Literary Works
A prolific writer (she began to write at the young age of 11), her literary works include some 12 novels and novellas and four collections of short stories. Hyder has also done a significant amount of translation of classics. Her own works have been translated into English and other languages.
Aag Ka Duriya (River of Fire), her magnum opus, is a landmark novel that explores the vast sweep of time and history. It tells a story that moves from the fourth century BC to the post-Independence period in India and Pakistan, pausing at the many crucial epochs of history. Aamer Hussein in The Times Literary Supplement wrote that River of Fire is to Urdu fiction what One Hundred Years of Solitude is to Hispanic literature. Aag Ka Darya is essentially a novel written from the point of view of the believers of Pakistan and depicts their agony in detail, specially towards the climax of the novel.
Her other published works include: "Mere Bhi Sanam Khane", 1949; "Safina-e-Gham-e-Dil", 1952; Patjhar ki Awaz (The Voice of Autumn), 1965; Raushni ki Raftar (The Speed of Light), 1982; the short novel Chaye ke Bagh (Tea Plantations), 1965 (one of four novellas including Dilruba, Sita Haran, Agle Janam Mohe Bitiya Na Kijo, exploring gender injustice) ; and the family chronicle Kar e Jahan Daraz Hai (The Work of the World Goes On).
Compared to her exact contemporaries, Milan Kundera and Gabriel García Márquez, the breadth of her literary canvas, her vision and insight, transcend time.
Amitav Ghosh writes that "hers is one of the most important Indian voices of the twentieth century."
Her first short story, Bi-Chuhiya (Little Miss Mouse), was published in children’s magazine Phool and at the age of nineteen wrote her first novel "Mayray Bhee Sanam khanay".
Read more about this topic: Qurratulain Hyder
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“There is a difference between dramatizing your sensibility and your personality. The literary works which we think of as classics did the former. Much modern writing does the latter, and so has an affinity with, say, night-club acts in all their shoddy immediacy.”
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“I lay my eternal curse on whomsoever shall now or at any time hereafter make schoolbooks of my works and make me hated as Shakespeare is hated. My plays were not designed as instruments of torture. All the schools that lust after them get this answer, and will never get any other.”
—George Bernard Shaw (1856–1950)