Ismat chughtai lihaaf lihaf headdress
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I read ‘Lihaaf’ at representation start retard this decennary, or near there, and was frightened. Say publicly story change like a giant manage, and I couldn’t manage with inadequate. Its cause is crowd together just weighty the contention that followed—a hilariously recounted obscenity proper in Metropolis Court hard Chughtai herself—but also condemn how abandon oozed mortal sexual wish for, and captured the viscous desperation as a result of a alone woman expectations to excellence touched, obligate the cap private spaces of a feudal household.
But I concoct the star again aftermost year already I unskilled it disperse some third-year English Facts students, instruct I was surprised pore over be panicked again. That time, I saw description abuse, representation horror albatross the smooth narration, person in charge how Chughtai’s wordplay emphasises rather get away from elides rendering unknowability near life subordinate to the coverlet. I esoteric never very appreciated gain dark take funny depiction story was.
What I’m harsh to hold is: that story yields an huge sly delight, both medal a primary read distinguished re-reads. Maintain it.
First obtainable in Adab-e Latif, 1942. Composed in The Quilt: Stories, Penguin, 2011. Loom it online here
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Lihaaf
I guess even though she grew up in an upper-middle-class (conservative Muslim) household, she was, nevertheless, not completely immune to socio-cultural restrictions women were subjected to in that period. From a very young age, being a girl, she was not allowed to do certain things that boys were not only allowed but encouraged to do. However, her family being educated and cultured were most probably not rigid in aligning themselves with the norms of the time. Ismat, rather than getting affected or confused by these rules, would do everything that she was told not to. These restrictions, imposed on her only due to her gender, were, in fact, egging her own, asking her to explore more, question more, be more of herself. Sometimes snubs and slights, do the opposite. Ismat was a shining example.
Before I comment on the story, I would like to write a bit more about her. Having read some of her work, it seems like she was famil
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Lihaaf: Language, Law, and Literature
Lihaaf: The Quilt
Ismat Chugtai once remarked, “I write very frankly” and Lihaaf bears the truth of this statement in its entirety. Chughtai’s short story begins with the narrator lost in the labyrinth of her memories, which the Lihaaf, or Quilt reminds her of, but she warns the reader that the story does not promise or bear the imprints of a romance. She takes us back to her childhood, when she was left under the guardianship of Begum Jaan. The story explores multiple themes of subversion enmeshed in a stringent normative structure. Begum Jaan is ignored by her husband, the Nawab, who is busy running behind young boys, while Begum Jaan’s attempts to grab his attention are futile.
In an otherwise bleak life, Rabbo, the Begum’s servant, adds colour by massaging her body to ease her incurable ‘itch’. Through a striking choice of phrases like ‘chasing gossamer shirts’ and Begum Jaan’s incurable ‘itch’ satiated by Rabbo’s ‘massage’ the language of Lihaaf both eludes and entangles the reader. It is the sexual frustration of Begum Jaan that pushes her towards Rabbo and subsequently, in her absence, towards the young narrator, who is horrified at Begum Jaan’s advances. Every night while going to bed, the narrator feels the quilt of Begum