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Do you think that people will accept Jamil as the hero of the play? Jameel is a sensitive man who dreams of better, happier times for himself and for those around him.
I think people will empathize with his character and find his unbridled hopefulness attractive. He, however, always remains a dreamer and this, in my opinion, is the quality that makes him a worthy hero of the story.
When did you first think of adapting Aangan for television? It was in the year Aangan has held me captive ever since.
I used to think I would be free of the hold that the novel has over me after adapting it for television, but I was wrong. I still think about Aangan all the time and feel a strong need to take the story forward from where Khadija Mastoor left it. I cannot bear to think of abandoning the characters of the novel. It is my hope to write two sequels to Aangan, one that covers the period between and and the other between and Hopefully, I will find the freedom to move on from Aangan after writing the two serials.
Why do you think Aangan will make a good television serial? Aangan tells a poignant story, full of passion and drama, with great skill, sensitivity and intelligence. It is inhabited by interesting characters and deals with themes, subjects and ideas that will resonate with television viewers. People will be drawn to its characters; some will be loved and some reviled, but all of them will generate strong emotions amongst viewers. Aangan will engage, entertain and give people a lot to think about.
I believe that it will be a very successful television serial. How involved were you in casting for the serial? Momina Duraid, the executive producer of the serial, lead the process of casting for Aangan. I believe that the director of the play — the very talented Mohammed Ehteshamuddin — was involved in casting as well.
My own involvement was minimal. Let me add that Momina Duraid put a lot of effort and energy into casting the right actors for Aangan.
A few of the actors that she wanted were unavailable when we started work on Aangan. Instead of looking for alternatives, she chose to delay the project and wait for the right actors to come available. I think it was a good decision. Casting compromises can kill a serial. Do you believe that Aangan will achieve similar success?
I hope and believe that it will. Aangan is set around the time of the division of British India but deals with much more than the partition.
It tells stories of the partition of lovers, friends, and families.
It deals with the effects of political upheaval on the lives, minds and relationships of ordinary people. It is rich in emotions. It has a lot of drama. And it has characters that represent our society in an honest, candid and daring manner.
I think that people will get attached to Aangan and make it a very successful television serial. The serial was set in roughly the same era as Aangan and dealt with a few themes similar to those of your upcoming serial. Are you concerned that Pakistani viewers may not have an appetite for historical dramas set around the time of partition?
I am not. Aangan is a good television serial. A lot of very talented people have put their heart and soul into it.
Ally Adnan lives in Dallas and writes about culture, history and the arts. He tweets allyadnan and can be reached at allyadnan outlook.
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Enter the email address you signed up with and we'll email you a reset link. Unfortunately, there was so far, no biography of Ghalib worth the name, barring Ralph Russel's Ghalib, Life and Letters, published during the Ghalib death centenary in But this too was mainly based on his letters. Now we have a new book in English on Ghalib's life, written, paradoxically, by a career diplomat, Pawan Kumar Varma.
Fortunately, he has not confined the book to Ghalib, the man and the poet. He also gives a glimpse of Ghalib's Dilli - a fascinating city going through the trauma of transition. Ghalib's Dilli was in political decline. But this coincided with a great cultural effervescence. Urdu had almost wholly replaced Persian as the lingua franca.
To be able to appreciate Urdu poetry was considered to be the "in-thing". The introduction of the vernacular press enlarged literary activity in Urdu. And some of India's earliest newspapers made their appearance at the time. The Dilliwallah still has a penchant for wit and repartee and his mehmaan nawazi hospitality has survived. For a loyal Dilliwallah, Ghalib is a valued part of his heritage.
Varma says he decided to write the book because he was annoyed that he couldn't find a single book in Delhi which could tell him something about the poet and his milieu. Varma has dug out some rare nuggets, such as the remark by Ghalib on the quality of newspapers in his time: "The people of the city feel strong dissatisfaction at the inaccuracy of the news that appears in Jam-i-Jahan-Numa.
It happens but rarely that the news which the editor of jam-i-jahan-Numa publishes this week is not declared false next week by this very same editor.
He has also unearthed Ghalib's year war of letters with the British regarding his pension.
These letters, lying undiscovered all this while in the archives in Delhi, throw light on the historical transition of those tumultuous times.
Varma argues that Ghalib's ceaseless attempts to get his pension increased were not just aimed at getting more money. His major preoccupation was the retention of what he considered to be his status in society which the British were relentlessly eroding.
The letters tell a fascinating yet somewhat pathetic tale of this indigent aristocrat who had to go to the British but wanted to do so without losing his self respect.