Chapter Wise Summary of 𝘉𝘢𝘴𝘵𝘪 by Intizar Husain (Introduction to Chapter 5) 

Here, we are providing Chapter Wise Summary of 𝘉𝘢𝘴𝘵𝘪 by Intizar Husain (Introduction to Chapter 5).





◼️𝙄𝙣𝙩𝙧𝙤𝙙𝙪𝙘𝙩𝙞𝙤𝙣 

"Basti" by Intizar Husain is a novel set in Pakistan, primarily in Lahore, during the last months of 1971 leading up to the fall of Dhaka. The protagonist, Zakir, a Shiite professor of history, reflects on his life and the cultural history of Muslims in the Subcontinent, spanning over a millennium. The novel employs flashbacks to reveal Zakir's past, particularly his childhood in Rupnagar, an idyllic town in eastern Uttar Pradesh, India, which he leaves behind during the partition in 1947.
The narrative structure resembles an hourglass, with two large sections connected by a slim waist. Chapter One, the longest, delves into Zakir's past, skillfully integrating flashbacks with the present narrative. The middle part focuses on the twelve days of the 1971 war, recounted in diary form. The final section explores Zakir's psychic experiences following the breakup of Pakistan.

The novel doesn't replicate reality but presents events in an eerie, half-lit manner, emphasizing their impact on Zakir rather than physical attributes. Characters lack detailed physical descriptions, and evocative speech propels the story, creating a sense of dramatic immediacy. The seamless transitions between third-person omniscient and first-person narration contribute to the narrative's fluidity.

The extended flashback in Chapter One serves to acquaint the reader with Zakir's past, revealing not just an idyllic childhood but fundamental psychological traits shaping his present behavior. Rupnagar, the fictional town, symbolizes a pre-industrial paradise tainted by impending discord. The narrative hints at the inherent disharmony within the town, foreshadowing its destruction during the partition.

The novel intricately weaves historical events into Zakir's personal journey, referencing key moments like the 1857 war of independence, the creation of Pakistan in 1947, the 1965 war with India, and the 1971 political disintegration resulting in Bangladesh's emergence. The novel concludes with the fall of Dhaka.

Zakir's complex character is established through post-realist fiction devices, with linearity and chronology kept at bay. The narrative structure mirrors Zakir's mind, creating a collage of discontinuities and refractions. The purpose of the extended flashback is not just to evoke a childhood idyll but to highlight psychological traits crucial to Zakir's responses in the present.

The idyllic town, Rupnagar, serves as a backdrop to Zakir's childhood memories, revealing a pristine, harmonious environment that ultimately succumbs to the corrosive powers of time. The town's religious accord between Hindus and Muslims, as well as the coexistence of opposing creation stories, parallels the broader Hindu-Muslim cultural landscape in South Asia.

Rupnagar, although a utopia, exists only in Zakir's memories, emphasizing a yearning for an idealized past. The novel connects the rupture in the town's harmony with the broader historical context, such as the outbreak of plague and the ominous appearance of a black cat, symbolizing impending doom.

The destruction of Rupnagar during the partition completes Zakir's loss of an idyllic haven, marking the beginning of a series of historical events shaping his life. The novel suggests that the discord within the town existed as a latent possibility and was not imposed from outside.

Zakir's Shiite identity plays a significant role in shaping his worldview. The novel explores the impact of Shiite history, particularly the events of Karbala, on Zakir's psyche. His withdrawal into himself during times of chaos reflects a scramble for private salvation through the Shiite principle of the interiorization of suffering.

The narrative unfolds against the backdrop of significant historical events, including the political upheavals in Pakistan and the loss of its eastern wing in 1971. Critics question Zakir's apparent lack of political activism, but his silence is rooted in a Shiite perspective that views government and authority as historically corrupt. Zakir's behavior is framed as a survival strategy in a morally corrupt universe, drawing on inner resources for resilience.

Zakir's love for Sabirah remains unfulfilled, reflecting a deliberate choice not to expect love in a morally imperfect world. Even minor encounters with women lead to nothing. The novel concludes with Zakir and Sabirah's intransitive love, emphasizing their shared journey seeking salvation through redemptive suffering.

Zakir, as the central character, sees himself as part of a cultural continuum, re-experiencing moments of South Asian Muslim history, including the aftermath of the 1857 war and the partition in 1947. The novel reflects on the division of India on religious lines and the subsequent emergence of Bangladesh in 1971, revealing the inadequacy of religion as a unifying force.

Intizar Husain, the author, is a powerful Urdu fiction writer from Pakistan. Born in an orthodox Shiite family, his literary career began with a focus on ancient traditions and legends. The impact of Partition and subsequent political events influenced his writing, expressing a fear of collective memory loss and a profound uncertainty about the recovery of lost experiences.

Despite weariness stemming from political turmoil, Husain continued writing, producing a substantial body of work, including short stories, novels, and plays. His exploration of the Indian Muslim culture and history reflects an attempt to understand the Islamic revelation in the context of the subcontinent. The novel "Basti" encapsulates his concerns about memory loss, collective identity, and the moral sensibility of a nation.

Intizar Husain's early education, shaped by his father's conservative views, laid the foundation for his literary journey. His exposure to Arabic and religious texts, along with his clandestine reading of Urdu books, including "The Arabian Nights," influenced his imaginative world. The family's move to Hapur and later to Meerut for college coincided with the tumultuous events of Partition in 1947, disrupting his education and sparking a deep sense of anxiety about the religious violence surrounding him.

Husain's literary career commenced shortly after his migration to Lahore. His exploration of ancient traditions, including Hindu epics like the Mahabharata and the history of Muslim migration, became a recurring theme in his work. The creative amalgamation of Islamic revelation with the South Asian soil became a central focus. However, the puritanical mindset on both sides, attempting to erase history or return to a pre-Muslim period, impeded this cultural synthesis, leading to tragic events.

Zakir's friend Afzal in "Basti" is often considered based on the poet Nasir Kazmi, with whom Husain shared a kindred spirit. Husain's literary outlook transformed with the emergence of poets like Kazmi, providing a voice that resonated with his own experiences and feelings. The two considered themselves representatives of a new literary generation in Pakistan.

The novel reflects Husain's hopes for the transformative potential of "hijrat" or Emigration, drawing parallels with the Prophet Muhammad's journey from Mecca to Medina. However, over time, he grew weary of a collective loss of memory and a fading expectation of creative growth in the new nation. His fear of being estranged from his essence and the intense effort to recollect became evident in his stories, conveying a sense of despair and a preference for death within tradition over abandoning it.

Husain's literary output includes a diverse range of forms, from short stories and novels to biographies and plays. His exploration of Urdu tales, translations of Russian and American fiction, and anthologies of Urdu fiction showcase his versatility. His quiet and reclusive persona, combined with mysterious silences about himself, adds an intriguing layer to his identity.

As of the late 1980s, Husain, now in his late sixties, continued his literary pursuits, contributing to English newspapers and maintaining a prolific writing career. The political upheavals, military dictatorship, and the disintegration of Pakistan in 1971 deeply affected his perspective, reflecting a profound uncertainty about the recovery of lost experiences and the moral sensibility of the nation.

In summary, "Basti" not only encapsulates the intricate narrative of Zakir's life but serves as a lens into Intizar Husain's reflections on history, culture, and the impact of political events on the individual and the collective memory of a nation. His literary journey unfolds against the backdrop of personal experiences, socio-political transformations, and a continuous exploration of the cultural tapestry that defines South Asian Muslim identity.


◼️𝘾𝙝𝙖𝙥𝙩𝙚𝙧 𝙊𝙣𝙚 (1st half) 

In the first half of "Basti" by Intizar Husain, the narrative unfolds with a vivid portrayal of a world that is both new and ancient. The protagonist, a young boy, who is captivated by the wonders of nature and the ageless secrets held by creatures like bluejays, woodpeckers, peacocks, and elephants. The narrative beautifully intertwines the boy's innocent curiosity with the cultural and religious stories told by influential figures in his life, such as Bhagat-ji and Abba Jan.

The boy's fascination with the natural world leads to contemplative conversations with his grandmother, Bi Amma, and Bhagat-ji. Bhagat-ji, with his sacred thread and caste-mark, weaves tales from the Ramayan and the Mahabharat, offering a unique blend of mythology and reality. Meanwhile, Abba Jan, a contemplative figure immersed in prayer, imparts wisdom about life and death, often referencing the teachings of the Prophet.

The narrative takes a poignant turn as the town, Rupnagar, grapples with the impact of the Partition and the ensuing political and social changes. The boy witnesses the upheaval, hears the slogans outside, and experiences the town's transformation during turbulent times. The arrival of electric poles, initially a symbol of progress, becomes a relic forgotten in the dust-choked landscape of the town.

As the story progresses, the town is struck by a devastating plague. The narrative details the outbreak, the increasing number of deaths, and the ensuing fear that grips the community. Bi Amma's attempts to shield the boy from the harsh reality prove futile as the plague becomes an indiscriminate force, claiming lives regardless of religious distinctions.

The once vibrant town descends into darkness and emptiness, with funeral processions becoming a hauntingly common sight. The narrative powerfully captures the emotional toll of the plague, describing the desolation and sorrow that envelop the streets. The boy, despite threats to keep him indoors, remains curious and observes the unfolding tragedy.

Amidst the despair, Bi Amma has a vision of hope—the Imam's coach arriving, symbolizing a divine intervention to halt the plague. The news spreads, and the town experiences a collective sense of relief and gratitude. Doctor Joshi's pronouncement that the disease has been stopped brings tears of joy to Bi Amma, signifying a turning point in the narrative.

The town of Rupnagar undergoes significant changes with the arrival of electricity. Initially, the installation of electric poles brings excitement, but it also leads to unexpected consequences. Monkeys, once a common sight, face tragic ends as they encounter the newly electrified wires. The monkeys, in their attempts to navigate this changed environment, suffer fatal consequences, and the town experiences a shift in its dynamic.

As the monkeys disappear, Rupnagar embraces the age of electricity. The once lively parapets and rooftops become silent, and the birds find new perches on the electric wires. The story captures the transformative impact of modernization on a small town, marked by both wonder and unforeseen consequences.

The story continues with Zakir's memories of the uninhabited forest near the Black Temple. He describes the mysterious and desolate surroundings, filled with the eerie silence of the forest. As Zakir, Bundu, and Habib explore the area, they encounter a solitary man near the Fort, creating fear and prompting them to flee.

Later, the narrative shifts to the arrival of Sabirah, Khalah Jan's daughter, who moves into Zakir's house. Zakir's interactions with Sabirah gradually change his wandering habits. The story also delves into Abba Jan's reflections on the past, particularly the Khilafat Movement, highlighting the contrast between the present political turmoil and the cultured atmosphere of that era.

Abba Jan reminisces about the disciplined and respectful nature of rallies during the Khilafat Movement. Zakir, however, is absorbed in his own thoughts, feeling a distant voice pulling him in. The story captures a blend of nostalgia, fear, and the impact of changing times on the characters in the town of Rupnagar.

The narrative unfolds with Tahirah enjoying swings during the rainy season. Zakir's interactions with Sabirah become central, and they share playful moments together. The story shifts to Janamashtami night, with characters experiencing the charm of the rain and the festivities. Zakir, Bundu, and Habib catch rain-bugs and explore the surroundings, fostering a sense of wonder.

The atmosphere changes as Majnun, a character from the legendary Laila-Majnun story, appears. He enacts a dramatic scene, pretending to be injured. Sabirah is moved to tears, believing Majnun is truly hurt. Later, they discuss a local theater production of "Laila-Majnun" and awkwardness ensues, leading Sabirah to distance herself from Zakir temporarily.

The story further involves an incident with crows gathering on Vasanti's roof, with Zakir sharing imaginative tales about the crows cleaning Ramchandar-ji's leaf-plates. Sabirah, initially skeptical, reports Zakir's story to Bi Amma, highlighting the blend of playful innocence and cultural diversity in the characters' lives.

◼️𝘾𝙝𝙖𝙥𝙩𝙚𝙧 𝙊𝙣𝙚 (2nd half)
In the second half of Chapter One, the narrative shifts to a time after Bi Amma's passing and Abba Jan's attempt to resist modernizations in Rupnagar. Bi Amma's health declines, and Abba Jan, despite his efforts, cannot prevent the installation of electricity in the mosque. Eventually, Bi Amma passes away.

Abba Jan's firm stands against various "innovations," such as electric lights and drums during Muharram processions, symbolize a struggle against changing times. However, his influence wanes, and he retires to his room, offering prayers at home. Abba Jan eventually decides to move to Vyaspur, where other family members reside. Zakir, once a child in Rupnagar, now witnesses the shift from childhood to adulthood, leaving behind the familiar sights and sounds of his hometown.

The narrative also explores the growing tensions in society, manifested in ideological debates that often escalate into personal conflicts. The burning-ground and a mysterious banyan tree in Rupnagar become symbols of the mythical era left behind. The transition to Vyaspur introduces Zakir to new technologies, such as motor-cars, lorries, and trains, symbolizing the rapid modernization of the world around him.

As the family prepares to move, Zakir's excitement contrasts with Sabirah's sadness. Sabirah, who used to be a playmate in Rupnagar, now experiences a separation from Zakir. The burning-ground, previously associated with mystery and intrigue, is replaced by the unfamiliarity of urban life in Vyaspur.

The story continues to explore the clash between tradition and modernity, and Zakir's journey becomes a metaphor for adapting to a changing world while grappling with the memories of the past. The narrative delves into the contrast between Rupnagar's simplicity and Vyaspur's complexity, highlighting the impact of societal transformations on individuals and their understanding of the world around them.

Then, the narrative unfolds with Zakir observing the stark contrast between the hustle and noise of the bazaar in Vyaspur and the serene silence around Khan Bahadur Uncle's house. The tranquility is only disrupted by the occasional passing of trains. The house, intended for Khan Bahadur Uncle's retirement, becomes a testament to his absence, having passed away before he could enjoy it.

Chacha Jan regales the family with tales of Khan Bahadur Uncle's daring exploits as a rebel who successfully infiltrated a committee of rebels, eventually turning the tables on them. The stories portray Khan Bahadur Uncle as a legendary figure, known for capturing notorious figures like Sultanah the Brigand and the Silk Handkerchief band, who were planning to overthrow English rule. Chacha Jan adds a touch of wonder by revealing that Khan Bahadur Uncle had a silver leg, a result of leaping from a moving train during the pursuit of Sultanah the Brigand.

The family members, including Zakir, listen in awe, treating these tales as legendary accounts of a mythic hero. Chacha Jan emphasizes Khan Bahadur Uncle's significant contributions to the English, leading to expressions of deep respect, even from the Viceroy upon his death.

Amidst the storytelling, Chacha Jan subtly questions Zakir about his aspirations and work ethic, comparing him to the hardworking Khan Bahadur Uncle. He highlights Khan Bahadur's dedication to education, narrating an incident where he used fireflies tied to Bi Amma's dupatta for light when his lantern ran out of oil. This underscores the sacrifices and efforts Khan Bahadur Uncle invested in his education, culminating in his remarkable achievement of coming first in the Matriculation exam for the entire United Provinces.

The chapter serves to illustrate the larger theme of contrasting worlds – the bustling, modern Vyaspur with its noisy bazaar and the quieter, traditional atmosphere within Khan Bahadur Uncle's house. It also delves into the legacy of a remarkable individual whose stories inspire both admiration and a sense of responsibility in Zakir.

 Zakir is engrossed in his studies for the Matriculation exam, often spending nights with Surendar under a mango tree in the empty school grounds. The atmosphere, free from the usual school activities, creates a conducive environment for concentrated study.

Through Surendar's descriptions, Zakir imagines Meerut and the English world of the Cantonment. They discuss Hitler's hypothetical powder to settle the ocean, and the setting becomes a backdrop for their vivid discussions.

As unrest permeates the College during India's Quit India Movement, Zakir experiences a turbulent period with slogans, broken windows, and the arrival of mounted police. Professor Mukherji, undeterred, continues his lectures despite the chaos.

Returning to Vyaspur during the vacation, Zakir encounters the scorching heat and a changed atmosphere. The lanes are shaded, with women spinning and talking. Surendar introduces Zakir to Rimjhim, sparking a desire that Surendar helps kindle, teaching him how to observe a girl.

During a visit to Rupnagar, Zakir rediscovers the familiar sights and faces, noting the changes in his playmates. The electric poles and wires, along with monkeys avoiding them, symbolize the modernization of Rupnagar.

Upon seeing his cousin Tahirah as a grown woman, Zakir grapples with newfound feelings and embarrassment.  The chapter subtly explores Zakir's evolving perception of the familiar and the changes within himself. The encounter with Tahirah triggers self-reflection and introspection, revealing his internal conflict and the impact of time on perceptions and relationships.

As the Christmas vacation approaches, Zakir and Surendar discuss Zakir's romantic encounters during the break, sharing their thoughts on the experience. Surendar encourages Zakir to write a letter to the girl he met, leading Zakir into a frenzy of letter-writing attempts.

Upon returning to the College after the vacation, Zakir is consumed by the desire to visit Vyaspur during the upcoming Christmas break. Surendar, concerned about potential train troubles, suggests they travel together. The journey to Vyaspur, once lively, is now marked by an eerie silence and signs of unrest, such as the closed Jagat Talkies movie house.

Upon arrival, they find Vyaspur transformed, with streets empty and scattered bricks. The atmosphere is tense, and Zakir realizes the gravity of the situation. The friends part ways as they head to their respective neighborhoods.

Upon reaching home, Zakir finds his mother in a state of panic due to a disturbance at the rally-ground. Assuring her that it's a common occurrence, he tries to calm her fears and dismisses the situation. He observes the chaos outside but eventually reassures himself that it's nothing more than the turmoil of his own time.

The story captures Zakir's evolving experiences, from romantic encounters and letters to the disconcerting changes in Vyaspur and the disturbance during the rally. The narrative portrays the intersection of personal moments with the broader political and social backdrop, creating a rich tapestry of Zakir's life during this period.

◼️𝘾𝙝𝙖𝙥𝙩𝙚𝙧 𝙏𝙬𝙤

In this chapter, Zakir experiences a detachment from the outside world, consumed by memories and a sense of self-absorption. His family, concerned about the situation in Dhaka, engages in conversations about trust in divine will and the consequences of migration.

Upon reaching the college, Zakir discovers chaos, with classrooms vandalized and students gone. Uncertain of what to do, he eventually heads to the Shiraz, where he meets friends Salamat, Ajmal, and Irfan. The group discusses the ongoing turmoil, and Salamat expresses strong revolutionary sentiments.

As the atmosphere intensifies, there's news of a procession, and the group decides to go to Gol Market to witness events. The chapter introduces Afzal, who engages in philosophical banter and playfully labels people as "beautiful" or "disgusting." The narrative explores the complex dynamics of the characters against the backdrop of political unrest and societal upheaval.

Irfan's skepticism about revolutionary ideals surfaces, and the chapter delves into the characters' interactions, shedding light on their differing perspectives. Afzal's eccentricity adds a touch of unpredictability to the unfolding events, leaving Zakir and Irfan to navigate a world marked by both personal memories and the societal turmoil of the time.

In the unfolding narrative, Zakir reflects on his memories with Sabirah, exploring the complexities of their relationship. The story interweaves moments of tenderness, secrecy, and societal constraints. Zakir writes a letter to Sabirah, expressing his feelings, but hesitates about whether she will understand its true meaning.

As the reminiscence continues, a sudden interruption occurs when someone bangs on the door, signaling the arrival of individuals associated with a procession. The atmosphere becomes tense, with concerns about potential danger. Abdul, a character in the story, advises against opening the door due to the uncertain situation outside.

The scene then transitions to a different perspective, introducing a tumultuous environment in the city. There are mentions of destruction, overturned vehicles, and crowds engaged in protests or disturbances. The characters discuss the challenging times, and there are references to historical events, such as the Jallianwala Bagh massacre.

Amidst the chaos, Zakir returns home, where Ammi expresses relief at his safe return. Khvajah Sahib, another character, discusses the worrisome behavior of Zakir's friend Salamat, who has been involved in protests and demonstrations. The conversation touches on the imposition of curfews and the uncertainty prevailing in the country.

As the narrative progresses, Khvajah Sahib shares stories of past hardships, drawing parallels between different eras of turmoil. The characters discuss the futility of attempting to change the world, reflecting a sense of resignation. There's a notable emphasis on the cyclical nature of challenges faced by Muslims throughout history.

Afzal, a friend of Zakir, enters with Salamat and Ajmal, seeking forgiveness for their disruptive behavior. However, Salamat and Ajmal's confessions about their troubled family backgrounds and disruptive conduct lead Afzal to reject them, declaring them "disgusting people."

The chapter ends with Afzal expressing remorse for his actions and seeking forgiveness from Zakir. He acknowledges the wrongness of his attempt to involve Zakir in negative influences and recognizes the virtuous nature of Zakir. The narrative leaves an impression of a society grappling with political unrest, generational conflicts, and the recurring challenges faced by individuals navigating their personal relationships amid turbulent times. 

◼️𝘾𝙝𝙖𝙥𝙩𝙚𝙧 𝙏𝙝𝙧𝙚𝙚

In this chapter, Zakir observes the aftermath of the recent disturbances on Mall Road. The previously chaotic scene has transformed into an eerie calm, with no signs of the destruction that occurred just the day before. Zakir notes the absence of scattered bricks and broken glass, and the traffic flows smoothly, contradicting the apparent chaos from the previous day.

The College environment, too, has returned to order, with potted plants neatly arranged and classes resuming normally. Students, who were part of the vocal protests the day before, now walk peacefully on the grounds. The contrast between the intense activism of the previous day and the current serene atmosphere creates a sense of surrealism.

Zakir strolls down Mall Road, observing the changes, and engages in conversations with people discussing recent events. The atmosphere is tense, and conversations are hushed, as individuals share their experiences and opinions in whispers. The topic of discussion revolves around the recent political actions, particularly the situation in East Pakistan (now Bangladesh).

Later, Zakir visits the Shiraz and encounters a subdued atmosphere. Conversations are cautious, and people express their emotions in whispers. Irfan, a friend, discusses the ambiguity of the situation, emphasizing that clarity is elusive, but a sense of unease lingers.

The narrative takes an unexpected turn when a white-haired man interrupts Zakir and Irfan's conversation. The man shares a personal story, claiming that his hair turned white on the day he arrived in Pakistan. He implies that the journey to Pakistan marked a profound change in his life. The story adds a mysterious element, leaving Zakir and Irfan puzzled.

Then the narrative continues with the white-haired man calmly ordering tea and sitting in a corner. His unexpected appearance and cryptic story add a layer of intrigue to the unfolding narrative. The impact of recent political events on individuals is explored through the lens of Mall Road's transformation and the characters' reactions to the changing socio-political landscape. 

Zakir reflects on the empty and silent rally-ground outside, finding solace in the absence of disturbances. As he attempts to sleep, his mind wanders, recounting his experiences teaching history at the College. He expresses frustration with the boys' seemingly trivial questions and the monotony of the subject.

In his contemplation, Zakir delves into the notion of studying and teaching history, highlighting the challenge of distinguishing between full and step-brothers in historical narratives. He scolds a student for what he considers a meaningless question, emphasizing his discontent with the entire process of imparting historical knowledge.

As Zakir's mind continues its internal dialogue, he acknowledges a sense of escapism from his own history, preferring the comfort of reading others' histories like novels. However, the present circumstances force him back to confront his own history. The narrative then shifts to the memory of the white-haired man who shared a mysterious story about his hair turning white upon arriving in Pakistan.

The chapter ends with Zakir contemplating his own first day in Pakistan, drawing a parallel between his experience and that of the white-haired man. 


◼️𝘾𝙝𝙖𝙥𝙩𝙚𝙧 𝙁𝙤𝙪𝙧  (1st half) 

In Chapter Four's first half, Zakir recalls his first day in the newly formed Pakistan. As he explores Lahore's streets, he revels in the novelty of his surroundings and the freedom from the fear that characterized life in his previous location. This reflection serves as a backdrop for the subsequent events that unfold in Shamnagar.

The narrative takes a turn towards the initial days of settlement in Shamnagar, where the influx of refugees transforms the atmosphere. The refugees arrive with tales of their arduous journeys and the hardships faced en route. The camaraderie and shared grief create a sense of community, as people open their homes to accommodate those in need.

However, as the initial days of unity and support pass, the dynamics shift. The availability of space diminishes, leading to disputes among residents over living arrangements. Quarrels escalate, moving from the interiors of houses to the streets. The once-open houses become battlegrounds for ownership, with court cases and lawsuits arising.

In the midst of these changes, characters like Hakim Bande Ali, who initially provided shelter generously, find themselves compelled to search for new homes. Munshi Musayyab Husain, mentioned as a former humble visitor to Abba Jan's house, transforms into someone who acquires properties through manipulation and indifference to the plight of others.

Amidst these struggles, Zakir's family, including Abba Jan and Ammi, faces the harsh reality of displacement. The comfort of Shamnagar begins to erode as disputes over space and resources intensify. The once-overflowing generosity starts giving way to self-interest, exemplified by Munshi Musayyab Husain's change in behavior.

The loss of Shamnagar's initial purity becomes apparent as Zakir's family, like many others, faces the looming threat of eviction. The days that were once characterized by shared sorrow and empathy turn into days marked by strife, desperation, and a gradual decline in human decency.

Zakir's thoughts are interspersed with memories of Sabirah and their journey together, emphasizing the emotional toll of the upheavals. The nostalgia for the past, both in terms of personal relationships and the early days in Shamnagar, accentuates the sense of loss and disillusionment.

As the chapter unfolds, the narrative foreshadows the broader societal shifts in post-Partition Pakistan. The initial solidarity gives way to individual struggles, mirroring the larger societal transformation from unity to division. Shamnagar, once a symbol of refuge and hope, becomes a microcosm of the challenges faced by the nation as it grapples with the aftermath of Partition and the complexities of resettlement.

Zakir encounters Afzal in a park and engages in a conversation about the changing seasons and the struggles faced by trees, personifying them as his friends. Afzal shares his deep connection with nature, referring to the trees as friends undergoing difficulties.

The narrative then shifts to Afzal guiding Zakir around the park in search of a neem tree. During this exploration, Zakir reflects on the transformation of seasons in Pakistan, emphasizing the symbolic stripping of trees as a metaphor for the harsh challenges faced by the nation. Afzal's unconventional perspective, considering Persian lilac as a friend, adds a touch of humor to the scene.

Afzal, highlighting his close bond with a banyan tree, claims it to be the coolest spot in Pakistan. This encounter unfolds the emotional significance Zakir associates with specific trees, reminiscing about the neem's swings, Sabirah, and the soothing voice of the koyal bird. These memories provide a glimpse into Zakir's internal struggle and longing for the familiar.

Later, Auntie Sharifan, a visitor from Zakir's past, arrives unexpectedly, bringing news from Shamnagar. She expresses shock at the living conditions, pointing out the stark contrast between Munshi Musayyab Husain's luxurious mansion and the small rented house Zakir's family occupies. Auntie Sharifan's observations reflect the societal shifts occurring in Pakistan post-Partition, where the distribution of resources seems unequal.

As Auntie Sharifan recounts the condition of Shamnagar, Zakir's mind wanders to familiar names and faces, including Sabirah. The conversation turns to Sabirah's future, highlighting the challenges faced by individuals amid the upheavals. Auntie Sharifan's advice on Sabirah's marriage emphasizes the pragmatic decisions forced by the circumstances.

Auntie Sharifan also provides updates on the deserted homes and the fate of once-thriving families, highlighting the impact of displacement and societal changes. Despite the hardships, she maintains a nostalgic connection to the past, reminiscing about shared experiences and relationships.

The first half of chapter 4 ends with Zakir, Irfan, and the evolving cityscape. Zakir reflects on the shifting dynamics within the city, capturing the blending of old and new elements. The Shiraz restaurant emerges as a symbolic camp where people gather, creating a sense of community amidst the transformations.


◼️𝘾𝙝𝙖𝙥𝙩𝙚𝙧 𝙁𝙤𝙪𝙧  (2nd half) 

In this continuation, the sense of displacement deepens among Zakir and his friends as they feel a growing disconnect from the Shiraz, their once-favorite gathering place. The Shiraz, which used to be filled with lively discussions and debates, is now marked by an eerie silence, a stark contrast to its former animated atmosphere.

Zavvar becomes a central figure among the friends, embodying a rebellious spirit against societal norms. He rejects traditional markers of success, including personal grooming, claiming that wisdom is gained through life experiences rather than books. Zavvar's unconventional choices, such as attempting the Civil Service exam and experimenting with various substances, reflect a desire for unconventional wisdom.

Afzal's house, visited by the group seeking a place to sleep, reveals the impact of displacement and decay on personal spaces. Afzal's room, though modest, holds a symbolic value for him. The imagery of the deserted house and the ruin of the neighborhood reflects the broader societal changes occurring post-Partition.

The narrative shifts to the Imperial, another once-lively place, now losing its vibrancy. The absence of white faces, the lack of young couples dancing, and the subdued atmosphere point to the changing dynamics in the city. Miss Dolly's cabaret, once a highlight, is no longer featured, and the tawny cat symbolizes the fading vitality of the Imperial.

The friends express dissatisfaction with the Shiraz's tea and speculate about its decline. This dissatisfaction reflects a broader sentiment of being uprooted from their usual social hub. The group, once united, is now fragmented, with only Zakir and Irfan remaining in the Imperial. The conversation shifts to Irfan's decision to work for a newspaper, signifying a departure from their previous idle lifestyle.

The narrative then introduces Tasnim, a student seeking Zakir's help. Her sudden disappearance after a few encounters leaves Zakir intrigued and eager for her presence. When she finally returns, Zakir's usual confidence falters, and he finds himself at a loss for words. This encounter marks a departure from Zakir's usual detached demeanor, hinting at a potential emotional connection.

The story takes an unexpected turn as Tasnim abruptly stops coming for lessons, leaving Zakir puzzled. The unexplained absence deepens Zakir's intrigue and highlights the unpredictability of human connections amidst the broader societal upheavals.

Zakir grapples with the absence of Tasnim, his evenings becoming a void without her presence. He finds himself wandering the city aimlessly, drawn back to the Shiraz out of habit, only to discover the once-familiar faces of his friends have disappeared, and new strangers populate the space. Afzal, the only returning friend, expresses surprise at Zakir's solitary presence, highlighting the stark change in the dynamics of their group.

The narrative then shifts to Afzal's futile search for the rest of the group. Afzal's attempt to find Zakir and Irfan in the Imperial unveils the decline of the once-lively establishment. The absence of the cabaret show and the subdued atmosphere underscore the broader societal changes post-Partition. The Imperial, once a symbol of vibrancy, now mirrors the emptiness and decay experienced by the characters.

Afzal's bewilderment at the disappearance of the group emphasizes the dispersal and transformation each friend undergoes individually. Zavvar's pursuit of unconventional experiences, Salamat's rejection of an American scholarship, Ajmal's departure due to opposition to the Ayub dictatorship, and Irfan's shift to newspaper work all reflect the diverse paths taken by the friends. The once-close-knit group becomes fragmented, symbolizing the broader societal shifts and individual pursuits in the post-Partition era.

Zakir's focus shifts to his encounters with Tasnim, who suddenly stops attending lessons, leaving him inquisitive and somewhat emotionally affected. The introduction of Anisah adds a new dimension to Zakir's social life. Her return from London transforms her appearance, and her interactions with Zakir bring forth a sense of curiosity and romantic tension. However, their attempt at intimacy is halted, marking the complexities of relationships amid personal and societal changes.

Anisah's observations about Zakir's newfound courage in romantic endeavors and her teasing about his possible liaisons contribute to the evolving dynamics. Zakir, in turn, showcases his interest in Anisah, expressing his admiration for her changed appearance. Anisah's suggestion to initiate an affair with Raziyah and Zakir's subsequent rejection indicate the complexities and uncertainties surrounding the characters' romantic pursuits.

The narrative unfolds further with Zakir's attempt to reconnect with Tasnim, resulting in a late-night encounter. Despite his efforts, the door of connection remains open only to a certain extent, reflecting the challenges in rekindling past relationships. Zakir's subsequent encounter with Anisah and their intimate moments underscore the intricacies of love, desire, and the evolving dynamics between individuals.

The story takes a poignant turn as Zakir, after dropping Anisah at her house, revisits the Imperial. To his dismay, he witnesses the complete ruin of the once-vibrant establishment, symbolizing the irreversible changes in society. The tawny cat, a recurring presence, mirrors the decay and desolation.

The return of Zakir's friends to the Shiraz, one by one, signifies a partial reunion. However, the vanished days never fully return, emphasizing the irretrievable nature of the past. The changes in each character's life trajectory and the transformed landscapes of places like the Imperial collectively paint a vivid picture of the societal and personal shifts post-Partition.

This chapter explores themes of displacement, changing social dynamics, and the complexities of relationships against the backdrop of a post-Partition world. The characters navigate individual pursuits, romantic entanglements, and encounters with the remnants of the past, creating a rich narrative that reflects the broader societal transformations.


◼️𝘾𝙝𝙖𝙥𝙩𝙚𝙧 𝙁𝙞𝙫𝙚 

In the wake of intense discussions about the possibility of war, Zakir found himself reflecting on the current state of affairs and the uncertainty that loomed over the city. The pervasive slogans of "Crush India" had taken hold, replacing older ones on the walls, reflecting the anxious atmosphere. The concern about war was not limited to public spaces; even personal correspondence, like the letter from Karamat, hinted at the prevailing unease.

As Zakir navigated conversations with various individuals, including his family and friends, the question of war remained a central theme. Abba Jan, the elder of the family, maintained a stoic silence while smoking his huqqah, leaving the question unanswered. Khvajah Sahib, another elder, expressed worry about the wandering nature of the youth and the lack of concrete news about the unfolding situation.

In encounters at Nazira's shop and the Shiraz, discussions about the possibility of war continued. The diverse opinions of individuals like Karim Bakhsh, who linked celestial events like the appearance of a comet to impending conflict, added layers to the complexity of public sentiment.

Salamat, a fervent revolutionary leader, confronted Zakir and his friend Irfan, demanding their stance on the war. Salamat's fiery rhetoric and commitment to revolutionary ideals clashed with Irfan's sarcasm and Zakir's indecision. The atmosphere in the Shiraz became tense, with Salamat passionately proclaiming the inevitability of war and the downfall of the existing system.

Afzal, a character introduced later in the narrative, expressed disdain for revolutionaries like Salamat, labeling them as mice causing a poisonous stink. His humorous yet critical perspective on the situation highlighted the divided opinions within the community.

As the revolutionary platoon departed, a palpable silence enveloped the Shiraz. Afzal, Irfan, and Zakir reflected on the impact of such ideological clashes and the potential repercussions for Pakistan. Afzal's ominous warning about safeguarding the trust of Pakistan hinted at a sense of impending danger.

The narrative then shifted to moments of introspection, triggered by encounters with familiar faces from the past. Memories of individuals like Mulla Binotiya, Karnaliya, and Nuru the bread-seller resurfaced, providing a glimpse into the diverse characters that had left their cities but carried the essence of those places with them.

As Zakir and Irfan delved into reminiscences of the past, the question of whether the creation of Pakistan was a positive outcome emerged. Irfan's assertion that even right actions could become wrong in the wrong hands hinted at a disillusionment with the trajectory of the nation.

Shiraz portrayed a moment of peace, albeit a transient one. The manager, seeking Zakir's opinion on the likelihood of war, added to the prevailing sense of uncertainty. Zakir, feeling a sense of relief upon leaving, left the readers hanging in suspense about the unfolding events.

As the evening descended, the protagonist's attention shifted from posters on the walls to observing the peculiarities of people walking along Mall Road. Faces became indistinct in the dusk, and the scarcity of people surprised him. The focus shifted to watching feet and gauging the peculiar walks of passersby. A strange thought emerged – perhaps he wasn't the one walking but someone else in his place. This perplexity intensified when the sound of his footsteps seemed to diverge, leading to an unsettling realization – he might be walking in one place, but the sound echoed from elsewhere.

The surreal atmosphere intensified as he wandered through the desolate town, encountering closed gates and an eerie silence broken only by the pervasive sound of gnawing. The town, once bustling, now appeared emptied, and a sense of terror gripped him. In a surreal encounter, a cat standing on its hind legs opened and closed a door. The narrative reached a climax as he hesitated at a crosswalk, only to witness a sudden rush of vehicles, akin to a dam bursting in a river, adding to the surreal and disconcerting experience.





Reference: The chapter wise Summary of Basti by Intizar Husain is based on the translated version by Frances W. Pritchett (1995) (2nd ed. 2000)

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