It rarely happens that good poetry is popular. This is especially true of the age we live in because poetry is no longer the main vehicle of expression as it used to be in old times when even religious sermons and medical prescriptions were versified.

Poetry or versification with its structures and rhyme and rhythm helped people to retain in memory what was being articulated, verbalised and expressed. The most vital component of longstanding oral tradition was poetry. Books were rare and recitals galore that marked the pre-modern era. Modern times sustained poetry more as written text than recital. In the present times when even book in its traditional form is fast becoming obsolete, poetry is in a state of free fall; it’s either a composed irrelevance or impersonal sound bites. In our culture typical poets are still obsessive about reciting their poetry or love to indulge in poetry recital called ‘Mushaira/Kavi Darbar’. But the serious among them take care not to mix what they read in public and what they publish. Public recitation makes poets play to the gallery where their concern is not to lose sight of the lowest common denominator.

Rai Muhammad Nasir Khan is one such poet who can feel comfortable with word whether it’s uttered or written. He can enthral audiences with his poetic utterances but at the same time is mindful of what should be printed. His latest book of verses ‘Hidak [expectancy/expectation/wait]’ published by Sanjh Publication, Lahore, bears testimony to his being conscious of significance of written word. He employs diverse genres for his poetic expression which touches both the local and the universal. His experience is an outcome of his contact with the everyday prosaic life and thus is concrete in a refreshing manner. Whenever he deals with what can be termed abstract, he turns out to be an entirely different poet, one who is conscious of universal dimension of human predicament. His poem ‘Tund Mael’ reveals such an aspect of his poetic vision. What he needs to be cautious of is his relationship with language. No doubt he has commanding grasp of language as his connectedness with it is organic. That precisely is what can prove to be his Achilles’ heel. His natural inclination to rely unnecessarily on the local dialect spoken by people around him may impede the development of his literary expression. It consequently may have a restricting impact on the communicability of his poetry all across Punjab and beyond where Punjabi is spoken and understood.

Literary idiom in classical tradition as well as in contemporary practice by conscious poets is such that they while retaining their touch with speech transcend it with the linguistic constructions that communicate effortlessly across the land.

Rai Nasir in a short span has achieved a literary prominence which is envy of many a poet. Down to earth aesthetics of his poetic world have delight of tradition and freshness of contemporaneity. Don’t miss out on the verses of this poet if you care for good poetry.

People of Punjab are quite dynamic when it comes to improving their material life; they are always on a lookout to move to greener pastures in search of better future whenever they find their economic prospects bleak in their own land. First migrants from India to United States of America in the nineteenth century were Punjabis. So unlike many other ethnic groups, Punjabis aren’t afraid of travelling and roaming around. Hameed Razi’s latest travelogue ‘Khaab Vasstiyan’ [Dream Towns] is yet another proof of our passion for discovering the unknown which is no longer an arduous task given the improved travel facilities and means of communication. The book has been published by Punjabi Markaz, Lahore.

Hameed Razi is a civil servant and has scores of books to his credit which deal with diverse subjects. He writes fiction and non-fiction and is comfortable with both the genres. He is a fine translator and travelogue writer with a sharp sense of observation. In the preface of his book he very briefly touches on his trajectory as a writer. He had passion for books from his early days. ‘After doing my graduation I had to wait for a year for admission in the Punjab University. I had ample time. I studied Saiful Maluk [A tale by great classical poet Mian Muhammad] which changed my world. What a language and what verses! …with the passage of time I came to believe firmly that Punjabi language is a treasure trove of poetry but what it’s deficient in is prose. So I felt the need to write prose…’. Subsequently he translated a collection of articles by Western thinkers, a Naquib Mehfuz’s novel and an anthology of African short stories. But ‘travelogue is my first love. Before this one, I have already published two travelogues’, he tells us.

Razi seems to be an optimist and thus takes positive view of the things he comes into contact or encounter. His cheerful disposition helps him in observing and understanding new phenomena in new places however different or strange they may be. His travelogue tells us story of his tour of Holland, Romania and cities of Venice, Brussels and Paris. He was a member of official delegation but his focus is more on life in these places and less on humdrum and banal official rituals.

Visiting Holland he tells us human struggle against the ravages of sea which needs to be pushed back constantly in order to save human settlements. While in Belgium he talks of Waterloo and its historical significance. From Paris he narrates the story of Eiffel Tower; how it was constructed and what it stands for.

Hameed Razi’s book informs as well delights us with its insights which are unpretentious but significant. His prose is unencumbered like his travel. It’s a treat to go through this book. You must have it in your library. 

— soofi01@hotmail.com