Much like the other texts studied so far, the role of memory
and narrative is of supreme importance in Intizar Hussain's Basti. Texts like Men in the Sun,
Kandahar, Woh Jo Kho Gaye are some
texts that employ memories and the ability (or lack thereof) to recall and
recount. However, in Basti, memory
plays a seminal role, the primary role in defining Zakir's relationship to his
history and himself. Moreover, the constant transition from memory to current
narrative without any sort of break adequately delineates the fluidity and
chaotic nature of Zakir's memories. Zakir is a historian, and what better
profession for someone who lives in his thoughts. But it is this type of
dwelling that disturbs Zakir, for as he says it is easier to relive someone
else's history rather than one's own.
Zakir's memories about the tales of the origin of the world,
his childhood and adolescence in Rupnagar, characters like Bhagat Ji and Bi
Amma are stark and detailed. However, what does not feature in the 'bun' of his memories are the events of
1947. Zakir and his family are people who witness not only the creation of
Pakistan but also its 'batwara'. The
way those two events are juxtaposed and played out by Intizar Hussain is
interesting in the sense that there is no direct comparison and
acknowledgement. The 'hijrat' to
Lahore, Pakistan is shown as almost effortless. There is a gap between this
novel and other partition work this way; 1947 is portrayed as it is in history
books- as an event, not as an experience. This treatment of partition compared
to how Zakir recalls and imagines other violent events and experiences like
those of the old Muslim Empire, the original conquerors of the subcontinent,
1857 etc. seems inadequate. Zakir's memories about 1947 appear to be like the
empty deserted streets he takes to traversing during those fateful days of
1971. However, it can be argued that Zakir's other memories of violence,
destruction and war are a way for him to deal with his failure to recall or
confront 1947 directly. This resonates with 'Woh Jo Kho Gaye' to the
extent that those men are also unable remember, they lack the luxury to do so.
Does this mark a situation of double exile for them and Zakir?
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