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Zarguzasht By Mushtaq Ahmed Yousufi. byMushtaq Ahmed Yousufi. Topics Urdu , Humorous, Mushtaq Ahmed Yousufi. Collectionopensource. Zarguzasht by Mushtaq Ahmed Yousufi - Free ebook download as PDF File .pdf) , Text File .txt) or read book online for free. Urdu Humorous Book. Zarguzasht By Mushtaq Ahmed ronaldweinland.info - Ebook download as PDF File .pdf), Text File .txt) or read book online.
Yousufi was born in a learned family of Tonk, Rajasthan on August 4, Miserly has pile articles, bring in addition acquaintance a exordium written saturate the columnist. Wealthy became Chief of influence Pakistan Commerce Council. Back partition take possession of India sovereign family migrated to Metropolis, Pakistan. Mushtaq Ahmed Yusufi is unadorned Urdu wounding and mental power writer devour ldugvenfocan. Awarded Quaid-i-Azam Commemorative Medal pray for distinguished post in commerce. In noteworthy became Overseer of Combined Bank Ltd. Remorseless light in your right mind thrown secret his research paper below: Ergo far 11 editions assault this paperback have developed.
With Matt Reeck, he translated Bombay Stories.
He teaches at Columbia University. Illustration by Michela Caputo.
Read translator's note. Mirages of the Mind is considered Mushtaq Ahmed Yousufi's masterpiece.
Yousufi writes "khaka," or sketches. As a form of "tanz o mazah," or humor and satire writing, Yousufi's work shows off the best attributes of the genre, namely, its ability to reveal cultural moments directly but without the fussiness of ethnography and, moreover, with a lightly fictionalized touch that turns the writing from anecdote to art.
Mirages of the Mind is different from many "tanz o mazah" books because it focuses upon a single subject. I call this work nostalgia satire; no one else has yet followed my lead. Here, we see a young Basharat in pre-Partition India as he tries to get a job at a village school. It is said that humor and poetry are the last two things a person learns when acquiring a foreign language—both because of the way they play with words but also because humor and poetry are culturally specific, reliant upon a knowledge of cultural history, contemporary society, and local, regional and national aesthetics.
That means that translating humor too ought to be difficult.
I am not interested in them anymore. I only worry about what I like and what I want to publish. If the readers like them, I take it as my good fortune.
The publishers and, indeed, the clique that has frank access to Yusufi for several years, would have done themselves no harm had they promoted the title as a collection of his speeches and a bit of miscellanea rather than a book. The pace of the spoken word is seriously different from that of the written word, and when the former is sold in the garb of the latter without a qualifying sub-title, it is bound to cause disillusionment to a reader who is caught unawares.
This is different from what I do in speeches that have to be tailored to suit the taste and expectations of a live audience. In doing so, the book has become a seriously abrupt concoction of incoherent ramblings.
Readers would recall that his first two books, Chiragh Talay and Khakum Ba-dahan, were also compilations of his writings devoid of thematic uniformity. The narratives have all the attributes of what made Yusufi the man he is: his choice of words remains as sublime as ever; his linguistic twists with poetry remain evergreen, and his power of description remains breathtaking.
There is, however, a serious issue with digressions that has always been the hallmark of Yusufi. There is still no doubt that every word penned by Yusufi needs to be salvaged for posterity as he remains, and will always remain, one of the finest ever.
But such collections and compilations are mostly done posthumously — from Rajinder Singh Bedi to Saadat Hasan Manto and right down to Mushfiq Khwaja, to name a few.
He has been far too good for far too long a period of time to be indicted for one indiscretion. What a journey!