Receiving Sahitya Akademi Award

KATHA Translation Award, 1992.

S.No.

From

To

Position Held

Institution

1.

2002

.....

Professor

Jamia Millia Islamia

2.

1994

2002

Reader (Associate Professor))

Jamia Millia Islamia

3.

1984

1994

Lecturer (Assistant Professor

Jamia Millia Islamia

4.

1982

1983

Lecturer

Aligarh Muslim University

Other Academic Engagements

1.

2.

3.

4.

Visiting Faculty

1.

2.

3.

4.

1. A Critical Survey of Tagore's Works Translated into Urdu- A UGC Minor Research Project; 
2. Translating India : Poetics, Practice and Politics of Translation 

1.

2.

3.

4.

1

2

Ismat Chughtai -Monograph in Makers of Indian Literature Series (New Delhi : Sahitya Akademi, 1999. pp. 120.
This volume deals with the life and works of Ismat Chughtai. Placing the writer in her historical and literary contexts the book familiarises the reader with the entire corpus of her literary works. It is targeted, as all the volumes in the series are, at the general readers many of whom may not have much acquaintance with Urdu literature. It is divided into three parts - "The Writer in Context", "Novels and Novellas", "Short Stories and Sketches".  

3

Image and Representation: Stories of Muslim Lives in India [ed. with Mushirul Hasan] (New Delhi: Oxford University Press, 2000). pp. xv+350.
The Indo-Muslim encounter is certainly one of the greatest civilisational encounters in human history. It finds its most creative expressions in music, architecture, painting, languages and literatures of this country. It is interesting and exciting to see how this encounter translated itself in the lived experience of day to day life, festivals, folklores and the religious and secular visions of Indian people The volume presents this encounter through 34 short stories written by 32 writers in 11 Indian languages including English. The principal criterion of selection was -besides being interesting narratives from the literary point of view they must portray some particular aspect of Muslim life in India and inter-community relationships. Islam's tryst with India has been a long, variegated and enduring one. The stories present some facets of this tryst in their fictional space. They trace the history of this encounter from the early decades of the twentieth century through the turbulent period of Partition up to the bleak days of Babri Masjid demolition and its aftermath. In doing so they, in their vast panoply of images and symbols, irony, humour and narrative points of view, depict the evolving tenor of Hindu-Muslim relationship. the headnote preceding each story locates the status and relevance of the writer in his/her own literature. the extensive and critical Introduction looks at the encounter in its historical perspective and in the perspective of the global demonizing of Islam in the current times. it also examines the validity of creative literature as social document, and brings out the interface among different literary traditions in India.

4

Saadat Hasan Manto -Stories and Sketches, ed. & tr (Karachi : Oxford University Press, 2001)
This selection of Manto' s stories sketches along with an open letter to Nehru constitutes the sixth volume in the "Pakistan Writers Series" being published by OUP , Karachi. The critical introduction situates Manto in the contexts of short story writing in India and Europe. It contains detailed analyses of some of his major stories, particularly those dealing with the articulation of selfhood by female protagonists, and those depicting the colossal trauma of the partition and its aftermath.

5.

Lifting the Veil: Selected Writings of Ismat Chughtai (ed). New Delhi: Penguin Books, 2001.

Ismat Chughtai(1911-1991) was Urdu's most courageous and controversial woman writer of the twentieth century. She carved a niche for herself among her contemporaries of Urdu fiction writers -- Rajinder Singh Bedi, Saadat Hasan Manto and Krishan Chander -- by introducing areas of experience not explored before. Her work not only transformed the complexion of Urdu fiction but brought about an attitudinal change in the assessment of literary works as well. Often perceived as a feminist writer, Chughtai explored female sexuality while also exploring other dimensions of social and existential reality. The twenty one pieces in this volume represent Chughtai at her best, marked by her brilliant turn of phrase, scintillating dialogue and wry humour. The critical introduction deals with Chughtai's art of fiction and her literary status in Urdu as well as that segment of Indian literature that represents female/feminine sensibility.

The book was considered a bestseller in the winter of 2001 according to a survey conducted by India Today and Free Press Journal

The book also won the Sahitya Akademi Prize for Translation in 2004

6.

If we pass over the question of what  literature should be from the nationalistic point of view and take a look at Pakistani literature, more specifically Pakistani short stories, and try to understand their background, then a broad picture emerges and it is this: the environment and the society that obtained after the Partition and that evolved over the past fifty years, was not the same as the composite society that existed before the Partition. Pakistan has a dominant Muslim majority. So the nature of social interaction was different here from that in India. The political process, too, was different here as democracy was not the usual form of governance at all times..

The short stories showcased in this anthology engage with the above questions in their own ways, articulating a multiplicity of voices and experiences, and depicting the immensely varied and rich tapestry of the cultural life in Pakistan.  

7

Black Margins - MANTO (ed), New Delhi: Katha, 2004

This is the revised and enlarged Indian edition of Saadat Hasan Manto: Stories and Sketches, earlier published by OUP, Karachi.

8

New Urdu Writing from India (ed), New Delhi: Katha, 2004

The current selection of post-1970 Urdu short stories attempts to sample various strands of short fiction writing in Urdu in the last three decades. While there is a continuity of earlier concerns and preoccupations in the writers, they also show newer and more complex engagement with contemporary reality. They seem to strike a balance between the linearity of the Progressive movement and the modernist angst of the self. Simple story telling and mimetic realism seem to be at the premium once again. The tenor of social life has undergone a drastic change in the past three decades that has entailed new configurations in man-woman relationship. Moreover, the invasion of satellite television into every drawing room, particularly in the urban setting, has affected social intercourse considerably. All this makes them more self-centred than before. Belief in a kind of moral order in the universe has eroded drastically giving rise to violence and scepticism…" (Introduction)

9

Urdu short story, the youngest fictional genre in Urdu literature, is barely a century old. Hence it may sound incongruous if one applies the word "classic" for it in the sense of antiquity. But within this short period of time it has made remarkable strides, and has established itself as a significant, if not primary or representative, vehicle of expression in Urdu literature. In many ways this ‘minor’ genre in Urdu has played the role usually assigned to the ‘major’ genre (i.e. novel) in fictional literature. The near absence of novel in Urdu during several decades of the twentieth century propelled the short story on the centre stage which successfully engaged with issues of colonial modernity and the emergent concept of nationhood….

Though progressivism was the general trend of the time, the writers associated with the movement at some point or the other showed great variety in their artistic preoccupations and their degree of commitment to the tenets of the PWA. In the forties of the twentieth century, there was hardly any Urdu writer of any worth who could escape the impact of progressivism which swept the writers off their feet with the force of a hurricane. Some of them, like Ismat Chughtai and Manto, had a problematic, even stormy, relationship with the more dogmatic members of the movement. Though they broadly endorsed the view that literature should engage with the problems of daily life, they were not ready to allow this engagement to result in curbing their artistic freedom. The following comment by Rajinder Singh Bedi best illustrates the tenor of this relationship: "….‘I was taken into it at first. I didn’t know until I was told that I was a "Progressive" writer and that the others were also "Progressive" writers. It’s partly true that I was, for I did write about the life of the common people and was truthful about the life I had lived and know ….. Later, when the movement was struck with a sort of formalism, I realized that Progressive writing was also part of a larger doctrine or ideology which was being propagated through us.’"….

As the reality of partition gradually sank in, the writers gradually settled down to the business of writing. But while the Urdu writers in India were faced with the challenge of coming to terms with a depleted readership and unsympathetic social and political environment for Urdu, quite unlike the scene in other language literatures of India where the writers were brimming with confidence because of a new sense of identity after independence, the Pakistani writers were faced with the challenge of establishing a new tradition in commensurate with their new nationhood. Can a tradition be formed overnight, and if not then, can literature be produced in a vacuum, without reference to a tradition? In the preface to one of the anthologies marking 50 years of Pakistani short stories, Intizar Husain, one of the finest practitioners of the genre, writes: "… the environment and the society that obtained after the partition and that evolved over the past fifty years was not the same as the composite society that existed before the partition… A more important thing is that just after the Partition the writers and thinkers here had to negotiate questions that were specific to Pakistan. The writers in India were not faced with such questions as they were inheritors of a historical and literary continuity. Here there was a rupture in that continuity. One had to discover the connections anew. If Pakistan were a different nation then what was its national and cultural identity? Where could it trace its beginnings from? One could certainly trace it from the advent of Muslims in the sub-continent, but how about the eras before that?" Husain’s own fictional oeuvre stands testimony to the fact that the Indian past and the Islamic past constitute an unbroken tradition for the writer in Urdu. …

Modernism held great appeal for the writers as it promised to restore the autonomy of the individual. External reality ceased to occupy the entire attention of writers. It allowed them to develop a more complex notion of reality. In this sense modernism can also be termed "post-realism". The linear development of the narrative and sequential plot are the devices specifically designed to capture external reality. But to capture the myriad impressions and experiences that go on in the mind, the writers needed a method that would capture through various strategies of indirection like suggestion, symbolism, analepsis, prolepsis, stream of consciousness, interior monologue, collage and so on the multi faceted aspect of reality. In other words, a method that is more inclusive and captures both the outer and inner realities. Symbols, metaphors, mental associations, ambiguity, irony etc were the devices through which the modernists gave expression to their art. Sartrean existentialism held great sway in Urdu literature in the fifties and the sixties of the twentieth century, as it did many other literatures of the Indian subcontinent. Kafka, Camus, Joyce, Virginia Woolf were the new sources of inspiration…

It must be pointed out, however, that a symbolic or abstract story demands greater resourcefulness on the part of the writer, a much greater artistic control and insight into the subject than the traditional realistic short story. In writers of lesser talents, symbolic or abstract story becomes an excuse for penning unintelligible gibberish. Pyrotechnics and gimmick can work only when the writer has some innovative spark in him. In the sixties and the seventies of the twentieth century there were a glut of Urdu short stories that were pretentiously symbolic. The writers had joined the bandwagon of modernism simply as a fad, or at the instance of some influential critics. The stories became riddles, and very dull ones at that, alienating the readers. Even the best writers of the symbolic/abstract story like Surendra Prakash and Balraj Menra wrote stories that are abstruse and inaccessible to common readers. It boiled down to a situation where it was mainly writers reading each other’s stories and the critics who either encouraged them or lambasted them. In their enthusiasm for a mode that was mainly derivative and did not spring directly from their milieu or from their individual experiences, the writers had forgotten to become interesting storytellers. Real life characters, of flesh and blood, pulsating and breathing, disappeared from the stories which became more and more contrived. The hiatus between the writers and the reading public grew wide and unbridgeable. This was a particularly critical moment for the Urdu short story, leading some critics to pronounce death sentence on it…

An anthology of this kind, despite disclaimers, is likely to be seen as an instrument of canonization. Looking at the preponderance of Pakistani writers (in the post-Partition era) and the thin presence of women writers, critics and readers may be tempted to draw inferences about the merit of Urdu literature produced in India and Pakistan and the gendered nature of this literature. But while selecting the stories I was not guided by any consideration of the politics of representation or gender justice. The stories have been chosen solely and exclusively because of their merit as good and compelling narratives. While selecting them I have also taken into account the preference of generations of Urdu readers as reflected through magazines, books, critical articles and opinion polls conducted by some reputed journals. However, the fact remains that for each story chosen for this volume, there were one or two others that could have been selected with equal justification (e.g., another anthologist might prefer Manto’s story "Hatak" over "Toba Tek Singh", if he has to select just one). It is only to this extent that the selection may be said to reflect the preference / bias of the editor. The bio-note on the author that precedes every story has been carefully designed to acquaint readers with the corpus of the writer concerned, and with the entire range of his/her thematic and stylistic preoccupations which, in effect, constitute the proper context for the reading of the story. This, I suppose, will also make the volume more student-friendly and better suited to be used in courses on literature, civilization and culture studies...

  Books: (forthcoming)

1

 Saadat Hasan Manto – Critical Perspectives

2

History of Urdu Literature (Twentieth Century) New Delhi: Sahitya Akademi

Contribution to Encyclopedias/Compendiums etc.

1

Mir Musharraf Hussain (Life and Works), The Encyclopedia of Indian Literature, Vol. III, Chief Editor, Amaresh Datta (New Delhi : Sahitya Akademi,1989), pp. 2668-69.

2

Pather Daabi (Bangla Classic) by Sarat Chandra Chatterjee, The Encyclopedia of Indian Literature, Vol IV, pp.3132-33.

3

Prem Nei (Bangla Classic) by Gourkishore Ghosh, The Encyclopedia oflndian Literature, VoI IV, pp.3333- 34. 

4

Putul Nacher Itikatha (Bangla Classic) by Manik Bandopadhay, The Encyclopedia of Indian Literature, V01 IV,1991, pp.3476-77.

5

Ray, Satyajit (Literary Works ), The Encyclopedia of Indian Literature, Vol. IV, pp. 3617-18.

6

Sahitya (Collection of Essays on Literature and Culture), by Rabindranath Tagore The Encyclopedia of Indian Literature, V01 IV , pp. 3746-3747.

7

Sanbad Patre Sekaler Katha (Literary, Historical and Sociological Documentation) vol I&ll, by Brajendranath Bandopadhay, The Encyclopedia of Indian Literature, VoJ IV, pp,3773- 74.

8

Satire (Genre Study in Urdu Literature) The Encyclopedia of Indian Literature, Vol. V, 1992, pp.3860-61.

9

Thaakur, Surendranatb (Life and Works) , The Encyclopedia of Indian Literature, VoL V, pp. 4322-23.

10

Allegory , (Genre Study in Urdu Literature) The Encyclopedia of Indian Literature, VoL VI, 1994, p. 4667. 11.  

11

Baramasa, (Genre Study in Urdu Literature) 11Ie Encyclopedia of Indian Literature, VoL VI, pp. 4694 -95. 12. 

12

Gbosh, Amitav (Life and Works),  Encyclopedia of Indian Literature, VoL VI, pp.4748-49.

13

Ruskin Bond (Life and Works),  Encyclopedia of Indian Literature, VoL VI, pp.4708.

14

Shashi Deshpande, (Life and Works),  Encyclopedia of Indian Literature, VoL VI, pp.4727.

15

Nasir Kazmi (Life and Works),  Encyclopedia of Indian Literature, VoL VI, pp.4814.

16

Waris Hussain Alvi (Life and Works),  Encyclopedia of Indian Literature, VoL VI, pp.4672..

17

Ghalib, Levinson, David and Karen Christensen et al, eds. Encyclopedia of  Modern Asia, New York. : Charles Scribners & Sons, 2002

18

Faiz Ahmad Faiz, Levinson, David and Karen Christensen et al, eds. Encyclopedia of  Modern Asia, New York. : Charles Scribners & Sons, 2002

19

Ismat Cbughtai, Levinson, David and Karen Christensen et al, eds. Encyclopedia of  Modern Asia, New York. : Charles Scribners & Sons, 2002

20

Aag ka Darya (Urdu Classic) by Qurratulain Hyder, " Masterpieces of Indian Literature, Vol ll, Chief Editor, A.K. George (New Delhi: National Book Trust, 1997), pp. 1499-1501.

21

Maidan-e-Amal (Urdu Classic) by Premchand, , Masterpieces of Indian Literature, Vol ll, pp. 1536-38

22

Muqaddama She'r-0-Shairi (Urdu Classic) by AltafHusain Hali, Masterpieces of Indian Literature, Vol ll, pp. 1542-44.

23

Ghubar-e-Khatir (Urdu Classic) by Maulana Abul Kalam Azad, , Masterpieces of Indian Literature, Vol ll, pp. 1521-23.

24

Umrao Jaan Ada (Urdu Classic) by MiIza Muhammad Hadi Ruswa, Masterpieces of Indian Literature, Vol ll, pp. 1592-94.

 Articles in Books and Journals

1

"India's Education Policy, the Question of Syllabus Designing and Canon-formation" (in Urdu), Jamia, vo184, No,12, Dec 1987.

2

"The Novels of QurratuIain Hyder", Indian Literature, New Delhi, No.142, 1991.

3

"Alone on Slippery Terrain: The Fictional World of Ismat Chughtai", Indian Literature, No. 157, 1993.

4

"The Storyteller's Tale: Qurratulain Hyder", the India Magazine, New Delhi, No.13, Feb. 1993

5

"Ashapurna Devi : Feministic Concerns and Fictional Narratives"' (Urdu), Aajkal, New Delhi, October, 1995.

6

"Understatement vs. Hyperbole: Translating from Urdu to English", Indian Review of Books, V, 1, Sept- Nov, 1995.

7

"The All-embracing Mind: The Fictional World of Qnrratulain Hyder", Indian Women Novelists, vol. 7. (New Delhi : Prestige Books, 1996).

8

"The Narrative Art of Ismat Chughtai", Indian Women Novelists, vol. 7. (New Delhi : Prestige Books, 1996).

9

"India Fascinates a French Author: Garcin de Tassy's Memoire sur des particularites de la religion musulmane dons l'lnde, d'apres les ouvrages hindoustani and its English Translation", India Perspectives, New Delhi, IX, 9, 1996.

10

"Albert Camus' Novel L 'e/ranger: A Reading" (in Urdu), Jamia, Vo193, Nos. 4,5,6, May-June, 1996. 

11

"Manto in English: An Assessment of Khalid Hasan's Translation, " in Alok Bhalla (ed.), Life and Works of Saadat Hasan Manto (Shimla : Indian Institute of Advanced Studies, 1997).

12

"Ma1ik Mohammad Jayasi : A Great Poet and Humanist of India", India Perspectives, x, 3, 1997.

13

"Literary Narratives and Retrieval of History", The Encounter: A Journal of Policy Research and Development Initiatives, New Delhi, Jan-Feb, 1999.

14

"Between the Mask and the Man : Mir's Poetry in English Translation", The Book Review, Delhi, vol. xxiii, Number 4, April 1999.

15

"Conrad's Double Vision: A Critique of Heart of Darkness", Critical Practice: A Journal of Critical and Literary Studies, New Delhi, vol vi, no.1, Jan. 1999.

16

"The Exiles Return : Existentialist Concerns in Qurratulain Hyder's Fiction", Manushi, New Delhi, No.119, 2000.

17

"Against Forgetting: Memory as Metaphor in Fictional Narratives", in Tarun Saint and Ravikant (eds.), Translating Partition (New Delhi : Katha, 200 I ).

18

"Early Urdu Novels: Contesting Claims and Disclaimers," in Meenakshi Mukherjee (ed.), Early Novels in India (New Delhi: Sahitya Akademi, 2001)

19

"Giinter Grass's Fiction"(in Urdu), Jamia, vo197, nos. 7-9,2000.

20

"Domestication versus Defamiliarisation: Albert Camus' L 'etranger in Three Indian Languages" in Mahashweta Sengupta ( ed), Translation, Colonialism, Multi-lingualism: Inter-disciplinary Perspectives (New Delhi: Sage, ,forthcoming)

21

"Poetry in Translation: The Case of Urdu", in K. Satchidanandan (ed.), Indian Poetry: Modernism and After (New Delhi: Sahitya Akademi, 2001).

22

"Narrating nation, Narrating Communities: Construction of Mnslim Identity in Qurratulain Hyder's Aag ka Darya" in E.V. Ramakrishnan (ed.), Novel in Search of the Nation (New Delhi: Sahitya Akademi, 2001, forthcoming).

23

"Translation, Globalism and Regional Literatures", World Literature Today, Oklahoma, USA (forthcoming).

24

"Conrad's Nostromo and the Question of Cultural and Economic Imperialism, " Aligarh Journal of English Studies , vol. 21, No.l,1999.

25

"Tagore's Novel Gora in Urdu Translation and the Questions of Authority, Legitimacy and Authenticity", VlSwa Bharati Quarterly, Santiniketan Vol. 10, No. 1. Apr-June, 2001; later published in Translation : Poetics and Practice, ed. Anisur Rahman, New Delhi, Creative Books, 2002.

25

M. Asaduddin with Lawrence Venuti, "In Conversation",  The Book Review, xxxvi, 2002. 

26

"Muses Unchained: Urdu Poetry in Bangla and English Translations", Jadavpur Journal of Comparative Literature, Calcutta, No. 38, 2000-20001.

27

"First Urdu Novel: Contesting Claims and Disclaimers", Annual of Urdu Studies, University of Wisconsin, Madison (USA), No. 16, 2001; later published in Meenakshi Mukherjee (ed.), Early Novels in India, New Delhi : Sahitya Akademi, 2001.

28

"Fiction As History", Pangs of Partition: The Human Dimension (Eds.) S. Settar and Indira Gupta, Delhi: Manohar Books, 2001.

29

"The West in the Ninettenth Century Imagination: Some Reflections on the Transition from Persianate Knowledge System to the Template of Urdu and English", Annual of Urdu Studies, University of Wisconsin, Madison (USA), No.18, 2003; later published in C Vijaysree (ed.), Writing the West: Representations from Indian Languages, New Delhi : Sahitya Akademi, 2004.

30

"Theorising Translation and Translation Studies", in Makarand Paranjape (ed.), English Studies: Indian Perspectives, New Delhi: Mantra Books, 2005

Review Articles and Reviews

1

S. Balu Rao (ed), An Anthology of South African Poems (New Delhi : Mro-Asian Writers' Association, 1991) Africa Quarterly, Indian Council for Cultural Relations, vol.29, nos. 1-2, 1990.

2

Chenjerai Hove, Bones (Harare: Baobab Books, 1988), Africa Quarterly, vo131, nos. 3-4, 1991-92.

3

Ralph Russell, The Pursuit of Urdu Literature: A Select History (New Delhi: OUP ,1992), Indian Literature xxxviii, Nov-Dec, 1995

4

Humeira Ahmad, The Checkmate and Other Stories (Calcutta:Writers Workshop), Indian Literature, xx.xi}j March-April, 1996.

5

Mir Amman, A Tale of Four Dervishes tr. M. Zakir (New Delhi : Penguin Books India, 1994), Indian Review of Books, V, I, Sep-Nov, 1995.

6

Anisur Rahman(tr. & ed), Fire and the Rose: An Anthology of Modem Urdu Poetry (New Delhi: Rupa &CO 1995), Annual of Urdu Studies, University of Wisconsin, Madison (USA), No. 11, 1996.

7

Ralph Russell, Hidden in the Lute: An Anthology of Two Centuries of Urdu Literature (New Delhi: Vikin~ 1995), Annual of Urdu Studies, No. II, 1996.

8

David Matthews (ed), An Anthology of Urdu Verse in English (New Delhi: Oxford University Press,1995, Annual of Urdu Studies, No. 11, 1996

9

"Master Story-teller", review of Vaikom A,1uhammad Basheer : Short Stories, in the Katha Classic Series (Ne, Delhi : Katha, 1996), Indian Review of Books , vi, 6; Mar-Apr, 1996.

10

Abdul Bismillah, The Song of the Loom (Tr. Rashmi Govind) (Madras : Macmillan India Paperbacks, 1996 Indian Review of Books , vi,8; May-June, 1996.

11

"Not Well-versed", review of Mir Taqi Mir : Selected Poetry (Tr. K. C. Kanda), (New Delhi : Sterling Pub. Pv Ltd, 1997), Indian Review of Books, vi, 9, June-July, 1997.

12

"Great Poetry, Inadequate Translation" reviewof Akhtarul Iman's Query of the Road, trs. Baidar Bakht, Lesli Lavigne and Kathleen Grant Jaeger (Delhi : Rupa & Co., 1995), Indian Review of Books, V,II, Aug-Sep 1996.

13

"God's Plenty", review of Shaukat Osrnan' s God's Adversary and Other Stories, tr .Osman Jarnal (New Delhi Penguin India, 1996), Indian Review of Books , vi,5, Feb-Mar, 1997.

14

Nirmal Venna, The Red Tin Roof, tr. Kuldip Singh (New Delhi: Ravi Dayal), Indian Review of Books, VII, Sept-Nov, 1997.

15

Ismat Chughtai, The Crooked Line, tr. Tahira Naqvi (Oxford: Heinernann, 1995), Annual of Urdu Studies, No. 13, 1998.

16

"Ghaliberations", review of Ghalib: The Poet and His Age, ed. Ralph Russell (New Delhi: OUP, 1998), Indian Review of Books, vii, 7, Apr-May, 1998.

17

"Inspired by Suffering", review of Harivansh Rai Bachchan's In the Afternoon of Time: An Autobiography, ed. &tr. Rupert Snell (New Delhi : Viking, 1998), Indian Review of Books, vii, 10, luly-Aug, 1998.

18

" A Social Comment", review of Hali's Musaddas: The Flow and Ebb of Islam, eds. & trs. Christopher Shackle and laved Majeed (New Delhi: OUP, 1998), Indian Review of Books , viii, 3, Dec 98-lan 99, 1999.

19

"All Saints", review of Claudia Liebeskind's Piety on Its Knees: Three Sufi Traditions in South Asia in Modern Times (New Delhi : OUP, 1998), Indian Review of Books, VI, 8; May-June, 1999.

20

Parwaaz : Urdu Short Stories by Women trs. & eds., Syeda S. Hameed & Sughra Mehdi (New Delhi : Kali for Women, 1996), Indian Literature 

21

M. Umar Memon ( ed), The Annual of Urdu Studies, No 14, The Encounter: A Journal of Policy Research and Development Initiatives, Nov-Dec, 1999.

22

Khadija Mastur, Cool, Sweet Water: Selected Short Stories, tr. Tahira Naqvi (New Delhi: Kali for Women, 1999), Annual of Urdu Studies, No.15, Part 2, 2000.

23

Ralph Russell, How Not to Write the History Of Urdu Literature and Other Essays on Urdu and Islam (New Delhi :OUP ,1999), Indian Review of Books, July-Aug, 2000.

24

Zikr-i Mir: The Autobiography of the Eighteenth Century Mughal Poet Mir Muhammad Taqi 'Mir " translated, annotated and with an introduction by C.M. Naim (New Delhi: OUP , 1999), Indian Review of Books, ix, 11, Aug-Sept, 2000.

25

26

Poems from lqbal: Renderings in English Verse With Comparative Urdu Text tr. & ed. V.G. Kiernan (Karachi:Oxford University Press, 1999), International Journal of Punjab Studies, University of Warwick (UK).

27

C.M. Naim. Ambiguities of Heritage: Fictions and Polemics (Karachi: City Press, 1999) , Indian Review of Books, (forthcoming) 

28

Nasim Ansari, Choosing to Stay, tr. Ralph Russell (Karachi: City Press, 1999), Indian Review of Books

29

Muhammad Iqbal, Tulip in the Desert: A Selection of the Poetry of Muhammad lqbal, ed. & tr., Mustansir Mir (New Delhi: Orient Longman, 2000), Indian Review of Books, X, 4, Jan-Feb, 2001.

30

Mushtaq Ahmad Yusufi, Aab-e gum (Karachi: Danyal, 1999), The Book Review, New Delhi, SAARC issue II, XXV, 3, March 2001.

32

32

33

34

35

36

37

38

39

40

41

42

43

44

Articles Published in National Dailies/Weeklies

1

" A Storyteller Extraordinary" The Hindu (Sunday Literary Review), November 17, 1991.

2

"The Other Satyajit Ray", The Hindu (Sunday Literary Review), June 14, 1992.

3

" A Great Literature in Search of Readers" , The Hindu (Sunday Literary Review ), J anbuary 3, 1993 .

4

"Dialogue with God: Mubarnrnad Iqbal's Shikwa and Jawab-i Shikwa" The Hindu (Sunday Literary Review), January, 1997.

5

Presentation of Papers in National and International Conferences/Seminars/ Acting as Discussant etc.

1

Congress of Comparative Literature, Department of English, Jamia Millia islamia, New Delhi, Jan 2-4, 1987.

2

Presented a paper in the first annual conference of Indian Society for Commonwealth Studies on "Conrad and Naipaul : A Comparative Study", University of Poona, Pone, Jan. 27-29, 1989.

3

Presented a paper entitled "New Trends in Commonwealth Literature" in the second annual conference of Indian society for Commonwealth Studies, Department of English and Comparative Literature, S. K. University, Anantpur, March 22-24, 1990.

4

Presented a paper on "Theory and Practice of Comparative Literature" in the Congress of Comparative Literature, School of Letters, Mahatma Gandhi University, Kottayam, Jan 1- 3, 1991.

5

International seminar on Communication and Literature, Department of English and Mass Communication Research Centre, Jamia Millia Islamia, New Delhi, July 26-27,1991.

6

Invited to present a paper on "The Ramayana and the Aeneid : Some Salient Features" in the congress of the International Comparative Literature Association (ICLA), Tokyo, Aug 24-27, 1991.

7

Presented a paper entitled, "Fiction in Translation: A Case-study of the Rendition of Manto ' s Urdu Stories into English by Khalid Hasan, " in the International Seminar on The Life and Works of S'adat Basan Manto, Indian Institute of Advanced Studies, Shimla; May 21-23, 1996.

8

Discussant in the Seminar on Literatures of Partition, School of International Studies, Jawaharlal Nehru University, March.1996.

9

Seminar on Need for Postcolonial Literary Theory, Department of English. Jamia Millia Islamia, Jan 14,1998.

10

Presented a paper on "Poetry in English Translation: The Case Of Urdu, " In the Festival of Letters (Sahitya Akademi), March. 1998.

11

Presented a paper in Department of English, Delhi University on "Redefining the Canon: A Case for the Study of Manto's 'Tobatek Singh' in Historical Context", Feb 20, 1999.

12

Presented a paper entitled, "Narrating Nation, Narrating Communities: Construction of Muslim Identity in Qurratulain Hyder'sAag kfl Darya" in the Festival of Letters ( Novel in search of the Nation), Sahitya Akademi, Feb, 26-28, 1999.

13

Presented a paper entitled, "Poetics and Practice of Translation: Urdu Poetry in Bangla and English Translations" in the national Seminar on Urdu Poetry After Independence, Sahitya Akademi, Delhi, Nov. 19-21, 1999.

14

Presented a paper entitled, "Tagore Translations in Urdu" in the conference of All India English Teachers' Association, Banaras Hindu University, Varanasi, Dec 1999.

15

Presented a paper entitled "Literary Historiography and the First Novel in Urdu" in the national seminar Early Novels in Indian Languages, Trivandrurn, jointly organised by Sahitya Akademi, Delhi and Centre for Comparative Literature, University of Kerala, March 25-26, 2000.

16

Presented a paper, "Contemporary Trends in Urdu Poetry" in Regional Poets' Meet, Sahitya Akademi, New Delhi, Dec.15-17, 2000.

17

Presented a Paper, "Tagore's Gora in Urdu Translation and the Questions of Authority, Legitimacy and Authenticity" in the seminar, Translating India, organised by Sahitya Akademi in collaboration with the Ministry of Culture, India, Ian 15-17, 200 I.

18

 Presented a paper, "The Interlocking Gaze: Early Travel Writing in Persian, Urdu and English, organised by the Sahitya Akademi & Goa Kala Academy, Panaji, Goa, Dec. 12-14, 2002.

19

Presented a paper, "Indian Literature/s in English Translation: Texts and Contexts", in the VI Biennial International Conference on Comparative Literature, organized by ICLA and CIIL, Mysore, India, Jan. 6-8, 2003.

20

Chaired a business session in the IACLALS Annual Conference on Postcolonial Literature: Politics, Poetics and Praxis, JNU, Delhi, Jan 23-25, 2003.

21

Delivered a talk "Recent Trends in Indian Literature/s", Karimganj College, Assam, India, Feb 14, 2003.

22

Delivered two lectures in the Department of English, Panjab University, Chandigarh, India, on (i) Comparative Literature and Comparative Indian Literature, and (ii) Studying Indian Literature/s in English Translation -- Problems and Possibilities, March 7-8, 2003.

23

Delivered a talk, "Future of Translation Studies in India", in the Colloquium, English Studies: Indian Perspectives, Jawaharlal Nehru University, Delhi, March 25-27, 2004.

24

Delivered a talk, "Pakistani Literature of the Twentieth Century" at India International Centre, New Delhi, organized by the Academy of Third World Studies, J.M.I.

25

26

27

Delivered the keynote address at the national seminar on Indian Translation Traditions organised by Department of English, South Gujarat University, Surat in collaboration with Central Insttute of Indian Languages, Mysore, March 10-11, 2006.

Workshops Attended/Conducted

1

Participant, Two-week U.G.C.- British Council Seminar-cum-Workshop on Contemporary Literary Criticism, Bombay University, Dec 9-20, 1985.

2

Participant, Three-week National Workshop on Literary Translation (Dec 19, 1988 to Jan 07, 1989) Sahitya Academy, New Delhi.

3

Participant, Three-day Workshop on Approaches to Teaching English British Council Division, New Delhi, 1989.

4

Participant, Two-week workshop on Translation from English to Urdu, Dec 1-15, 1989, Sahitya Akademi, New Delhi.

5

Resource person, 7-day workshop (July 19-25,1999), Urdu-English Tibbi (Medical) Dictionary, National Council for Promotion of Urdu Language NCPUL, New Delhi.

6

Resource person, 5-day workshop (Sept 6-10, 1999) Urdu-English Tibbi (Medical) Dictionary, NCPUL, New Delhi.

7

Resource person, 5-dayworkshop (Oct 11-15,1999) Urdu-English Tibbi (Medical) Dictionary, NCPUL, New Delhi.

8

Resource person, three-week workshop on Translating Short Fiction, JNU, New Delhi, April 04-27, 2000

9

Resource person, One- day workshop on "Information Technology for All- Emerging Challenges", lamia Millia Islarnia, Nov. 9, 2000.

10

Coordinator, 5-day workshop on Translating from English to Urdu, ldara Adabiyaat-e Urdu, Hyderabad, in collaboration with Sahitya Akaderni, Delhi, Feb 5-9,2001.

11

Coordinator, one-week international seminar-cum-workshop on Narratives and Translation, organized by Katha, New Delhi, Dec. 15-22, 2000.

12

Coordinator, 3-day seminar-cum-workshop on Translating Urdu Short Fiction in English, Department of English & Modern European Languages, J.M.I., September 18-20, 2002.

15

Resource Person, seminar on Translation in Socio-cultural Space, Jamia Millia Islamia, New Delhi, March 2004

16

Resource Person, Seminar-cum-workshop on Translating Premchand I, March 17-19, 2005

17

Resource Person, Seminar-cum-workshop on Translating Premchand II, February, March 2 – 4, 2006