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This novel employs non-sequential storytelling and cinematic techniques, setting it apart from other romantic novels. Additionally, the use of poetry is effective. Overall, it is a beautiful exploration of the universal emotion of love.

More than half of the population of India and Pakistan reside in rural areas. Although the passage of time has impacted even these remote places, there is still an enduring scent of the countryside in the soil. The bonds formed in these rural communities, including friendships, enmities, love, and hate, remain unsullied by urban pollution. These stories are ingrained in the culture, where authenticity is imbued from the very foundations.

Village life is innocent and simple. People's love and hate here are unrequited and expressed directly. The village hides many interesting characters and stories showcasing human perfection and beauty. This collection of stories mainly takes place in a village with a colorful backdrop, where unique and intriguing characters rise and fall

Sameera Gul Usman is a gifted author with a vast collection of publications. Her work beautifully portrays the complexities of human emotions and society. This book features two novelettes, both of which explore the themes of love, relationships, and bitterness.

This book comprises narratives that diverge from conventional genres. Despite common plotlines, their narrative style has been altered, demonstrating the diverse trends in world literature. This change is also observable in Urdu fiction, which has witnessed emerging experiments in recent years, lauded by readers. These stories in the reviewed book form a component of this series.

Harmony and understanding are key to a happy marriage. If these are lost, resentment and differences may arise. Marriage is more than just a contract between two people; it involves the support of family, society, and the law to ensure that the bond between two individuals endures. While marriage brings many benefits, it also requires work to maintain this special connection. This novelette is about the most delicate marital relationship in which in response to the irresponsibility of one party, the other party also takes the same path.

The partition of India and Pakistan was a significant tragedy in South Asian history. Despite the passing of years, the mental scars remain, even in the minds of the new generation who were not directly involved. Much has been written on the division, yet many stories and characters remain hidden within its vast history. One such character is Amrit Kaur, whose story is presented as a novel in this book.

This book tells stories that explore the bleak aspects of human life. The narratives are different from traditional genres, and the author has altered their style, showcasing the diverse trends in world literature. Despite sharing common plotlines, the stories are skillfully crafted to convey their unique messages.

The special thing about Musharraf Alam Zauqi's story or his novel is that in both genres, he pays a lot of attention to detail. He was often heard to say that detail is the technique of the novel or fiction which allows the thought to travel through an extended world, and that our new writers need more use of this technique. Musharraf Alam Zauqi was born on March 24, 1962 in Bihar and left the world on April 1, 2021 after suffering from an epidemic disease. Between 1997 and 2006, he was awarded the Krishna Chandra Award, Sir Syed National Award, Urdu Akademi Delhi Award, International Human Rights Award and many other awards.

A prominent Urdu poet and writer, Ashfaq Hussain was born on January in Karachi. After completing his Masters from University of Karachi, he moved to Canada where he is considered as one of the founders of literary activities. He published a quarterly Urdu magazine from Canada named 'Urdu International Canada'. A number of poetry collections have been published. The Government of Pakistan awarded him the Presidential Medal for Good Performance. Staying in Toronto (Canada). This book written by Ashfaq Hussain has a key position on the well-known poet Faiz Ahmed Faiz.

Ehtisham Hussain was born on April 21, 1922 in Mahil, a town in Azamgarh district of Uttar Pradesh, India. In 1936, after completing his MA from Allahabad, he was appointed as a lecturer in Urdu at Lucknow University. Then he became a professor of Urdu at Allahabad University. Ideologically, he was associated with the progressive movement. Therefore, Marxist influences can be easily felt on his criticism. In 1954, he was invited by an association in America to study intellectual trends there, a year later he returned from America and London and published his observations in a book called 'Sahil-o-Samundar'. Eight collections of critical essays have been published. In which 'Tanqeedi Jayeze', 'Riwayat-o-Baghawat', 'Tanqeed-o-Ilmi Tanqeed' and 'Aitabaar-e-Nazar' are particularly noteworthy. 'Virane' is a collection of short-stories. This book is also based on Urdu historical story. This story is quite long but this book narrates this long story in short which is useful for both scholars and students.

Moin Ahsan Jazbi is one of the most prominent progressive poets. But Jazbi's commitment to the movement and its literary and social ideals was on different lines, he was not one of those progressives whose art became a victim of ideological propaganda.Jazbi was born in Mubarakpur, Azamgarh. There he passed the high school examination. Interned from St. John's College, Agra and BA from Anglo-Arabic College.After completing his MA, Jazbi worked as an assistant editor in the monthly magazine 'Aajkal' for sometime. Later, he was appointed as a lecturer at Aligarh Muslim University, where he held various positions till the end.The book was a different title of Jazbi's PhD thesis for which he received his doctorate.

The special thing about Musharraf Alam Zauqi's story or his novel is that in both genres, he pays a lot of attention to detail. He was often heard to say that detail is the technique of the novel or fiction which allows the thought to travel through an extended world, and that our new writers need more use of this technique. Musharraf Alam Zauqi was born on March 24, 1962 in Bihar and left the world on April 1, 2021 after suffering from an epidemic disease. Between 1997 and 2006, he was awarded the Krishna Chandra Award, Sir Syed National Award, Urdu Akademi Delhi Award, International Human Rights Award and many other awards.

The special thing about Musharraf Alam Zauqi's story or his novel is that in both genres, he pays a lot of attention to detail. He was often heard to say that detail is the technique of the novel or fiction which allows the thought to travel through an extended world, and that our new writers need more use of this technique. Musharraf Alam Zauqi was born on March 24, 1962 in Bihar and left the world on April 1, 2021 after suffering from an epidemic disease. Between 1997 and 2006, he was awarded the Krishna Chandra Award, Sir Syed National Award, Urdu Akademi Delhi Award, International Human Rights Award and many other awards.

Muhammad Hameed Shahid is a famous Urdu fiction writer, novelist and literary critic from Pakistan. In 2017, the government of Pakistan awarded the Tamga Imtiaz in recognition of literary services. Many research papers have been written in universities on his art and personality.Muhammad Hameed Shahid's attitude is that of a creator who tests his creative essence by putting his creative essence in the pantheon of different genres, styles and themes and avoids confining himself to a narrow circle. On the one hand, this has given them the opportunity to examine themselves in different contexts, and on the other hand, they have also gained technical and intellectual openness.

Professor Dr. Abul Lais Siddiqui was a Pakistani linguist, researcher, educationist, critic, head of the Urdu Department of University of Karachi and visiting professor at Columbia University.Among his writings are 'Lucknow Ka Dabistan', 'Kuliat-e-Mushafi', 'Ghazal and Mutghazaleen', 'Aaj ka Urdu Adab', 'Tareekh-e-Zabaan Urdu Adabiyat', 'Tareekh-e-Usool-e-tanqeed', 'Jadeed Urdu Adabiyaat', 'Jama-ul-Qawaid'. 'Raft-o-Buwad', 'Tajrube Aur Riwayat', 'Jurrat Aur Uska Ahad-e-Shayari', 'Nazir Akbarabadi aur Uska Ahad-e-Shayari', 'Tareekh-e-Zaban-o-Adab-e-Urdu', 'Beeswin Sadi ka Urdu Adab' and 'Urdu mein Scienci Adab ka Ishariya' is worth mentioning.

Shahid Akhtar's fiction is the process of capturing the universal feelings of life and seeing the fictional reality through the eyes of a viewer without creating an analytical or meaningful impression. He has created an individual process of characterizing the landscape in the Surrealistic style and has tried to transform fiction into a multi-dimensional concept rather than a one-dimensional concept. In the fictions of Shahid Akhtar, not the psychological cracks, but the collective impact of psychological concepts and the earthquakes of cultural decline are prominent, which makes the reader himself shiver.

Shahd Akhtar's name needs no introduction to the Urdu world. Earlier, three of his collections of fiction, 'Barf Par Nange Paaon', Monty' and 'Khaabgeene' have come out and a novel 'Shahar Mein Samudra' has also received praise from the readers.The first quality of 'Shahar-e-Zaat' is that this novel engages its reader. The interest of the reader is maintained from the beginning to the end. In fact, Shahid's grasp of language is very strong, with simple and smooth language, the metaphors seem to flow. In other detailing, he describes things in such a way that we seem to be watching these scenes. His observation of human life also sets him apart from others. He is a very sensitive writer and knows how to convey his feelings to the reader.

Khalid Jawed has tried to look at play and entertainment from his point of view in this story and highlights the entertainment side of both cinema hall and bazaar-the story sometimes goes straight and sometimes starts like a flashback. The narrator of this story is "I" who has now become a ghost. He brings to us the memories of his past. When 'I' was fifteen years old, he met a girl named Parveen. She had said that she would study at the same level as him but the rotation days did not allow them to meet. The last time he saw the poor girl, she was suffering from asthma, which she had inherited from her mother, who was always sitting on the doorstep of her dilapidated house, coughing and sputtering. When he returned to the city ten years later, he found Parveen coughing on someone's doorstep.Personifying the cough and walking with it on the soles of the shoes and then finally having the character 'I' rub the cough vigorously on the burning road of Koltar - what? How many questions arise in the mind.Any quality in writing or speech does not arise automatically, it must have some basis. It is this basis that takes the creative instinct to the heights. Let us see how the storyteller reacts to market and cinema entertainment and the limitations of both. Today we see that old buildings or cinemas are being demolished and big malls are being built there. The market is born out of the subversion of spectacle and play, but the distinction presented here by Khalid Jawed is insightful.

"Bazar Mein Talib" is a collection of seven best fictions that were created in fourteen years. From this long period, it can be well guessed that the writer is either a very patient person or he is going through some important thing in his life. It is only after the existence of the most effective incident that he is forced to take up his pen and try unsuccessfully to give expression to his inexpressible conscience; The proof of which we get in the form of profound observation and experiences of the myth writer during the study and also deepens the belief that the background of these myths are not 'story writer' but 'stories' themselves; Those who have created themselves by forcing the creator.These seven fables of seven are social and symbolic, revolving around a symbolic character: 'Talib', this symbolic character discusses aspects of society that are part of your and our environment; but our observation is unable to see and perceive them or by chance we lose our sight, then we pretend to be blind; as if it had always been a part of our routine, we become as detached from it as the passers-by bumping shoulder to shoulder on a busy highway, oblivious to any other existence, engrossed in their tunes.

Among the questions that bother the reader the most after reading 'Khudkushi Nama' is the issue of determining suicide and murder. The incidents of suicide recorded in different chapters of the novel, were they really suicide or were they be ordered to kill? This is the question that keeps the reader of this novel restless for a long time. Killing daughters-in-law by burning and then giving it the title of suicide is in the level of murder, but due to the pressure and panic of the society, those who leave this world quietly through the door of suicide. Will not be called the victim? The system where the farmer is forced to mortgage everything and then one day he has to hang himself from a branch of a tree by the neck, should this system not be declared a murderer and the farmer a victim?This tragedy of murder versus suicide darkens the end of the novel when the main character, Talib, is killed by a mob, with a note from his pocket being declared a suicide. As if in this novel, the murders one after the other kept sliding down the suicide line.Most of the suicides in our society are, at one level or another, under the order of murder. Society, morals, relationships, honor and countless other factors push many people in this direction, where they feel that the only way to get rid of all the troubles is to be free from this life. In such a situation, it is very difficult to put all the blame on the shoulders of the person who commits suicide and to blame those 'social nuances and pressures', on whose hands a little blood of the deceased is clearly visible.

No significant studies have been done on the subject or on any similar subject till now, Urdu fiction and Indian films. In this sense, this book by Rizwan-ul-Haq is the first letter on this subject. It cannot be said that this work is absolute perfect, but the author has tried as much as possible to leave no gaps. So far, only three articles on this topic have come across to me: 'Fiction to Film' by Fuzail Jafri, 'Fiction in the Context of Electronic Media' by Prof. Khalid Saeed and 'Urdu Fictional Literature and Hamari Films' by Prem Pal Ashq. Such an important subject has been completely neglected in Urdu till now.All the movies based on Urdu literary fiction are included in this book. Premchand is a fiction writer in both Hindi and Urdu. Some of his novels and fictions have different titles in Hindi and whenever films have been made on this type of literature, they often have Hindi texts in front of them and often the names of the films are also based on Hindi texts. Premchand's fiction films are as much Hindi as Urdu. For the author, all films are Urdu films. The certificate doesn't mean anything to them. When a pure Urdu film like 'Mughal-e-Azam' is given the certificate of a Hindi film, it cannot be doubted that it is Hindi or Hindustani. So is a movie Hindi or Urdu? It cannot be judged from the film's certificate.

In the main character of the novel, insomnia, horror, madness, sexuality, epilepsy, syphilis and leprosy and madness are all gathered. His mother is belonging to singing community, a lustful father from a landed family, who is forced to live away from home after marriage and believes that his son is the result of his wife's illicit affair with a runaway soldier.The main character is first subjected to public violence when he is seen making sexual gestures to a slightly older girl, from his rooftop. Since childhood, father and son are bound by the chain of hatred, the son wants to kill the father. In these situations, after a quarrel, the mother disappears, the father's attitude towards the son changes, but not much. When diseases and misbehavior increased, marriage was the solution after drugs and gangsters, when nothing changed, they were sent to an insane asylum where they were treated with electric shocks. It is only after this that the prenatal scene is revealed to him, which is when he was eight months old in his mother's womb and was forced to have sexual pleasure by his father.The main character mentions suicide a lot but it is not suicide from beginning to end, he starts talking about killing his father from his childhood and even kills him once but in thought. He sees his mother for the last time at the soldiers' cemetery. But despite this, his attitude does not change from his father.

After 1970, some fiction writers raised questions that the story and narration have been removed from fiction and such a confusing atmosphere is being created, which does not allow fiction to be comprehensible. This voice of protest grew louder by the 1980s, and modern fiction writers began to favor non-metaphorical and narrative styles in order to bring back the anecdotal.This is the stage in the context of which the yeast of Shahid Akhtar's stories developed. He began to grasp the new landscape of human tradition and social breakdown amidst the living and breathing characters.We can consider Shahid Akhtar as a representative of the updated and modern tradition of Urdu fiction.Shahid Akhtar's fiction is a process of capturing the universal feelings of life and seeing fictional reality through the eyes of a viewer without creating an analytical or interpretive impression.Shahid Akhtar has made these characters of big cities his subject which are called Margined Characters. These cities include Mumbai and Kanpur. There is a lot of fiction on Mumbai in Urdu but Shahid Akhtar has presented Mumbai as a symbolic city in his fiction, so Kanpur is his main palace where he observes and studies the basic institutions of life which are fundamental to every other values. captures the scene of destruction.

Shahid Akhtar's narrative continues with his own creative richness. Fluency of expression with clear expression creates readability and no interruptions in delivery. Those things are done in secret in such a way that the imaginary enjoyment of the beauty in the oat increases. What lies behind it becomes interesting. Nevertheless, while reading Shahid Akhtar, one sometimes fears that he may fall into the cycle of eroticism, from which he has narrowly escaped so far. At one or two places, they have come to the mood of creating poetry in the sentences.Shahid Akhtar also exposes international religious blackouts through his art and also shows a mirror to the general social constitution. These are the eternal problems of the mortal world where only the artist's eyes and artistic values work.

Shahid Akhtar's fiction breathes in the present moment. Here they are today, in full force. It is a search for today, even if it is showing a descent into the cultural decline of today. If they have a glimpse of the past, then this form is seen in the mirror of today.Shahid Akhtar draws on the depth of psychology for the creative practice of characterization and narrative where sex becomes art. Sex is a natural thing and nature is not art, it is nature itself. Highlighting the beauty of nature by separating it from its non-beauty is the work of art, but it is the effort of the artist to bring its non-beauty to the level of art through creative efforts. As an artist, Shahid Akhtar plays the role of a psychological realist.

Saying a poem is not a desire to seek praise from the world, it is not a display of one's talent. It is the act of looking at your past moments, upside down, hugging your waking chest and loving it, waking up with it, burning with it. Like an innocent child, when he finds something he likes, he wants to stay as long as possible in the company of his find and forget everything. This is how the poem came to me. So I always held him close to my chest, just sharing my loneliness.(Khurshid Akram)

After reading the stories of Khursheed Akram, you cannot pass by without attention. After reading his stories, you feel that the storyteller has something to say... While reading his stories, you don't get tearful but you definitely get the feeling that the world is changing very fast. A fiction writer's way of thinking is somewhat different...pets, hubris, lambs for the slaughter; There are myths out of the ordinary. Today, the question arises again and again, who is the new fiction writer? I think that the new way of thinking that tells us that the world and the people living in it are changing very fast, even if we think they are the same; Writers who succeed in convincing us in their writings are new, whether they have been writing ten years ago, forty years ago, or just started writing yesterday. From this point of view, Khursheed Akram seems to me to be a new fiction writer. (ANWAR KHAN, FAMOUS FICTION WRITER, INDIA)

Narrating the human experience in prose form in the fewest words is called Afsancha/Micro Fiction/Flash Fiction. In literature, this genre was introduced following English literature, in which stream of consciousness and free association of thought are practiced. A short poem in poetry and a Afsancha in prose are of the same genre, but they could not be popular in Urdu literature.To say such a profound thing in minimum words that the reader could not get out of this surprise for a few minutes. The most important and special thing in Afsancha is its punch line...