38 Bahadurabad by Zeeba Sadiq.
I do not recall when I had purchased the book, or why I had purchased it. Nor do I recall why I chose to read it now when I hadn’t read it in all these years. But somehow, I had stared at the book, and the book had stared back at me, until I could no longer evade it.
Through the book, I met a young author who chose to write under the name of Zeeba. The more I read the book, the more I was intrigued by the author. I recognized a strange, uncanny resemblance to my own self…or perhaps to the elements of life that were a part of my formative years in a country that was very different from what it is today. Somehow, our lives were enmeshed in a strange way. Zeeba’s description of her childhood that drew sustenance from the soulful characters whose lives were entwined with hers, evoked in me a personal sense of loss. Her words captured the sublime elements of personality and human interactions that went into making the ordinary pattern of life extraordinary. That was an era when people lived more authentic lives, and knew the art of transforming their poverty and adversity into stories of valour. There was much that they had survived, defeated, and outlived; there was much that had enriched them from within, no matter how poor or uneducated they were on the outside. Those were years when our subcontinent retained something of our cultural and spiritual essence; our cultural soul had not yet been eroded by bloodshed, war, or the forces of globalization. The only other work that evoked a similar mood was the television series Buniyaad. Zeeba wrote about the loss of the meanings created by forgotten cities and forgotten characters. This resonated with me.
I was intrigued by Zeeba, and I looked her up. As if to complete the story of losses, I learnt that Zeeba had passed away abruptly in 2010, from an aneurysm. In 2010, I had already returned from London. But in 2004, when Zeeba was alive, we lived in the same city, never having heard about each other. Like all the souls I had never met and who became my family because their perceptions, quests, and private sorrows throbbed in me, Zeeba became my family too. The family that I had never met, but the family that I perhaps knew better than the people I know for real.
In the course of my exploration, I stumbled on two articles that touched upon Zeeba’s work. These articles were written by Taha Kehar who had never met Zeeba for real, but whose writings had accessed her world and her mind in a way that only writers are capable of. I downed both the articles, holding on to every word. One of the articles was about how 38 Bahadurabad had acquired meaning as a tangible world that was used to access something intangible shared by a mother and a son. This resonated with me because even though my mother is alive, I am already preparing for the time she will be gone. Sometimes, the words I write, are my means of holding on to her- to all that she stood for. The other article was about the forgotten soul of Karachi. My own equivalent of this is the sense of loss I feel when I think of the Bangalore and the India that I left behind.
In an author’s work, if we can find a bit of our own worlds- the part that is private, personally meaningful, that we cherish deeply, and that cannot be described casually or carelessly, the author becomes family. Zeeba, Taha, and me. We have never met. But 38 Bahadurabad ties us together. In 38 Bahadurabad, are the perceptions and the memories that time took away from us, and that can never again be found in the external reality of our lives. 38 Bahadurabad helps me pick up the pen where Zeeba left off.