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3.92 AVERAGE
3.92 AVERAGE
I sort of want to cry, I'm confused? 'Twas okay, I'm not going to cry.
4.5/5 stars.
Has to be the first classic that chugged with such vigor. I couldn't stop reading it, or thinking about it when I wasn't reading it. The characters, their lives, the atmosphere, all of it kept calling to me. Even though the story plowed through the dullest part of the independence, and you could practically feel the character's boredom with the stagnancy of their courtyard as the whole political uproar happened, the story had this way of unfolding that kept me wanting for more, kept me wishing to see it through.
This book is about a family that got disrupted during the political unrest that started around the 1930s in British-ruled-Hindustan. The male cast of the character had a different political view and agenda each. One believed in a two nation's theory, another just wanted to get rid of the British-Raj, then there was a character (female) who believed that keeping British rule was the best way of surviving. So all of that differing opinions, all of that uncertainty, in a single household. That too, in the shadow of a long history of being elites then suddenly turning poor because of a recently failed independence movement.
Then there were tons of emotion of growing up in such closed-up space. For Aaliya, the main leading lady, it felt to me that this cramped up space didn't allow her to think her decisions through. To really understand where she stood in the greater picture. What was it that she really wanted. That's why she ended up the way she did. It was harrowing to read that end.
I picked up this book since it has started to get dramatized in Pakistan's telly, just wanted to see if it was something I'm willing to be invested on enough to catch up weekly episodes, hadn't realized that I would fall so madly in love with these characters and story, even though it covers such a small picture of such a big historic event. P.S, can't wait to see Ahad Raza Mir as Jameel now, as his character is already so close to my heart and I'm already in so much pain for him.
And if anyone is thinking that why did I gave fewer stars if I loved this book this much, then the answer is that even though the name and synopsis suggested it already, when I began reading a pre-partition novel, I was expecting the author to make us see some teeny-tiny amount of struggle the males of that time did. In our country, the literature seems to only focus on females. Other aspects of the picture always get lost.
Still, a highly recommended book that would really shed some light on this really interesting historical period and of a really less talked about after-effect of the World War II. Still, I wish to find some historical literature of pre-partition that would show me the struggles of the men of that time. What happened in the streets? Why did those characters keep visiting Patna or Delhi? What was happening there? From a fictional perspective. Any suggestions would be highly appreciated. :)
Has to be the first classic that chugged with such vigor. I couldn't stop reading it, or thinking about it when I wasn't reading it. The characters, their lives, the atmosphere, all of it kept calling to me. Even though the story plowed through the dullest part of the independence, and you could practically feel the character's boredom with the stagnancy of their courtyard as the whole political uproar happened, the story had this way of unfolding that kept me wanting for more, kept me wishing to see it through.
This book is about a family that got disrupted during the political unrest that started around the 1930s in British-ruled-Hindustan. The male cast of the character had a different political view and agenda each. One believed in a two nation's theory, another just wanted to get rid of the British-Raj, then there was a character (female) who believed that keeping British rule was the best way of surviving. So all of that differing opinions, all of that uncertainty, in a single household. That too, in the shadow of a long history of being elites then suddenly turning poor because of a recently failed independence movement.
Then there were tons of emotion of growing up in such closed-up space. For Aaliya, the main leading lady, it felt to me that this cramped up space didn't allow her to think her decisions through. To really understand where she stood in the greater picture. What was it that she really wanted. That's why she ended up the way she did. It was harrowing to read that end.
I picked up this book since it has started to get dramatized in Pakistan's telly, just wanted to see if it was something I'm willing to be invested on enough to catch up weekly episodes, hadn't realized that I would fall so madly in love with these characters and story, even though it covers such a small picture of such a big historic event. P.S, can't wait to see Ahad Raza Mir as Jameel now, as his character is already so close to my heart and I'm already in so much pain for him.
And if anyone is thinking that why did I gave fewer stars if I loved this book this much, then the answer is that even though the name and synopsis suggested it already, when I began reading a pre-partition novel, I was expecting the author to make us see some teeny-tiny amount of struggle the males of that time did. In our country, the literature seems to only focus on females. Other aspects of the picture always get lost.
Still, a highly recommended book that would really shed some light on this really interesting historical period and of a really less talked about after-effect of the World War II. Still, I wish to find some historical literature of pre-partition that would show me the struggles of the men of that time. What happened in the streets? Why did those characters keep visiting Patna or Delhi? What was happening there? From a fictional perspective. Any suggestions would be highly appreciated. :)
My 300th post and I am glad that's it's a review of one of the finest books I have read this year. Read on to hear my thoughts about it.
~
Khadija Mastur was known as the Bronte sister of Urdu literature. I can see why. This book is a literary masterpiece. Read on to hear my thoughts about it. Very delicately translated by Daisy Rockwell.
~
This novel is set in the 1940’s in the background of Indian independence and with the partition looming as a dark shadow. It also puts light on the political furore that went within the country during those times.
~
This is the story of Aliya, who lives her life like a caged bird in the inner courtyard of her house. She is tired of the trifle squabbles that take place in her home everyday. She longs to educate herself and spread her wings in the wide sky. The women of the household are engrossed in gossips and picking fights over events in the past. The situation worsens when Aliya’s sister commits suicide and shortly later her father is arrested. She and her mother shift to her Uncle’s place where the situation is far from perfect, men engrossed in the political happenings in the country and women who only dream of stepping outside the house. Aliya keeps herself busy in her books and studies and dreams of a free life one day and that forms the rest of the story.
~
This book is a fine feminist classic with the courtyard as the central setting, with respect to the bygone era where the courtyard was a place where women used to gather together. I loved how the book had a feminist tone, which was very ahead of its time. It was a very difficult review to write as I had so many thoughts while reading it.
~
This is not a partition or a political novel per say. Overall this is a masterpiece and I finished it in two days. Please also read the Afterword by Daisy Rockwell as it will help you to understand the book better, it’s a treasure trove. This book releases on October 10, 2018, so be sure to keep an eye on it as you don’t want to miss out on this one!! Full review on the blog. Link- https://thebookishtales.wordpress.com/2018/09/27/the-womens-courtyard-by-khadija-mastur-review/
~
Khadija Mastur was known as the Bronte sister of Urdu literature. I can see why. This book is a literary masterpiece. Read on to hear my thoughts about it. Very delicately translated by Daisy Rockwell.
~
This novel is set in the 1940’s in the background of Indian independence and with the partition looming as a dark shadow. It also puts light on the political furore that went within the country during those times.
~
This is the story of Aliya, who lives her life like a caged bird in the inner courtyard of her house. She is tired of the trifle squabbles that take place in her home everyday. She longs to educate herself and spread her wings in the wide sky. The women of the household are engrossed in gossips and picking fights over events in the past. The situation worsens when Aliya’s sister commits suicide and shortly later her father is arrested. She and her mother shift to her Uncle’s place where the situation is far from perfect, men engrossed in the political happenings in the country and women who only dream of stepping outside the house. Aliya keeps herself busy in her books and studies and dreams of a free life one day and that forms the rest of the story.
~
This book is a fine feminist classic with the courtyard as the central setting, with respect to the bygone era where the courtyard was a place where women used to gather together. I loved how the book had a feminist tone, which was very ahead of its time. It was a very difficult review to write as I had so many thoughts while reading it.
~
This is not a partition or a political novel per say. Overall this is a masterpiece and I finished it in two days. Please also read the Afterword by Daisy Rockwell as it will help you to understand the book better, it’s a treasure trove. This book releases on October 10, 2018, so be sure to keep an eye on it as you don’t want to miss out on this one!! Full review on the blog. Link- https://thebookishtales.wordpress.com/2018/09/27/the-womens-courtyard-by-khadija-mastur-review/
Review originally posted on A Skeptical Reader.
The Women’s Courtyard revolves around the aangan (courtyard) of a Muslim home as the subcontinent of India struggles to break free from British Raj. Embodied in the narrative are political uprisings, marriage proposals, dowry gatherings, and countless family squabbles. The main character of the story, Aliya, has a passion for learning and seeks to break away from the norms that she sees as the downfalls of women in her home. While Khadija Mastoor and her sister have been considered the Brontës of Urdu literature, in The Women’s Courtyard, Aliya is a far better character than the likes of Jane Eyre or Catherine Earnshaw.
The writing of the novel is congested and the atmosphere is claustrophobic but that’s precisely the point. Things are messy in this home. On one hand, a father joins the Congress party and dreams of an independent Hindustan for Muslims and Hindus alike whereas the son fights for the creation of Pakistan, a Muslim homeland for Indians of Islamic faith.
There are numerous nuances of South Asian culture in the confines of this aangan, startlingly relatable to myself as an Indian American reader in the 21st century. The hollow superiority of a MA in English as opposed to a MA in Urdu, the dramatically tragic romances of young lovers, the dependence of a man’s worth on his ability to provide, and so and so forth. Each is handled with a subtly that is genuine and breathtaking.
What cinched this novel as a classic was the ending. Multiples times throughout the novel Aliya is lured towards the conventional path of conformity and tradition. She has seen many women in her life struggle with relationships and swears an oath never to make the same mistake. But whilst most of the time, I was rooting for Aliya to stay true to herself, at times I found myself urging her to take a leap of faith and fall in love. And the author was certainly mercilessly in her teasing. I was torn till the very last paragraph how I wanted this novel to end but the way in which the author swept me off my feet was impressive. I loved this ending and I thoroughly enjoyed this novel.
P.S. This novel was adapted into a television series last year! In case you’re interested in watching it after reading, here’s a snippet: https://www.youtube.com/watch?v=LwxnBPxU3Zw
The Women’s Courtyard revolves around the aangan (courtyard) of a Muslim home as the subcontinent of India struggles to break free from British Raj. Embodied in the narrative are political uprisings, marriage proposals, dowry gatherings, and countless family squabbles. The main character of the story, Aliya, has a passion for learning and seeks to break away from the norms that she sees as the downfalls of women in her home. While Khadija Mastoor and her sister have been considered the Brontës of Urdu literature, in The Women’s Courtyard, Aliya is a far better character than the likes of Jane Eyre or Catherine Earnshaw.
The writing of the novel is congested and the atmosphere is claustrophobic but that’s precisely the point. Things are messy in this home. On one hand, a father joins the Congress party and dreams of an independent Hindustan for Muslims and Hindus alike whereas the son fights for the creation of Pakistan, a Muslim homeland for Indians of Islamic faith.
There are numerous nuances of South Asian culture in the confines of this aangan, startlingly relatable to myself as an Indian American reader in the 21st century. The hollow superiority of a MA in English as opposed to a MA in Urdu, the dramatically tragic romances of young lovers, the dependence of a man’s worth on his ability to provide, and so and so forth. Each is handled with a subtly that is genuine and breathtaking.
What cinched this novel as a classic was the ending. Multiples times throughout the novel Aliya is lured towards the conventional path of conformity and tradition. She has seen many women in her life struggle with relationships and swears an oath never to make the same mistake. But whilst most of the time, I was rooting for Aliya to stay true to herself, at times I found myself urging her to take a leap of faith and fall in love. And the author was certainly mercilessly in her teasing. I was torn till the very last paragraph how I wanted this novel to end but the way in which the author swept me off my feet was impressive. I loved this ending and I thoroughly enjoyed this novel.
P.S. This novel was adapted into a television series last year! In case you’re interested in watching it after reading, here’s a snippet: https://www.youtube.com/watch?v=LwxnBPxU3Zw
| Book Review | The Women's Courtyard
•
There are certain books that you desperately wish to fall in love with. You wait till the very last chapter to see if all those hours of reading are worth it. While few of the stories turn for the best, there are others that simply fail to impress us. The Women's Courtyard, for me falls into the latter category. Originally written in1962, this novel was and still is considered to be a feminist masterpiece. But I can't help but wonder why? Don't mind me when I say that the entire experience of enjoying this book was somehow lost on me. I do however loved the manner in which Daisy Rockwell has translated this novel. So much so that one cannot even make out the fact that it was originally written in Urdu.
•
Set during the pre and post Independence era, The Women's Courtyard is about the lives of women within a particular household. Aliya, the protagonist takes us through the plight of women when their husbands and sons take part in rallies against British and join religious parties. While few of the men are imprisoned, few die and others remain unemployed, it's the women who bear the brunt of it. I probably wouldn't have known the underlying feminism that the book holds if I hadn't read about it earlier. The female characters are all shades of temperament ranging from the quiet Tehmina to the unabashedly shameless Amma. I do understand how Mastur has tried to create a stark contrast between the women but I often felt that most of it was unnecessary.
•
While women of the house managed and rationed the limited food and other commodities, the men liked to lounge around. From having to deal with her father who is imprisoned to the uncle who doesn't work, Aliya seems to have an abundance of love for every other character except Jameel. Jameel's constant pleads to marry him was lost on Aliya. Her feelings towards love was repulsive for the things her sister and neighbour had to suffer. Considering how she felt about love, it was surprising to see how the book ended. It was rushed, messy and extremely unwanted. Although this book has garnered much love across the community, I'm afraid I do not feel the same way.
•
3/5.
•
There are certain books that you desperately wish to fall in love with. You wait till the very last chapter to see if all those hours of reading are worth it. While few of the stories turn for the best, there are others that simply fail to impress us. The Women's Courtyard, for me falls into the latter category. Originally written in1962, this novel was and still is considered to be a feminist masterpiece. But I can't help but wonder why? Don't mind me when I say that the entire experience of enjoying this book was somehow lost on me. I do however loved the manner in which Daisy Rockwell has translated this novel. So much so that one cannot even make out the fact that it was originally written in Urdu.
•
Set during the pre and post Independence era, The Women's Courtyard is about the lives of women within a particular household. Aliya, the protagonist takes us through the plight of women when their husbands and sons take part in rallies against British and join religious parties. While few of the men are imprisoned, few die and others remain unemployed, it's the women who bear the brunt of it. I probably wouldn't have known the underlying feminism that the book holds if I hadn't read about it earlier. The female characters are all shades of temperament ranging from the quiet Tehmina to the unabashedly shameless Amma. I do understand how Mastur has tried to create a stark contrast between the women but I often felt that most of it was unnecessary.
•
While women of the house managed and rationed the limited food and other commodities, the men liked to lounge around. From having to deal with her father who is imprisoned to the uncle who doesn't work, Aliya seems to have an abundance of love for every other character except Jameel. Jameel's constant pleads to marry him was lost on Aliya. Her feelings towards love was repulsive for the things her sister and neighbour had to suffer. Considering how she felt about love, it was surprising to see how the book ended. It was rushed, messy and extremely unwanted. Although this book has garnered much love across the community, I'm afraid I do not feel the same way.
•
3/5.
As I first started reading the book, I was not very impressed. I was not the biggest fan of the style of writing, which is a little abrupt and the actions described in the book seem independent of each other, taking away the flow of a scene. However, I forgot to keep in mind the fact that this was a translation. As Daisy Rockwell succinctly explains in the Afterword of the book, the style adopted by the author has been imitated by her into the translation and the author herself is known to be an elegant writer who uses her words sparingly unlike what Urdu writers usually favour.
Looking at it after finishing the book, this style gives the reader a lot of freedom to fill in the gaps with the details. You get used to the abrupt style and I feel that it also makes the read quicker(without long winding descriptions). There seemed to be an inconsistency in the behaviour of the characters to events and conversations. In some places the people within the book acknowledge these inconsistencies as abnormal, but a few others go unmentioned. I usually felt this while reading the dialogue between Aliya and Jameel. I think the author may have wanted to attribute this to the fickle human nature.
Coming to the story, it is not your typical Partition or Independence novel. It focuses on the domestic and personal implications of the Indian patriarch's participation in the freedom struggle. The most striking and noteworthy feature of this book is its depiction of women. The varied, complex (not purely good nor wholly evil), independent and realistic portrayal of women is breathtaking. Most Indian novels, try to accomplish this, but apart from a few superficial details, fail to do it. The author, through this story, establishes that no two women are truly the same and gives much needed depth and individuality to the women, especially in the rigid and oppressive patriarchal setting.
I picked this up from the Women and Gender section of the bookstore and I am glad it turned out to be such a great one! I would recommend this book to eveyone, especially feminists!
Looking at it after finishing the book, this style gives the reader a lot of freedom to fill in the gaps with the details. You get used to the abrupt style and I feel that it also makes the read quicker(without long winding descriptions). There seemed to be an inconsistency in the behaviour of the characters to events and conversations. In some places the people within the book acknowledge these inconsistencies as abnormal, but a few others go unmentioned. I usually felt this while reading the dialogue between Aliya and Jameel. I think the author may have wanted to attribute this to the fickle human nature.
Coming to the story, it is not your typical Partition or Independence novel. It focuses on the domestic and personal implications of the Indian patriarch's participation in the freedom struggle. The most striking and noteworthy feature of this book is its depiction of women. The varied, complex (not purely good nor wholly evil), independent and realistic portrayal of women is breathtaking. Most Indian novels, try to accomplish this, but apart from a few superficial details, fail to do it. The author, through this story, establishes that no two women are truly the same and gives much needed depth and individuality to the women, especially in the rigid and oppressive patriarchal setting.
I picked this up from the Women and Gender section of the bookstore and I am glad it turned out to be such a great one! I would recommend this book to eveyone, especially feminists!
As published in LitGleam: October Issue
Mastur’s ‘The Women’s Courtyard’ brings to focus, the ‘aangan’ of a house, and the epicenter to most household chores, discussions, and storytelling. It is a place that is primarily governed by the women of the house. Set in the 1940s, ‘The Women’s Courtyard’ is the tale of a Muslim family that is equally influenced by pre-partition events and ingrained patriarchy.
After a brief ‘Past’ where Aliya’s life turns upside down due to the loss of her sister and her father being sent to jail, Aliya and her mother move into her uncle’s house. Thus, Aliya finds herself coming to age in a strange household where political aspirations are rupturing a perfectly healthy household.
Aliya has been hardened by her past experiences and is detached from what’s happening in this house, neglected most of the time. She cries tears of rage in the solitude of her room, accusing people of the choices they make, she despises love and is a strong advocate of how love can only bring destruction, never happiness. Disgusted by Jameel’s advances and declaration of love especially after losing her sister Tehmina and her friend Kusum to suicide in the hands of their lovers, Aliya maintains a safe distance, never entertaining or acknowledging any of it.
Aliya admires (almost blindly) her father and her uncle because of their strong political opinions, but criticizes them when there is an imbalance in the household. Her knowledge of the ongoing fight for independence and the difference in ideologies between Congress and The Muslim League comes from the debates brought into the courtyard by the men. Her life is confined to this courtyard, detached from the outside world and its influence.
“How strangely he was asserting his authority over the household today, and just because his political beliefs were being mocked.”
Aliya’s mother- cynical and cruel, can be very opinionated at times. She openly condemns her mother-in-law’s inability to poison her own daughter because of her marriage to a poor farmer. She shows immense strength in the face of crisis, the absence of a male member in the family in this case, but also repels happiness by always finding a grim thought to latch on to.
Similarly, each woman in this house has their fair share of loss and disappointment. They can be seen expressing their opinions either through loud tones and rebellious actions or by muttering to themselves how their small and humble world is now falling apart. Aliya, on the other hand, defies the social norms and finishes her education without falling into the trap of forced marriage or everyday chores.
The Women’s Courtyard focuses on the life of the women of the house, who are not allowed to have political aspirations (or opinions, for that matter) and are constantly tormented by the fact that the men would rather give their lives up for the country than take care of their own house. The only way partition enters this courtyard is through the men. They are the harbingers of news, good and bad alike. As the country fights for freedom, the women struggle to hold the house together and provide to its inhabitants, the very basic needs in life.
Mastur’s prose lacks sentimentality and is neither flowery nor ornate. The narration can be considered merely as an observation of sorts. While the women are constantly tormented, their love for their male counterparts and their sons is immense and that is what holds this family together.
The courtyard can be considered as a stage, the characters being puppets of the patriarchy. Not even once does the narrative venture out of this courtyard. The story brings us out of the political turmoil that we all enjoy reading (stories of bloodshed and fights rarely enter this courtyard) and dunks us into the lives of the women, always home, worried and scared out of their wits (especially during riots and rallies). While the story talks about political ideologies, the narrator doesn’t want to impose them on us or ask us to form an opinion and pick a side. Instead, we are told about the systematic violence that exists within the four walls of a house, a lack of freedom in the name of tradition and customs.
The story cannot be considered a feminist story as such because the women are confined to a geographical location, going about their assigned tasks and subjected to the unkindness of the patriarchy at all times. Aliya voices her opinions but never in a way that will cause a shift in power within the house. Her monologues are spoken best during the late hours or in moments of isolation.
Daisy Rockwell’s translation is the second version of the book that was initially translated as ‘The Inner Courtyard’. Rockwell’s translation from Urdu can be described as crisp, preserving the true essence of the original text. A look at the afterword is essential to understand where she stands with the book and what influenced her to translate this book into English.
‘The Women’s Courtyard’ renders an independent voice to the women stuck in domesticity, repressed by unjustified patriarchy and forced to live a life without purpose or opinions.
Mastur’s ‘The Women’s Courtyard’ brings to focus, the ‘aangan’ of a house, and the epicenter to most household chores, discussions, and storytelling. It is a place that is primarily governed by the women of the house. Set in the 1940s, ‘The Women’s Courtyard’ is the tale of a Muslim family that is equally influenced by pre-partition events and ingrained patriarchy.
After a brief ‘Past’ where Aliya’s life turns upside down due to the loss of her sister and her father being sent to jail, Aliya and her mother move into her uncle’s house. Thus, Aliya finds herself coming to age in a strange household where political aspirations are rupturing a perfectly healthy household.
Aliya has been hardened by her past experiences and is detached from what’s happening in this house, neglected most of the time. She cries tears of rage in the solitude of her room, accusing people of the choices they make, she despises love and is a strong advocate of how love can only bring destruction, never happiness. Disgusted by Jameel’s advances and declaration of love especially after losing her sister Tehmina and her friend Kusum to suicide in the hands of their lovers, Aliya maintains a safe distance, never entertaining or acknowledging any of it.
Aliya admires (almost blindly) her father and her uncle because of their strong political opinions, but criticizes them when there is an imbalance in the household. Her knowledge of the ongoing fight for independence and the difference in ideologies between Congress and The Muslim League comes from the debates brought into the courtyard by the men. Her life is confined to this courtyard, detached from the outside world and its influence.
“How strangely he was asserting his authority over the household today, and just because his political beliefs were being mocked.”
Aliya’s mother- cynical and cruel, can be very opinionated at times. She openly condemns her mother-in-law’s inability to poison her own daughter because of her marriage to a poor farmer. She shows immense strength in the face of crisis, the absence of a male member in the family in this case, but also repels happiness by always finding a grim thought to latch on to.
Similarly, each woman in this house has their fair share of loss and disappointment. They can be seen expressing their opinions either through loud tones and rebellious actions or by muttering to themselves how their small and humble world is now falling apart. Aliya, on the other hand, defies the social norms and finishes her education without falling into the trap of forced marriage or everyday chores.
The Women’s Courtyard focuses on the life of the women of the house, who are not allowed to have political aspirations (or opinions, for that matter) and are constantly tormented by the fact that the men would rather give their lives up for the country than take care of their own house. The only way partition enters this courtyard is through the men. They are the harbingers of news, good and bad alike. As the country fights for freedom, the women struggle to hold the house together and provide to its inhabitants, the very basic needs in life.
Mastur’s prose lacks sentimentality and is neither flowery nor ornate. The narration can be considered merely as an observation of sorts. While the women are constantly tormented, their love for their male counterparts and their sons is immense and that is what holds this family together.
The courtyard can be considered as a stage, the characters being puppets of the patriarchy. Not even once does the narrative venture out of this courtyard. The story brings us out of the political turmoil that we all enjoy reading (stories of bloodshed and fights rarely enter this courtyard) and dunks us into the lives of the women, always home, worried and scared out of their wits (especially during riots and rallies). While the story talks about political ideologies, the narrator doesn’t want to impose them on us or ask us to form an opinion and pick a side. Instead, we are told about the systematic violence that exists within the four walls of a house, a lack of freedom in the name of tradition and customs.
The story cannot be considered a feminist story as such because the women are confined to a geographical location, going about their assigned tasks and subjected to the unkindness of the patriarchy at all times. Aliya voices her opinions but never in a way that will cause a shift in power within the house. Her monologues are spoken best during the late hours or in moments of isolation.
Daisy Rockwell’s translation is the second version of the book that was initially translated as ‘The Inner Courtyard’. Rockwell’s translation from Urdu can be described as crisp, preserving the true essence of the original text. A look at the afterword is essential to understand where she stands with the book and what influenced her to translate this book into English.
‘The Women’s Courtyard’ renders an independent voice to the women stuck in domesticity, repressed by unjustified patriarchy and forced to live a life without purpose or opinions.
Feminist Urdu classic, written in 1962 about the Partition (1947). I docked a star because I think the translation is a bit too literal, to the point where it doesn't quite work in English on a sentence-to-sentence level. That, combined with a few moments of true confusion that I can't know for sure are errors but seemed really strange, took me out of the book and let down my overall reading experience. Assuming these aren't issues in the original Urdu, I would give Mastoor's work 4 stars. It's an excellent, skillful, and understated exploration of women's experiences during this period of Indian/Pakistani history.