Written by: Varda Nisar
Posted on: July 12, 2019 | 
| 中文
Mushtaq Ahmed Yusufi with Zia Mohyeddin (Credit: Mushtaq Ahmed Yusufi Facebook)
Urdu, with its roots in Persian and North Indian Languages, undoubtedly carries within it a beauty that has been epitomized by the works of many poets and writers throughout its history. When it comes to poetry, the potential of the language to express deep emotions and feelings is best revealed in the works of Ghalib, Mir, and Faiz. When it comes to novel and literature, one is confounded by the simplicity of narration by the likes of Shaukat Siddiqui, Manto, Ghulam Abbas, and Tarrar. The list is far too long to count.
But then there is another dimension, which may be lesser known, in which Urdu has shone brilliantly: satire and humor. Whether it’s the novel, script, poem or any other medium for that matter, Urdu has been exceptionally blessed to have a multitude of humorous writers. The reasons behind this are not entirely clear, but Urdu’s ability to accommodate wordplay has proven to be extremely suitable for the genre of Tanz-o-Maza (Satire and Humor). This is a testament to the versatility of Urdu as a diverse language, which has been able to provide its readers with equally brilliant jewels over a variety of genres.
There are numerous names famous for this genre. In literature, we have Ibn-e-Insha and Pitras Bukhari. On television, we have Shoaib Hashmi, Farooq Qaiser and Anwar Maqsood. And finally, within the theater, there is the legendary Omer Sharif.
However, any such list of writers of satire is incomplete without the mention of Mushtaq Ahmad Yusufi. The genius of Yusufi lies in how he is able to transform everyday events into something extraordinary through his use of humor and wit. He has the capacity to turn ordinary happenings of our daily existence into pure joy and eccentric incidents that leave one clutching their stomach with laughter. His stories often comprise of instances within his personal life, his career, the city of Karachi, and much more.
He was born in Tonk (now Rajasthan in India) in the year 1923 to a well-educated family. After his studies, he attempted to join the Indian Civil Service but decided to move to Pakistan after Partition. There he became associated with the banking sector, working for Muslim Commercial Bank, Allied Bank Ltd. and finally United Bank Ltd. And while he has had a distinguished career as a banker, he is most loved and remembered for his writings. Described as the most widely read humorist of the Urdu Language, he has been awarded Sitara-e-Imtiaz and Hilal-e-Imtiaz, the highest civilian award given to anyone by the Government of Pakistan.
This is not surprising, considering the impact which he made, and the craftsmanship that is evident in his work. His writings are also peppered with quotes and verses from Persian and Urdu poetry as well as English Literature, which shows how his personal love for reading became an inspiration for his own work. But more than that, Yusufi’s stories revolve around comedy, which stems from the chaos of everyday life. Often, there is no storyline or plot, but a collection of events that transpire and may impact the characters’ behaviors and their perspectives on life.
Consider, for example, the various stories he has written which capture the dynamics of his workplace. There is the boss, Mr. Anderson, and an equally brilliant office boy who is able to make keen observations about Mr. Anderson using humor and sometimes, vulgarity. The office boy juggles his boss and the trivialities of his own life, something to which perhaps everyone could relate.
His book Zargusust (Lost Treasure) is a play on the word Sarguzasht which means Autobiography. The story begins with a job interview for his first banking job, during which he meets Mr. Anderson. Mr. Anderson’s first question sets the tone for the entire conversation, “How are you? Who are you? What are you? And why are you?”. He is then asked about the family to which he belongs. And his answer is simply “From my own family”, to which Mr. Anderson thanks him for his honesty.
Such are the frank exchanges that form the essence of Yusufi’s stories, which he describes with unaffected simplicity and innocence. But this is not an accident. Throughout his life, Yusufi remained a meticulous editor of his own work, ensuring quality through many drafts, rewrites, and revisions.
What makes these stories so popular to date is the fact that they remain relatable on so many levels. Everyone has been through a tough interview or has had a wedding ruined by rain. At some point, every Karachiite has lamented the city’s heat, only to take out a sweater the minute the first sign of winter appears.
The seemingly effortless flow of words that Yusufi achieves in his prose is no easy task, nor is finding humor in everyday life. However, Yusufi has been able to achieve both tasks with skill and finesse. This is why his legacy among Urdu’s greatest literary giants will continue as long as there are those who are ready to read and appreciate his masterful control of the Urdu language.
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