Book Review: Noor Shah’s ‘Ek Mamuli Aadmi’

By Rayees Ahmad Kumar

Amid the vibrant literary landscape of Kashmir, few voices have resonated as deeply and consistently as that of Noor Shah—a storyteller of rare finesse whose pen has long illuminated the human condition with both tenderness and precision. Born in 1936 in Srinagar’s picturesque Dalgate area, Shah’s literary journey spans several decades, making him one of the most prolific and versatile fiction writers from the valley.

A master craftsman of the Urdu short story, Shah’s narratives have captured the emotional and moral complexities of Kashmiri life. Noted fiction writers like Ismat Chughtai once remarked that she “knew Kashmir through Noor Shah’s stories,” while Krishan Chander credited both Noor Shah and Hamidi Kashmiri for shaping his understanding of the region.

Beyond literature, Shah’s professional life reflects equal distinction. He has served in several key administrative roles—Director of Rural Development, Director of Science and Technology, Deputy Commissioner, and Chief Executive Officer of the J&K Energy Development Agency. Yet, despite a demanding career, his literary output remained prodigious: over eighty radio dramas, numerous television serials, novels, novelettes, and short story collections, many of which have become landmarks in modern Urdu fiction.

His celebrated novels—Payal Ke Zakhm, Neeli Jheel Kalay Saaye, and Aao So Jayein—display his narrative dexterity and psychological depth. His novelettes such as Adhi Raat Ka Suraj and Lamhe Aur Zanjeerien offer equally powerful glimpses into the dilemmas of modern existence. Noor Shah has also written for television, producing popular serials like Dard Ka Rishta, Gul Aur Bulbul, Neelma, and Solar Energy in J&K, as well as the documentary Gull and the feature film Urdu in Kashmiri.

His short story collections—Be Ghat Ki Nav, Veeranay Ke Phool, Ek Raat Ki Malika, Man Ka Aangan Udaas Udaas, Geelay Pathron Ki Mehak, Be Samar Sach, and Aasman, Phool Aur Lahoo—have inspired generations of readers and scholars alike. Many M.Phil. and Ph.D. theses have been written on his works, attesting to his profound influence on Urdu fiction.

Noor Shah’s habit of diary writing led to one of his most acclaimed works, Band Kamrey Ki Khidki, demonstrating how everyday reflections can transform into profound fiction. It is this remarkable attentiveness to the mundane that continues to define his literary voice.

His latest collection, Ek Mamuli Aadmi, published by Meezan Publishers, Srinagar, stands as another testament to his enduring craft. Spanning 120 pages and comprising thirty short stories, the book’s elegant design and high production quality complement its artistic content. The author dedicates the volume to Ahmad Furqan, Ahmad Fawad, Ahmad Dawood, and Qasim Kamili—perhaps a nod to the generations of readers who continue to draw from his moral imagination.

The opening story, Baat Ek Raat Ki, sets the tone for the collection. In this poignant tale, Shah explores the many shades of poverty—material, moral, and emotional. Through vivid character sketches, he shows how desperation can drive people to compromise their dignity, exposing the social inequalities that continue to plague society.

In Taali, the second story, Shah turns his lens toward domestic life, highlighting the cruelty faced by daughters-in-law who are blamed for infertility. The story exposes how patriarchal families often punish women while absolving men, only to face humiliation when medical truth reveals otherwise.

Romantic nostalgia surfaces in Neeli Laut Aayegi, a delicately woven love story between two souls—mirrored through the metaphor of sparrows—where loneliness and longing intertwine with hope and loss. Shah’s sensitivity to human emotion elevates what might seem a simple love story into a meditation on companionship and absence.

With Apni Apni Kahani, the author probes moral ambiguity and deceit in relationships. It narrates the story of manipulative women who exploit men in the name of love, blending realism with social critique. Similarly, Shakhi Be Samar explores the taboo of same-sex intimacy between two women who secretly conceive children through their servant—a story remarkable not only for its boldness but also for its psychological insight.

In Be Naam Kahani Ka Aakhri Waraq, Shah mourns the erosion of Kashmiri values and hospitality, lamenting how the famed cultural warmth of the valley has given way to alienation and moral decay.

The title story, Ek Mamuli Aadmi, is among the collection’s most touching. It follows Asima and Nadir—college sweethearts separated by class prejudice. Asima’s wealthy brother prevents their union, marrying her off to a rich man who later dies in an accident. Ironically, Nadir, now a journalist, also meets a tragic end while covering a firing incident. Through their intertwined fates, Shah examines love, destiny, and the human cost of societal divides.

Several other stories stand out for their realism and moral force. Allah Khair Kare revisits the years of unrest in Kashmir, depicting how innocent youth often became collateral victims of crackdowns. Kashmir Kahani portrays the suffering of pellet victims who have lost their sight but not their dignity. Ghar Ki Baat exposes corruption within the police, while Du Gaz Zameen evokes the shared pain of people separated by the India-Pakistan border—same blood, same traditions, but divided by politics.

In Jugnoo, children are likened to fireflies—symbols of innocence and unity untouched by greed or hatred. Pehchan delves into the double lives of women who hide immoral acts under the cover of night, while Kitabain urges readers to choose morally upright literature that nurtures ethical values in society.

The later stories—Waapsi, Apna Apna Dukh, and Lazzat-e-Be Gunah—reflect Noor Shah’s mature contemplation on faith, sectarian divisions, and moral decay. Waapsi critiques the rise of sectarianism within Kashmiri society, as people build small mosques in every lane, dividing themselves in the name of religion. Apna Apna Dukh highlights the persistence of domestic patriarchy even in an age of technological progress, while Lazzat-e-Be Gunah—the closing story—reveals the author’s technical mastery and narrative precision, reminding readers why he is regarded among India’s foremost fiction writers.

Through Ek Mamuli Aadmi, Noor Shah once again demonstrates that no story is truly “ordinary.” Each tale, though rooted in everyday life, reflects universal human emotions—love, greed, loss, injustice, and redemption. His prose flows effortlessly, his characters breathe with authenticity, and his settings—whether a cramped city home or a border village—pulse with the rhythm of real life.

In an era when sensationalism often overshadows substance, Noor Shah’s writing stands apart for its integrity and compassion. Ek Mamuli Aadmi is not merely a collection of stories—it is a mirror held up to society, compelling readers to confront their own moral reflections.

The views expressed in this article are solely those of the author and do not necessarily reflect the opinions or views of this newspaper