Pakistani poetry in Pakistani literature in English marked its formal beginning with the publication of “First Voices,” an anthology edited by Shahid Hosain in 1965. This groundbreaking collection, published by Oxford University Press in Karachi, established the foundation for what would become a vibrant tradition of English-language poetic expression in Pakistan.
Subsequently, the 1980s and early 1990s witnessed a flourishing of pakistani poetry in english books, with several significant publications shaping the literary landscape. Taufiq Rafat’s “Arrival of the Monsoon” appeared in 1980, followed by Yousuf Abbasi’s “The Bleeding Roses” in 1981. The history of pakistani poetry in english continued to evolve with Inamul Haq’s “Recollections” in 1984, Daud Kamal’s “A Remote Beginning” in 1985, and Athar Tahir’s “Just Beyond the Physical” in 1991. Furthermore, Alamgir Hashmi contributed “Sun, Moon and Other Poems” in 1992, while Ejaz Rahim released “The Imprisoned Air” in 1993.
In this article, we explore the fascinating journey of Pakistani poetry in English, from its early voices to contemporary expressions. We’ll examine how pakistani love poetry in english and pakistani patriotic poetry in english have developed unique characteristics while maintaining connections to the country’s rich literary heritage. Join us as we trace this poetic evolution through influential anthologies, notable poets, and the distinctive themes that have shaped this important literary tradition.
Early Voices in Pakistani Poetry in Pakistani Literature
“This is not the dawn that we had waited for.” — Faiz Ahmad Faiz, Renowned Pakistani poet, revolutionary, and one of the most celebrated writers in the Urdu language
Before Pakistani poetry in English emerged as a distinct tradition, several influential Urdu poets laid the groundwork with their revolutionary approaches. These early voices established themes and techniques that would later inspire English-language Pakistani poets.
Faiz Ahmad Faiz and the socio-political lens
Born in 1911, Faiz Ahmad Faiz stands as one of Pakistan’s most celebrated poets whose work transcended national boundaries. Often described as “the greatest poet from Pakistan,” Faiz masterfully blended romantic themes with revolutionary ideals. His poetry is notable for its focus on social justice, highlighting poverty, political repression, and economic exploitation of marginalized communities.
Faiz’s genius lay in occupying the space between romance and revolution, using traditional love imagery to convey powerful socio-political messages. As a committed Marxist, he remained “faithful to Marxism” throughout his life, though some critics note his work progressively incorporated more Islamic themes. Despite his imprisonment for political activism, Faiz never allowed political rhetoric to overpower his artistic expression.
Noon Meem Rashed and metaphysical modernism
Noon Meem Rashed (1910-1975), hailed as the “father of Modernism” in Urdu literature, pioneered free verse poetry in Pakistan. His groundbreaking collection “Mavra,” published in 1940, established him as a revolutionary figure breaking from traditional forms. Faiz Ahmad Faiz himself acknowledged Rashed’s brilliance by naming him “Malik-us-Shoara” (the king of poets).
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Rashed’s poetry is characterized by complex language, metaphysical themes, and an intense subjective search that generates multiple meanings. His work features rich individualism and abstract discourse that demanded a new sensibility from readers. Through innovative sound patterns and non-standard rhythmic structures, he created a unique musicality that defied simple classification.
Wazir Agha’s nature and subconscious themes
Dr. Wazir Agha, who composed poetry in Urdu, Punjabi, and English, developed profound connections with nature that permeated his work. His poetry presents vivid landscapes, mountains, rivers, and wildlife, making it particularly relevant to ecocriticism studies.
Moreover, Agha’s work delves into psychological elements, particularly the subconscious mind. His poems effectively employ symbols and metaphors that transcend “mere suffering, oppression, unconscious, or mere optimism”. His poetry reflects ecological grief and anxiety about environmental degradation, often depicting “grumbling earth, wailing trees, weeping clouds and scared birds”.
These three distinctive poetic voices established powerful traditions that would subsequently influence the development of Pakistani poetry in English.
The Rise of Traditional and Emotional Expression in Pakistani Literature
As Pakistani literary tradition evolved, a new wave of poets emerged who infused traditional forms with profound emotional expression. These poets bridged classical structures with modern sensibilities, creating works that resonated deeply with readers.
Nasir Kazmi and the evolution of ghazal
Nasir Kazmi (1925-1972) revitalized the ghazal when many poets were abandoning it for modern poetic forms. Indeed, he strengthened the ghazal tradition at a time when Urdu poetry was increasingly drawn to modern verse. Known for his melancholic tone and classical beauty, Kazmi made his poetic debut at just 17 years old, amazing audiences with his mild voice and profound expression.
Kazmi’s distinctive contribution was his use of simple, everyday words like “chand” (moon), “raat” (night), “baarish” (rain), and “tanhai” (loneliness), which he transformed through his poetic craft. Additionally, he pioneered the storytelling technique in ghazal, becoming “the first one to do this experiment and also successfully complete it”.
Munir Niazi’s imagery of fear and displacement
Munir Ahmad Niazi (1928-2006) created poetry that embodied meaning through seemingly simple language. His work features a “rainbow full of many colors” where “each color makes it possible to create a unique image”. Essentially, Niazi’s verses explore themes of fear and displacement, often using rain as a metaphor for grief.
In his famous couplet about the “rain of grief” failing to wash away an image, Niazi employs complex metaphorical structures where words transform into powerful symbols. Consequently, his poetry becomes a reflection of displacement and loss—themes that resonated with the partition generation.
Parveen Shakir’s modern take on love and life
Parveen Shakir brought a revolutionary feminine perspective to Pakistani poetry. Her work represents “a blistering blend of classical tradition and modern sensibility”. Through both ghazal and free verse, she addressed women’s experiences, societal issues, and personal emotions with remarkable candor.
Shakir’s poetry stands out for its exploration of female sexuality, gender inequality, and patriarchal structures—subjects previously considered taboo. Her creative journey evolved from youthful romantic musings to profound social commentary, ultimately challenging religious conservatism and gender inequality. Her collection “Khushbu” (Fragrance) (1976) gave her “meteoric rise in the horizon of modern Urdu poetry”, establishing her as a pioneer of modern feminist poetry in Urdu.
These poets collectively transformed the Pakistani poetic landscape, laying crucial groundwork for subsequent developments in Pakistani poetry in English.
Political, Feminist, and Protest Poetry in Pakistani Literature
Poetry in Pakistan often served as a powerful weapon against political oppression, with several courageous voices risking imprisonment to speak truth to power. Their work would eventually influence pakistani poetry in english, establishing a tradition of resistance literature.
Habib Jalib and Ahmed Faraz’s political resistance
Referred to as the “poet of the masses,” Habib Jalib fiercely opposed military dictatorships, authoritarianism, and state oppression throughout his career. His iconic poem “Dastoor” (Constitution) boldly challenged Ayub Khan’s regime with the memorable lines: “I refuse to acknowledge, I refuse to accept”. Similarly, Ahmed Faraz’s works harshly criticized the military regimes of Ayub Khan, Zia-ul-Haq, and Pervez Musharraf.
Both poets paid heavy prices for their convictions. Jalib was repeatedly imprisoned, while Faraz faced arrest, financial strangulation, and social purging. Notably, during the 2007 lawyers’ movement against Musharraf, Jalib’s resistance poetry experienced a revival, demonstrating its enduring relevance.
Fehmida Riaz and feminist perspectives
Fehmida Riaz emerged as a revolutionary feminine voice who boldly confronted oppression and gender discrimination in patriarchal societies. Her political awakening began during the student movement opposing Ayub Khan’s ban on student unions in the 1960s.
After marrying a Sindhi Marxist, Riaz started a political magazine called “Awaz,” which was eventually banned by General Zia-ul-Haq’s regime. Charged with treason, she fled to India where she lived in exile for seven years. Her poetry addressed female sexuality in unprecedented ways, establishing a path for later feminist poets like Perveen Shakir.
The role of poetry in shaping public sentiment
In Pakistan, poetry transcended artistic expression to become a vehicle for expressing discontent and mobilizing populations against oppressive regimes. During General Zia’s martial law (1977-88), poetry played a crucial role in resisting the ethnic and sectarian divisions promoted by his administration.
Even in contemporary protests, verses from revolutionary poets like Faiz Ahmed Faiz continue to serve as rallying cries. His famous lines “We shall see / Certainly we, too, shall see / That day which was promised” became a unifying chant during demonstrations against President Musharraf.
Throughout Pakistan’s history, poetry has consistently provided the language of resistance when other forms of expression were suppressed.
Emergence of English Poetry in Pakistani Literature
The 1960s marked a watershed moment for Pakistani poetry written in English as writers began forging a unique identity separate from colonial influences yet connected to their cultural roots.
First Voices anthology and its significance
In 1965, Oxford University Press published the groundbreaking anthology “First Voices: Six Poets from Pakistan,” edited by Shahid Hosain. This seminal collection featured established poets like Shahid Suhrawardy (1890-1965) and Ahmed Ali (1910-94) alongside emerging talents. First Voices was followed by significant anthologies including “Pieces of Eight: Eight Poets from Pakistan” (1971) and “Wordfall: Three Pakistani Poets” (1975), establishing a foundation for pakistani poetry in english.
Taufiq Rafat and the local idiom in English
Taufiq Rafat (1927-1998) stands as the pioneer of English Poetry in Pakistan, known for relieving English of its colonial baggage. Rather than mimicking British romantic poetry as many young Pakistani poets did in the 1950s, Rafat developed a distinctive indigenous idiom while exploring contemporary themes. His collection “Arrival of the Monsoon” (1985) masterfully incorporated local terms like “kurta,” “quail,” “sheesham,” and “gulmohur”. Rafat’s influence extended to contemporaries including Khaled Ahmad, Alamgir Hashmi, and Athar Tahir.
Daud Kamal and Alamgir Hashmi’s poetic contributions in Pakistani literature
Daud Kamal (1935-1987) taught at the University of Peshawar for nearly three decades. His poetry articulates loss and spiritual transfer amid violence and cultural erasure. Kamal’s work reflects his keen awareness of subtle details, featuring imagery from the Sufi realm.
Alamgir Hashmi (1951-) alongside Rafat and Kamal helped forge a new Pakistani idiom in English. Their collective work represents a unique blend of Western and Eastern literary traditions.
Recent voices in Pakistani patriotic poetry in Pakistani literature in English
In 2014, Pakistani poetry in English gained renewed attention through literary festivals and academic initiatives. Notably, the International Center for Pakistani Writing in English (ICPWE) was established at Kinnaird College, Lahore, acquiring materials from Daud Kamal and the Taufiq Rafat Foundation. Contemporary workshops by poets like Mina Malik and Hera Naguib have nurtured new generations of Pakistani poets writing in English.
Conclusion
Pakistani poetry in English has undeniably carved a distinctive niche within the country’s rich literary tapestry. Throughout its evolution from the landmark “First Voices” anthology to contemporary expressions, this poetic tradition has maintained a delicate balance between honoring cultural roots and embracing innovative forms.
The journey began with influential Urdu poets like Faiz Ahmad Faiz, Noon Meem Rashed, and Wazir Agha, who established powerful thematic foundations that still resonate today. Their revolutionary approaches to social justice, metaphysical modernism, and natural symbolism set the stage for subsequent generations. Meanwhile, poets such as Nasir Kazmi, Munir Niazi, and Parveen Shakir breathed new life into traditional forms through emotional depth and relatable imagery.
Political and protest poetry, particularly during periods of authoritarian rule, demonstrated the transformative power of verse as resistance. Habib Jalib, Ahmed Faraz, and Fehmida Riaz courageously wielded words against oppression, often at great personal cost. Their work proved that poetry transcends mere artistic expression to become a catalyst for social change.
The emergence of a distinct Pakistani voice in English poetry represented a significant literary milestone. Pioneers like Taufiq Rafat deliberately shed colonial influences while developing an indigenous idiom that authentically captured Pakistani experiences. Along with contemporaries Daud Kamal and Alamgir Hashmi, these poets established that English could serve as a vehicle for Pakistani cultural expression without sacrificing authenticity.
Despite its relatively young age, Pakistani poetry in English has already contributed significantly to both national and international literary landscapes, with promising signs that its influence will only grow in the years ahead.
