an explanation of his own.
Failing in the attempt, he should then read the second section, close the book, and endeavour to imagine what Holmes would do next. Murad also did something in two stories that Doyle might have strongly disapproved of. The locale in the first story remained Cambridge, but the three students and their harried teachers were given Indian names; in the second, even the locale was made Indian.
Both give little added pleasure, and Murad did well not to tinker with the rest of the stories. In the Hikayat, he also included some crude litho illustrations based on the etchings in Strand. Both failures, nevertheless, indicate the earnestness and devotion that this professor of physics brought to his labour of love. Curiously, a decade later another professor of physics similarly fell in love with Holmes. Usmani, too, was an earnest but clumsy translator; he was also seemingly much influenced by the Bureau of Translation at his university — he used Mufattish for 'detective', Shaikh-al-Balad for 'mayor', and Nishan-e-Abi for 'watermark'!
The two professors probably could not have gained Holmes many fans. Things changed only when that extraordinary translator, Tirath Ram Firozepuri, took up the task.
One hopes that modern publishers and translators will pick up the batton and introduce sorely needed Holmesian methods of inference into the country via Urdu - or any language, for that matter. Dear reader, online ads enable us to deliver the journalism you value. Please support us by taking a moment to turn off Adblock on Dawn.
The 'Holmesian' canon in Urdu C. Naim Updated May 24, Facebook Count.
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Hazaras are killed because they are Shia. We know because their killers say so. Images Staff. Political will is required to persevere and bring maturity to public-private partnerships.
Faizaan Qayyum. The clamour for invasive surveillance technologies like CCTV cameras should be checked and discussed by citizens. Arslan Zaidi. People bought and read both types of publication, which explored similar areas of anxiety about modern life and the issue of safety in the new modern Indian public spaces. The venues where Hindi detective and true crime publications were sold included not only the bookstalls outside cinemas but also bookstalls located at railway stations.
Indeed, many of the novel serials indicated that they were specially produced for A. Wheeler, the main railway bookseller. It is possible that this method of railway station marketing was influential in creating a modern mass market for Hindi literature.
The new public railway spaces were also a site for anxiety about crime; and, as early as , the Figure 4. The railways went on to become the site of communal violence during partition—itself a subject for popular iction as in the English language novel Train to Pakistan by Khushwant Singh.
In the twentieth century, detective fiction and true crime fiction, along with romances and supernatural horror stories, were an important part of this pulp fiction readership in India. It focuses on how elite teams of secret police were being sent to towns where it was anticipated crimes would happen in order to prevent them from Hindi Detective Pulp Fiction 35 ever taking place. In this case, the story is of a small town in which belief in the supernatural and superstition is rife.
Here, the practice of sati, the forced self—immolation by widows, is given particular attention. The detectives in this story arrive in the town and are able to show that several of the supposedly superstitious practices of the locals are baseless. This helps them prevent the crime of encouraging a woman to commit sati.
It is interesting to consider how to understand the popularity of such stories. The debunking of the supernatural through logical deduction appears to have fitted with how readers were negotiating their partly westernized and partly traditional identities.
This story, in particular, reflects an anxiety about how to understand life in smaller Indian towns seen from the perspective of the growing Indian metropolis. The novel was written by an author who lived in the city of Meerut, near Delhi, one of the new centres that became associated with Hindi detective fiction in the s.
He belonged to a new generation of novelists who wrote only in Hindi, unlike earlier authors such as Ibne Safi who had written in both Hindi and Urdu. Here, he became fairly well off through his writing. He typically wrote two or more novels every month, in one of a number of different series.
Apart from detective fiction, he wrote historical novels. One of these historical novels, Dawn to Dusk, which concerned the life of the last Mughal Emperor Badshah Zafar, achieved a certain fame. Towards the end of his life, Sharma estimated that he had written over novels. By the age of 27, he had published one hundred novels, some independent, but mostly in the form of works in a number of series based on different leading characters.
Since , he has published his books through his own publishing house, Tulsi Books; and he has won a number of prizes. Some of his books have been turned into films and a TV serial has been made out of his Keshav Pandit series of novels.
One constant theme in these interviews is the fact that in the s authors such as himself were exploited by the publishing houses, being paid as little as RS or two dollars per story. Even for a novel the going rate was only a figure Figure 5. Sharma notes that the sales and readership for these novels was at its highest in the early s and that a few of his novels sold in excess of three hundred thousand copies.
In some cases, stories about the same hero were attributed to different authors by different publishing houses, and it became obvious that different authors were being used to ghost write these novels.
By the late s, it is notable that the tradition of lurid cover paintings for detective storybooks had begun to be replaced by covers made up from photographic montages. In a newspaper article about the changing fortunes of Hindi detective fiction, Shelle, one of the most prolific of its cover artists, commented ruefully that whilst he used to paint four or more covers a month, by he was no longer painting any at all. These books typically responded to world news: plots related to nuclear weapons appeared when the Indians tested nuclear weapons, plots about wars with Pakistan were dominant when there were tensions with Pakistan.
These detective novels therefore often featured stories in which the patriotic defence of India was somehow intertwined with the foiling of international criminal plots.
It is important to remember that these books were all written as monthly series; to what extent any author could really churn out one novel a month for years on end must be open to question. It seems quite likely that even when a book claimed it had been written by a particular author, it might nonetheless have been ghost written by an authorial team.
What is more, sometimes a number of different publishing houses would publish books about the same heroes but written by different authors. However, in the novels, Mona Darling morphs from criminal moll into superhero detective spy. The story Figure 7. The book apparently was published just after Atal Behari Vajpayee had overseen an Indian nuclear bomb test at Pokharan in Once again, this publication shows the odd way in which themes and current affairs are mixed up in these novels.
Featuring a cast of both virtuous and villainous Chinese characters as well as the normal cast of criminals and heroes, Monsoon Clouds is an account of how international criminal mafia gangs are collaborating with the Chinese to destabilize the North Eastern states.
It could be argued that even in this age of increasing Indian sophistication, there is much in India that stands outside of the tide of modernization. Indeed, these detective stories are full of a variety of ethnic stereotypes, including villainous Chinese, crude Westerners, Indian Mafioso and virtuous Indians. In truth, they demonstrate very little sophistication.
Quite the opposite, they illustrate a rough and ready approach to life, one that nevertheless clearly appeals to rural migrant workers who, while pulling rickshaws around the bustling cities of a newly urbanized and modernized India, are also trying to make some sense of their world.