Bøker utgitt av Esbaat Publications

Ashar Najmi writes postmodern Urdu fiction. He has received acclaim for his three novels which cover different, albeit controversial, themes. This book presents Ashar Najmi's first collection of short stories. The stories in this collection break new ground in Urdu fiction as they feature no archetypal characters or models. Ashar's narratives diverge from conventional genres. The narrative style of many stories has changed, showing the diversity of trends in world literature. Urdu fiction has also undergone experiments in recent years which readers have praised.

The book series 'Esbaat' has been published throughout the Urdu-speaking world, originating from Mumbai, India, for the past fifteen years. This edition contains a comprehensive special section focused on Milan Kundera, as well as 'Artificial Intelligence' and other subjects. The impact of artificial intelligence on creativity, the arts, and various other facets of everyday life has been meticulously curated by a team of intellectuals.

Professor Ateequllah is an interdisciplinary critic. He has a keen eye on Western and Eastern literatures, movements, tendencies. He has introduced many new dimensions and angles to Urdu criticism. The exploration of theoretical and applied aspects of environmental criticism can be counted among his priorities. The search for a new world of ideas is included in his critical attitude. In his critical writings, along with freshness and energy, some angles are illuminated which are generally unfamiliar to Urdu people. 'Sheriyaat' is also a new island of his mental quest. Through this book, he has tried to bring to light the source with which Urdu criticism has a very close relationship.

Professor Ateequllah is an interdisciplinary critic. He has a keen eye on Western and Eastern literatures, movements, tendencies. He has introduced many new dimensions and angles to Urdu criticism. The exploration of theoretical and applied aspects of environmental criticism can be counted among his priorities. The search for a new world of ideas is included in his critical attitude. In his critical writings, along with freshness and energy, some angles are illuminated which are generally unfamiliar to Urdu people. 'Bayanaat' is also a new island of his mental quest. Through this book, he has tried to bring to light the source with which Urdu criticism has a very close relationship.

This is a conversation; between Shamsur Rahman Faruqi, the greatest Urdu critic and high-profile fiction writer, and Udayan Vajpayi, perhaps the greatest Hindi writer, poet and thinker of our time.Udayan Vajpayi's personality is shaped by intellectual, cultural and creative elements of a very high standard. Theater, film, drama, poetry, painting, music, novels and fiction, as if every aspect of art or fine arts has been created in Udayan Vajpayi's rich and dense personality, has explored all the possibilities of art in medical science. A great mind like Shamsur Rahman Faruqi has not been born in the last sixty and seventy years and no Indian language has produced such a scholar of literature, such a critic and such a theorist who can claim Faruqi's equal in any matter. If you want to understand the creative mind of Shamsur Rahman Faruqi and the different layers of his intellectual, cultural and moral character, then there is no better source than this conversation.This conversation was published in 'Samas', a prestigious Hindi literary journal published in Bhopal (India), edited by Udayan Vajpayi. Rizwanuddin Farooqui has translated it from Hindi to Urdu.

Most of the universities in India and Pakistan are in the business of selling degrees which only produces a batch of unemployed youth. Universities form the center of the knowledge economy and the research done in our universities either becomes a part of the records in the corners of the libraries or becomes a termite attack on this useless pile of papers. The disease of distance from reading and writing has become ingrained in our roots, the aversion to knowledge and taking the path of escape starts from school, which becomes a part of the student caste when he is a boy in college and then goes to universities. University teachers who Research they do only for their promotion, students do research only to complete their degree. Obviously, when the goal of learning is non-academic, only replicant scholars will be produced whose goal is to obtain a degree, job, and promotion rather than knowledge.But wait, is this problem limited only to educational institutions? Have you ever wondered what the 'source' of this plagiarism trend is? Have you ever thought that this infection of plagiarism is a product of modern times or a legacy of the elders that has been passed down from generation to generation? When you come to these questions, you will know that the plant which our elders planted and cultivated years ago, has now become a tree. We have become so desensitized that we have even weaponized various literary terms to defend the plagiarism of elders. Paraphrasing, translation, adaptation, 'istifada', etc. are the weapons with which the thief is crowned. What is the relationship between forgery and plagiarism? And what is the reason that a style writer cannot plagiarize others? That is why I said above that as long as we continue to confuse the 'accomplishments' of our writers and scholars and their 'mistakes', we will continue to provide justification for plagiarism to the plagiarists of our time, why? That two standards cannot be established for condemning plagiarism, one for seniors and celebrities and the other for beginners. Of course, you can't correct the 'crooked foundation' of this ancient building, but at least don't make your hypocrisy and indifference so public by giving lame cute explanations to prove it to be 'straight' that our future generations will be intellectually betrayed and forget to even distinguish between literary integrity.

If you (according to Ashar Najmi) 'are capable of stimulating all your senses while reading fiction', then reading Noorain Ali Haq will be a unique experience, we guarantee it. The tendency to explore the individual in his fiction was rarely seen, at least among his peers. What I have labelled 'exploring the individual', due to my inability to describe the apologetic conscience, you could also call doing a CT scan of the relationship between the individual's inner world and the outer world. As much as many of the stories in this book are noteworthy on the level of experience, their 'political tone' is equally noteworthy. I think the author of the story has chosen this tone thoughtfully. One can read more than one legend that the purpose of doing so was to underline a particular psychological state that arose as a result of a particular social atmosphere. The tragedy is that this particular psychological condition has now become commonplace. It seems that the fiction writer has made some templates and put them in front. Believe it or not, many of us will find ourselves fitting into one or the other of these moulds.

On JCB Prize winner Khalid Jawed, we did not intend to create a formal special issue in which most critics of Urdu show their hypocrisy, but in this issue of 'Esbaat', we presented the opinions of critics and writers of other languages on Khalid Jawed and his fiction. Although the major part of these 'opinions' consists of 'Namatkhana' and its English translation 'The Paradise of Food', but Khalid's other novels such as 'Maut Ki Kitab' and 'Ek Khanjar Pani Mein' are also published in Hindi and English. The translations of those articles have also been included with the idea to make it clear to the Urdu readers that the magic of Khalid's fiction is not only spread in Urdu but also in Hindi and English languages and interestingly, it's before receiving the prize. Apart from this, what was the opinion of the jury of 'JCB Prize' about 'The Paradise of Food' (Namatkhana), we are also sharing with Urdu people, as well as some of the most important interviews of Khalid Jawed and his translator Baran Farooqui are included. In the English articles included in this issue, the passages of the novel have not been translated on purpose, the purpose is only that the readers can also enjoy the translation i.e. 'The Paradise of Food'.All the essayists and reviewers included in this issue are important Hindi and English writers and journalists. Apart from these, translations of the articles of two English scholars, Faizan Muqim and Mohammad Affan, are also being included. Read these articles in particular and think how much wider and broader the canvas of thought of the young people is writing on Urdu literature in English than the professional critics of Urdu.This informal corner was necessary because it is a point of pride for us Urdu people that Khalid Jawed, till yesterday the representative fiction writer of Urdu, is now performing the duty of Urdu's ambassador in contemporary Indian literature.

Ali Akbar Natiq is a renowned Urdu writer of Pakistan. In the year 2009, when his fictions were published in well-known and reputed literary magazines of India and Pakistan, he suddenly became famous in literary circles. His first collection of short stories, 'Qaim Deen' was published by Oxford University Press. Initially, one of his short story 'Maimaar Ke Haath' was translated in English and published in the well-known English literary magazine 'Granta'. Some of Natiq's books have been translated into English and German and published by Penguin India. Natiq's first novel 'Nolakkhi Kothi' has caused a stir in Urdu literary circles. 'Kamari Wala' is his second novel.

The selection of short stories consists of two volumes, this being the first volume. These stories are based on a selection of 37 issues published in the last fifteen years of the quarterly 'Esbaat'. All these stories remained unpublished in India till their publication in the respective issue of Esbaat. Therefore, with reference to these stories, one can analyze the characteristics of the 21st century fiction in Urdu and its distinctions.

The selection of short stories consists of two volumes, this being the second volume. These stories are based on a selection of 37 issues published in the last fifteen years of the quarterly 'Esbaat'. All these stories remained unpublished in India till their publication in the respective issue of Esbaat. Therefore, with reference to these stories, one can analyze the characteristics of the 21st century fiction in Urdu and its distinctions.