-
Shifting Shades of Elements:
- A
Critique of Rubina Faisal’s Short Story:
- (Chaukhat
ki Dhoop aur Sham)
A. M. Mooquin
July 07, 2007.
A writer writes
because he or she yearns to say something. What the writer of this story
yearns to say I have chosen not to comment on. I chose to concern myself
with the elements of the story more than with the story itself, to study
the form more than the content, to examine the techniques more than the
theme. In this short commentary, I would like to look at how the elements
of the story are orchestrated by the writer to express her yearnings and
how successfully or adequately they are handled by the writer. In other
words I will not concern myself with the writer’s take on the dilemmas
created by cultural mal-absorption, but rather concern myself with how
artistically the writer has been able to express her take on these
issues.
The reason for
this approach is twofold. First, most of the feedbacks I have come across
here in Canada in Urdu are usually concerned with the content only and so
I thought there is a gap to be filled. Second, I feel that there is also a
gap between the literary traditions of criticism in Urdu and English. I
feel that Urdu writers may benefit by drawing from the techniques and
traditions of English literature. I apologize if this does not fit very
well with the audience, but I do believe that drawing from any
intellectual tradition is bringing enrichment to the common heritage of
humanity.
I gave this
article the title “Shifting Shades of Elements” as that was my first and
overall reaction to the story. However, before delving into the criticism
which will be focusing mostly on those aspects which in my view require
improvement by the rigorous standard of writing on a trans-national
platform, I must commend Rubina’s huge effort to work upon the issues that
are so important to people who are trying to build their life afresh in an
environment that is so totally new and strange to their upbringing. Those
issues are extremely complex and are not easy to deal with. Rubina brings
her unique perspective to these issues combining the concern of a social
critic with the expertise of a writer who had passion for this subject.
That surely is a very commendable effort.
As I said earlier,
most of the elements of this story are shifting over the course of the
narration. Some shifts are obviously intentional while others seem to be
not so intentional. While some do help to create the sense of movement but
some are abrupt and some are apparently a slip through the cracks.
For example let us
start with shifts in the settings and what is being expressed by them.
Obviously, there is an intentional shift in the settings; however, there
is a problem of control over flashbacks at some occasions. The story
starts from the setting overseas flashing back to Canada. And in the
overseas (forgive me for using the word overseas instead of back home –
that is intentional too) it shifts from home to home, from the ancestral
home to the home of in-laws and from home to market place and college. In
all these settings there is a constant flashback to Canada. In the
beginning of the story the flashback seems to be more related to cultural
differences but there is a constant shift in the attitude; from negative
to positive and from positive to negative. It becomes hard for the reader
to understand how the main character is really seeing it all. Is the
confusion in her mind intentional or is it reflective of the writer’s own
shifting thoughts? In the later part of the story, further confusion is
caused by the fact that the focus of the issue starts shifting from
cultural to personal. In that later part, by the time when the setting
actually changes to what were flashbacks in the earlier part, the whole
focus has shifted towards a total personal tragedy of the protagonist (the
main character). This may create a question in the mind of the reader
whether the writer is trying to relate this personal tragedy to the
cultural issue or not and it leaves the reader wondering about the true
moral of the story.
This shifting,
consciously or unconsciously, alludes to the changing background and its
impact on the psyche of the protagonist Ainee. This is a commendable
technique to maintain a harmonious shift between the physical and
psychological movement. However, the harmony and balance between the
depictions of backgrounds is less than perfect. For example, the absence
of Ainee’s husband from the first part of the story is conspicuous. The
reader is trying to guess well into the story if Ainee had a husband and
what is the dynamics of their relationship. Even when it mentions about
her staying with in-laws it does not prepare the reader for the upcoming
drama of the later part of the story. This is a question of the structural
arrangement of the narration and how it relates to the unfolding of the
plot.
Before moving
towards other matters, there is one more abrupt shifting of the setting
which needs mentioning. The scene in the market place where Ainee loses
consciousness has its beginning in Faisalabad when the writer weaves in
comments about her shopping while she is still in Faisalabad. The
following sentence indicates the shift from Faisalabad to Lahore, but then
the incident of the servant girl of her mother-in-law watching porno on TV
flashes back to Faislabad. Thereafter it seems that the market scene is
continued in the shifted setting of Lahore. In that part of the story, it
may become hard for the reader to connect all the dots and get a clear
picture of what is happening and where. To keep the flow of events more
smoother and clearer it seems the placing of the flashbacks could have
been more controlled to avoid incoherence in the narration.
In my opinion
dividing the narration into different sections might have been quite
helpful. Sections marked by some numbering system or other dividing marks
to clearly indicate the end of one section and the beginning of the other
would improve the structural arrangement.
The second element
where a shift causes the problem of the incoherence is the point of view.
By point of view I mean the voice of the story. Obviously, voice of the
story is te writer’s own voice, which is consistently expressed through
the eyes of the main character Ainee. All the events and thoughts and
commentaries on the events are presented through the eyes of Ainee.
However, there are a few occasions where the point of view shifts. For
example, the description of mali (gardener)’s reaction towards Ainee shows
a shift of point of view. A similar shift happens in scenes with Faree.
Some readers may consider these shifts in the point of view a minor point
but as a technicality, control of the point of view is considered one of
the most important aspects. The reason for that is not only that
consistency in the point of view provides clarity in the work but also
that it directly impacts the beauty of the work. The careful control of
the point of view also warrants that the writer should keep herself away
from the character. The character should have a life of its own; not just
a spokesperson for the writer. The hidden shift in the point of view
between the writer and the character reveals the strings being moved by
the writer’s hand.
There is a shift in
the style of the writing too. In some parts of the story there is more
narration and less description than in the rest of it. When the author
goes into a narrative or rather persuasive mode, she becomes sentimental
and that compromises the balance in the style; for example, the part where
the gardener’s sentiments are expressed is a more narrative form than the
rest of the story.
The second shift in
the style occurs between dialogue styles – in places the dialogues are
presented in the style of a drama. I believe names of the character need
not to be inserted before the dialogue, as it is obvious from the context.
It may be necessary to comment on some occasions on the emotions but not
always.
I would also like
to make a comment about the tone of the story quite related to the style.
It seems hard for the writer to restrain her judgments, which creep
whimsically into the story. It might have been much more effective to
convey viewpoint by showing things instead of telling about them.
Successful persuasive writing persuades more by showing through
description and narration and letting the readers draw their own
conclusions.
Related to style
and tone is the matter of linguistic artistry. Though this matter is not
related to the main focus of my commentary, which identifies the shifts in
the elements of the story, yet for the sake of completeness I would like
to observe that there does not seem to be sufficient emphasis on the
polished use of the language. This would make the reading enjoyable on its
own merit regardless of the topic and the theme. I also feel uneasy about
the use of English words in Urdu writing. I know this is a whole new topic
that must be explored separately.
In the handling
of imagery, there is an occasion of sharp shift of the story which I
cannot help mentioning. The scene of brutal violation of the little girl
in the market is in unruly contrast with the ambience of the rest of the
story. This shock is too much for the reader to handle, as the shift
created by this scene is in so much disparity with the overall temper of
the story. I would not object fictionalizing the reality of unbearably
painful aspects of life but what I am talking about here is matter of
technique. From the technical point of view, harmony between the elements
is more important than the viciousness of the theme.
I would also like
to add a few comments about the development of the characters and the
plot. It is important in a story how expectations in the reader’s mind are
created and handled. How tensions are developed and resolved. The
fundamental drama, which is created by the conflict of the protagonist,
also does not show up until late; although admittedly there are faint
signs of it in the earlier part. The reader is at a loss for a long time
as to what the writer is trying to say. Expectations, which are created in
the beginning, focus more on the contrast of the two living conditions and
less on the basic conflict of the story. In the later part of the story
the focus is placed more on the characters’ internal psychic conditions
and struggles regardless of their external environment, which is a shift
from the earlier development of the story Also, in the progression of
events, the late introduction of Ainee’s husband in the story is felt like
a conspicuous blank In the description of the events, there appear to be
shortcomings in the logical coherence. For example, no reason appears to
be in place for the deterioration of the environment in Pakistan. The
reader may ask, “Is this a generalization?” As obviously, in other
circumstances the garden could have been well kept. Why must it be
deteriorating? Is it only because Ainee is not there anymore? The reader
cannot know and cannot see what is at the back of writer’s mind, the
rational behind the description.
Some of the events
seem to fall short in the sense of verisimilitude and therefore they
appear to be a bit unreal. For example, the character and behaviour of
Aazim is not very lifelike. Even Ainee’s character seems to be developing
only under the watchful composure of the writer and not through the
inherent conflicts and struggles of her person in such a situation. She
evades the reality of her husband’s infidelity but this avoidance does not
seem to be the result of her own internal conflict but appears to be
unwillingness on part of the writer to bring it forth at the appropriate
time in the story. As the reader may be already suspecting from the
circumstances presented and by the tone of the story, delaying this
revelation puts the writer one step behind the reader. Such limitations in
the development of the characters, and especially of the main character
are not in harmony with the intensity of the real conflict, which the
writer really wants to portray.
The purpose of a
short story (afsana) is to bring to limelight one particular slice of the
life. Too many slices do not allow the sense of taste to feel satisfied
and may leave one wondering as to what it was that was to be tasted. This
type of mixing arises from the handling of the basic premise or postulate
of the story, “what Henry James called a donnée (something given).” I am
not going to delve on that as it may lead to the discussion of the theme
and I promised not to discuss the theme in this context. But as an
all-pervading element, the basic postulate of the story is what governs
the direction of the story. Therefore, the postulate needs to be clear and
preferably one continuous harmonious thought. Otherwise it can create all
types of shifts like the ones, which have been the object of this
commentary.
I would like to end this commentary reiterating that form,
style and language are but some of the aspects making for a great short
story. Rubina Faisal’s emotive story “Choukhat ki Dhoop and Sham” is
touching on several difficult topics and Rubina seems to be well on her
way to writing materials of great worth. |