Mahesh has been serving the Haj pilgrims for more than two decades.

    Konduri Mahesh

As the first batch of Haj pilgrims left the other day amidst chants of Labbaik Allahuma Labbaik ..., his eyes turned moist. Neither he was seeing off his family, nor was he one of the onlookers thronging the Haj House. Mr Konduri Mahesh is part of Telangana State Haj Committee (TSHC) staff helping for hassle-free departure of pilgrims from Hyderabad. And interestingly, he is the only non Muslim member of the TSHC.

Mahesh has been serving the Haj pilgrims for more than two decades. He knows more about Haj than many first-time pilgrims. His fluent Urdu and knowledge of rituals connected with Haj is surprising. Many pilgrims do a double take when they learn his name. But this 40-year-old has got used to it. “I am very comfortable working in the Haj committee. Serving the guests of Allah gives utmost satisfaction,” says Mahesh who is in the computer section of TSHC.



It was in 1997 that he joined the Haj committee as a temporary staff and in 2011 his employment was regularised. Initially he was selected for the post of a home guard and later as a constable. But by some twist of fate, he landed in a different job. “My knowledge of computers made the authorities post me in the Haj co-mmittee,” says Mahesh.

Before he joined the committee, he knew nothing about Haj or its significance. Now he knows everything about the fifth pillar of Islam. Being part of the Haj orientation camps held every year, he has gained immense knowledge. He lists the rituals pilgrims are supposed to perform at Mina, Arafat and Muzdalifah in Saudi Arabia as part of the five-day Haj. Some-times he even guides pilgrims how to wear Ihram, the unstitched two-piece cloth pilgrims drape around their bodies.


At a time when the people are being divided in the name of religion, Mahesh serves as a fine example of communal harmony. He has no problem with his Muslim colleagues or serving the cause of a different faith.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated July 28,2019

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The book seeks to explain the purpose behind the holy pilgrimage in a simplified way

The season of Haj is about to begin and the Hajis (devotees on pilgrimage to Mecca) are ready to leave for Saudi Arabia to perform Haj, an annual pilgrimage performed by Muslims, which is mandatory for adult Muslims with affordable means to perform at least once in a lifetime.

There are many books in different languages that explain the importance and the procedure of this annual pilgrimage. But, there is also one book written in English Haj – The Spirit Behind It by the city-based senior journalist, JS Iftekhar.

The author explains all the important subjects of this pilgrimage and gives a clear picture on how to perform Haj. The idea of the book is to enable a grasp of the basic purpose behind the whole concept of Haj.

The book is divided into chapters that give a detailed explanation of various rituals and their importance during the pilgrimage. Apart from rituals, it also guides a Haji on maintaining good health in the chapter ‘Haj and Health’. There are other chapters on ‘Life after Haj’, things prospective Hajis should learn, the blessed cities, things prohibited in Ihram, supplications to be recited during Haj and Umrah, Dua after assuming Ihram, Dua during Tawaf, Dua on Ziyarat Qubur at Jannat-Al-Baqi.

The author has also added three new chapters in the second edition of this book, which was initially published in August 2017. One stresses on the importance of offering worship with an awakened heart, maintaining health during rigorous schedule of Haj and what a Haji is permitted to do during the state of Ihram and acts that nullify it.

While recounting the rituals of Haj, the author strove to incorporate essential geographical aspects of holy mosque besides making enough provision for Arabic terminology for daily use by the pilgrims while in Saudi Arabia.

The faithful reproduction of the text of the final sermon by Prophet Muhammad (SAWS) provides apt spiritual context about the import and essence of Islam.

Title: HAJ – The spirit behind it

Author: JS Iftekhar .

By Mohd Azharuddin

Article published in  Telangana Today

Dated July 28,2019

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Biting wit and in-your-face elements mark Sulaiman Khateeb’s poetry laced with local humour

     File photo of Sulaiman Khateeb

His name has become synonymous with humour, particularly Deccani humour. Think of Sulaiman Khateeb and what comes to mind is poetry dipped in pure Deccani dialect. His special brand of poetry has immortalised the lingua franca of Deccani Muslims. No wonder decades after his death, Sulaiman Khateeb remains the undisputed king of Deccani shayeri.

To relish his poetry, one has to get the pronunciation of Deccani words right. This is what adds to the flavour of Khateeb’s poetry. If a reader’s accent and articulation is not correct, the desired effect may not be there. Much before him poets like Mullah Nusrati, Ibne Nishati, Wali Deccani and Quli Qutb Shah have produced a voluminous body of work in Deccani language.

But, Khateeb’s poetry is totally different. It has an in-your-face element and is characterised by biting wit and inherent irony – all couched in Deccani phrases. Even as his verses make you break into laughter they also make you aware of the malaise the poet is trying to point out.

Thanks to the All India Radio, his satirical verses enjoy pan India popularity. His poetry has become such an integral part of Deccan that many consider him as one of the minarets of Charminar.

A people’s poet, Khateeb spoke the common man’s language and used the Deccani lingo to express his feelings effectively. He was born in Chitguppa village of Bidar district in the erstwhile Hyderabad State and, therefore, one finds the rural ambience reflected in his poetry.

His poetry bears influence of Kannada, Telugu and Marathi languages. Khateeb had a difficult time growing up as he lost his parents at an early age and couldn’t go to school till the age of 10. Later, with the support of his elder brother, he had his early education in Medak district of Telangana. In 1941, he landed the job of a foreman in Water Works Department in Gulbarga.

Khateeb was bitten by the poetry bug at an early age. A keen observer that he was, he didn’t have to look far for inspiration. There was enough in the environment he grew up to serve as fodder for imagination. Besotted as he was with Deccani culture, he used the Deccani language to address the social issues and community problems.

Deccani dialect and locally used metaphors came in handy for him to take potshots at the ills of the society in a fun-filled manner. He gave a Deccani touch to every Urdu word. At his hand ‘tanqah’ became tanqa, ‘dard’ became darad and ‘chand’ turned into chan’. Those unfamiliar with the Deccani language will be at a loss to decipher the meaning of Daat keeli (chokda), dagali (shaaq), baikan (auraten), chumni (charagh).

With his style of rendition, Khateeb was a big hit at mushairas. To use a Deccani phrase, he virtually ‘looted’ them and unleashed a laugh riot. See how he captures the romantic thoughts of an illiterate villager who is enamoured of his padosan:

Tu khaban main aye to mai had-bada ko
Andhre main uth uth ko dhaba po aatun
Mai bhirkatun bande, mai sitiyan bajatun
Tu gammat hai gammat hamari padosan

Khateeb was alive to the problems of people and his poetry held mirror to the sad state of affairs. In his nazm ‘Athais Tareeq’, he gives a vivid description of the troubles faced by a clerk’s family when he dies towards the end of the month. His widow goes to his grave and laments thus:

Aisa marna bhi kaika marna ji
Phool tak mai udhar laee hun
Itta ahsan hum po karna tha
Tanqah lene ke baad marna tha

The speciality of Khateeb’s poetry is that many a gem of advise is hidden in the verses. His shayeri focuses on not just the vicissitudes of life, but also talks about nature and social ills. By articulating even sensitive and delicate ideas in a humorous way, he has proved that Deccani has the capacity to express anything and everything. The sharp and witty encounter between the jahil saas and padhi-likhi bahu remains a classic. This poem is unique in that here Khateeb uses Deccani words for the illiterate mother-in-law and literary Urdu for the educated daughter-in-law. One never tires of reading this poem. It was a rage on the AIR during the 80s and the drama was broadcast regularly on public demand. Sample the tongue-in-cheek saas-bahu exchanges:

Tere logan jo ghar ko aate hain
Kis ke bawa ka khana khate hain
Jhadu kan ke ujaad kangalan
Mere bacche ko sab dubate hain

The bahu replies to this harangue in a calm and sober manner:

Kaun dar par kisi ke jaata hai
Waqt majboor kar ke laata hai
Banda parvar ye baat hai itni
Banda bande ke kaam aata hai

Khateeb published his poems under the title Kewde Ka Bann. The anthology is named so as he was very fond of the kewda flower. Moreover, this particular flower triggered a flood of memories in the poet. In one of his poems Khateeb says:

Yaad bole to takiye main gajre ki baas
Jaise kewde ka kanta kaleje ke paas

This collection of Khateeb’s poems is a veritable treasure trove. It has about 100 poems on different topics, including a few naaths. Some of the poems which gained immense popularity are: Pagdandi, Saas-Bahu, Pahli Tareeq, Daccani Aurat ka Intezar, Chora Chori, Harraj ka Palang and Tang Patlon.

Khateeb was influenced by lokgeet and started collecting them before he wrote his first folk song –meetha meetha mot ka paani. In one of his poems, Khateeb sprinkles a generous dose of English words to describe the outpourings of a London returned son at his father’s grave:

Lovely father maze main sota hai
Um to dunya main bore hota hai
Apne dil main tumara izzat hai
Kitte honour ka jeena jeeta hai
Jitta milta hai um ko juvve main
Naam le ko tumara peeta hai

Khateeb bagged many awards from different organisations. He was also bestowed the Rajyotsava Award by the Karnataka government in 1974 in recognition of his contribution to Deccani Urdu poetry. After his death in 1978, a road in Basaveshar colony was named after him by the Kalaburagi City Corporation as Sulaiman Khateeb Marg. However, the poet was of the view that he was not given due recognition by his own people. In one of his verses he says:

Minje naich pehchane loganch mere
Mai anmol heera hun Deccan ke khan ka

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated July 28,2019

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Educated, well-to-do Muslims are being roped in to take up the cause of the less fortunate as part of their religious obligation.

    The idea is to empower and emancipate the poor and underprivileged members of the community        through education. (Photo: AP)

 A concerted effort is on by some Muslims in the city to address in a systematic way the socio-economic issues facing the community.

Educated, well-to-do Muslims are being roped in to take up the cause of the less fortunate as part of their religious obligation.



In at least three Muslim populated areas of Hakimpet, Rasoolpura and Bazaar Ghat, a household survey is being carried out to find out the living conditions, educational and health status of Muslims.

The idea is to empower and emancipate the poor and underprivileged members of the community through education.

The Bengaluru-based National Centre for Research and Development (NCRD), which is successfully carrying out similar work in different parts of Karnataka, has come forward to guide and train the Hyderabadi Muslims in addressing issues in a professional manner.

Mr U. Nisar Ahmed, retired inspector general of police, Karnataka, and chairman, NRCD, recently addressed a group of masjid committee members and volunteers at Red Hills to motivate them to join community service.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated July 22,2019

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The philosophy and thought of the great poet who penned Saare jahan se achcha have been kept alive in the city with various programmes and initiatives over the decades

Hyderabad has a strong connect with poetry. With the city’s founder, Muhammed Quli Qutb Shah, himself being a shayer of no mean repute, the penchant for shayeri among the people is understandable. However, not many know that Allama Iqbal, one of the greatest poets of Urdu, also had links with Hyderabad.

The  Shayer-e-Mashriq (Poet of the East) visited Hyderabad in 1910. Subsequently, he made two more visits and delivered extensive lectures on ‘Reconstruction of Religious Thought in Islam’ at the Town Hall, the present Assembly building. In a letter to his friend, Atiya Begum, he wrote “my visit to Hyderabad had some meaning which I shall explain to you when we meet”. But, none knows what it was.

During his first visit, Iqbal was the guest of Maharaja Kishen Pershad, the then Prime Minister of Hyderabad. Iqbal spent five days in the city and made a visit to the Qutb Shahi tombs. The full moon night and the serene ambience of the royal necropolis had such an effect on him that he penned the famous poem Goristan-e-Shahi right there. The 116-line nazm depicts in detail the helplessness of man, the inevitability of death, and rise and fall of kingdoms. Sample the moving verses:

Aasman, badal ka pehne kharqa-e-dairina hai
Kuch mukddar sa jabeen-e-mah ka aaeena hai
(The sky is clothed in the cloud’s old tattered robe
The mirror of moon’s forehead is somewhat gloomy)

 Chandni pheeki hai iss nazara-e-khamosh mein
Subah-e-sadiq so rahi hai raat ki aghosh mein
(The moon light is pale in this silent panorama
The dawn is sleeping in the lap of the night)

 Kis qadar ashjaar ki hairat faza hai khamoshi
Barbat-e-Qudrat ki dheemi si nawa hai khamoshi
(How astonishing is silence of the trees
This silence is the soft tune of Nature’s harp)

 Zindagi se tha kabhi maamoor, ab sunsaan hai
Ye khamoshi iss ke hangamon ka goristan hai
(Was full of life at one time, now is desolate
This silence is the cemetery of its past elegance)

 Sote hain khamosh, abadi ke hangamon se door
Muztarib rakhti thi jin ko arzu-e-na-saboor
(Far from the habitations crowds are sleeping
Those who were restless with unfulfilled longings)

 Hai azal se ye musafir sooye manzil ja raha
Aasman se inqalabon ka tamasha dekhta
(This traveller is going to his destination since eternity
Seeing revolutions’ spectacles from the sky’s seclusion)

 Kya yehi hai un shehenshahon ki azmat ka ma’al
Jin ki tadbeer-e-jahan bani se darta tha zawal
(Is this the end of these emperors’ magnificence?
Whose diplomatic policies knew no decline)

Hyderabad has a warm regard for Iqbal and the city too occupied a special place in the poet’s heart. The first ‘Iqbal day’ was observed in Hyderabad on January 7, 1938, in the lifetime of the poet. Also, ‘Bazm-e-Iqbal’, the first organisation in the name of the celebrated poet, was set up here. The city also takes the credit for publishing a collection of his early poems for the first time. In 2010, the Iqbal Academy celebrated ‘Jashn-e-Iqbal’ to commemorate the historical trip of the poet to the city. Eminent scholars held forth on the poet’s all-time relevance and his message of humanism.

Syed Khaleelullah Hussaini, eminent educationist and visionary, who is greatly influenced by Iqbal, is responsible largely for keeping the poet’s philosophy and thought alive in Hyderabad. After the merger of Hyderabad State into the Indian Union, he sought to lift the spirits of depressed Muslims through the revolutionary poems of Iqbal.

Hussaini set up an organisation ‘Bazm-e- Ahbab’ where the poetry of Iqbal was read and pondered upon. Later, in 1954, this organisation took the name of Majlise Tamire Millat. In 1959, he established the Iqbal Academy to carry out research on the poet’s works. Today, the Academy is one of the leading centres of studies on the poet. The Academy boasts of 6,000 books on Iqbal.

A recipient of many honorary doctorates, Iqbal was also honoured with a DLitt by the Osmania University in 1938. A letter written by Iqbal in his own hand addressed to Mahraja Kishen Pershad, is preserved in the Idara-e-Adabiyat-e-Urdu, the institution founded by Syed Mohinuddin Qadri Zore, for promotion of Urdu. The Idara also has letters of other eminent poets like Daagh Dehlivi and Jigar Muradabadi. Iqbal’s death plunged Hyderabad into grief. Poet Ali Akhtar beautifully captured people’s feeling thus:

Kash apni umar ke iyyam de sakta tujhe
Aur wapas maut ke hathon se le sakta tujhe

(Wish I could have given days of my life to you
And brought you back from jaws of death)

Hyderabad is home to many poets, including Daagh Dehlvi, the outstanding poet who took pride in correcting Iqbal’s early poems. But, it is Iqbal alone that Hyderabadis remember week after week. Decades after his demise, he lives on. People here are eager to know more about the poet who penned the enduring patriotic song Saare jahan se achcha.

Iqbal Shinasi, the poetic session, to understand and appreciate the philosophy and works of Urdu’s best known poet is going on here without a break since October 8, 1997. Till date, a record 987 lectures have been held every Wednesday evening at Masjid-e-Aliya conference hall at Gunfoundry to gain a fresh perspective about the Shayer-e-Mashriq. During the last two decades, every aspect of Iqbal’s poetry, thoughts and philosophy have been analysed and discussed threadbare by professors, critics and scholars. Nowhere in the world have so many programmes been organised on any poet. The credit goes to Ghulam Yazdani, senior advocate, for organising the weekly programmes in a systematic way.

For Hyderabadis the shayer-e-insaniat remains a never-failing source of inspiration.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated July 14,2019

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Gatherings like wedding receptions set stage for shayaris on cricket

The frenzy generated by the limited overs game is well captured by the masters of the condensed style.

Cricket and Shayari — on the face of it there is no connection between the two. But a careful look will reveal a lot of commonality between cricket and the Urdu poetry. Both are essentially about beauty, grace and artistry.

For Sourav Ganguly’s square cut, there is Faiz’s musical thought. For Pataudi’s cover drive, there is rhythmical creation of Meer. And for Sachin’s sorcery, there is Ghalib's mesmerising ghazal. If one is a gentleman’s game, the other is devil’s wine. Both are heady.



The similarities don’t end here. When cricket fans go berserk every time there is a boundary, so do connoisseurs of Urdu poetry. They erupt into ‘wah-wahs’ as the verses take their breath away.

With the nation caught in the grip of cricket fever, can Hyderabadi poets remain impervious? They are the first to react to the prevailing situation. The frenzy generated by the limited overs game is well captured by the masters of the condensed style.

Cricket  mein shaan apni badhana hai dosto
Bharat ko World Cup mein jitana hai dosto
Kohli ko run ki rakhna hai raftaar ka khayal
Lokesh ko to apna batana hai ab kamal
Rohit ko century bhi banana hai dosto

Noted humour poet, Fareed Sahr, who is also a headmaster, has come up with a full length poem titled World cup Nagma 2019. The 18-line nazm refers to all the cricketers now playing in the World Cup — bowling over the audience with the inherent humour.

A wedding held the other day turned into an impromptu mushaira. dinner over the discussion veered round to the World Cup and the small gathering of poets gave vent to their thoughts lyrically.

Match mai chutti ke din hi dekh sakunga
Yar kyun itwar bar bar nahin hai
Dil kahe mai chouke chakke dekh loon ja kar
Mehngi ticket aur paisa yar nahin hai

The social media is abuzz with cricket shayari. Poet Waheed Pasha Qaudri was at his wittiest in capturing the cricket mania and how people stay glued to the idiot box, forgetting all else.

Match cricket ka jab se jaari hai
Nazr hati nahin hai TV se
Gas pakwan ki bhi khatam huyee
Roz khat-pat hai ghar main biwi se

Call it coincidence or whatever, there happened to be just 11 poets like a cricket team. Host Javeed Kamal, a poet and writer himself, didn't let go any moment to pitch in with the cricket jargon. Young poet Shahid Adili livened up the night with a chawwa.

Rakho sidhi si chaal cricket mein
Warna niklegi khal cricket mein
Share bazaar gir bhi sakta hai
Hai hamesha uchaal cricket mein

As the night wore on, the mushaira got more interesting. The final overs saw the poets hitting boundaries every time they recited a couplet. Somebody recalled Hindi poet Narender Rai’s cricket verses and had everybody in splits.

Zindagi ki pitch par mera ye haal hai
Bat mere haath mein, patni ke haath mein ball hai

Unlike the game of willow, there were no losers or man of the match here. It was a win-win situation for all. Poetic justice and laughs aplenty.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated July 7,2019

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Clarity of thought and simplicity of language mark the poetry of Bano Tahira Sayeed who could give shape to her thoughts and feelings in Urdu, Persian and English with equal ease

There is no dearth of polyglots. But, how many can go lyrical in more than one language? Not many. But Bano Tahira Sayeed is an exception. She bucked the trend and held her own in Urdu, Persian and English. And she is, perhaps, the only poet who could write in all the three languages with remarkable ease.

Born in Agra, brought up in Lucknow and married to a Hyderabadi, Brigadier GM Sayeed, her first brush with literature was when she was just nine. She studied in Lucknow and Tehran Universities and obtained Doctorate in Literature from the University of Arizona. The celebrated Urdu poet has 13 books to her credit. For close to three decades, the Iran ki beti and Hyderabad ki bahu shone on the literary firmament – maintaining her distinct style.

Bano’s love for literature comes from her father, Syed Amir Ali Masoomi, an English professor, who was well-versed in 14 languages. In Iran, she met Brig Sayeed, an Indian Army officer of Hyderabadi origin and married him. She moved in distinguished company and this explains her broad outlook and respect for all religions. As the Brigadier’s wife, she happened to visit temples, churches and gurdwaras. She even laid foundation stone for a Shiva Parvati temple in Hyderabad.

What is special about her shayeri is its dew drop freshness. One can hear the breaking of the heart and falling of tears in her verses. Clarity of thought and simplicity of language make them all the more effective. No wonder her poetry is looked upon with awe and regard in literary circles. It is always the writer’s response to a given situation that results in literature. Banu is quick in reacting to events. Be it communal riots, dowry menace or divisive tendencies – all find mention in her lyrics.

To be a good poet, scholars feel, one should be well-versed in Persian language also as it lends charm and a touch of sweetness to poetry. With Persian being her mother tongue, Bano’s poetry has a special appeal.

As a sprightly nine-year-old, she wrote her first story – Rupeeye Ki Kahani. But, her first major work was Hadye Tahira, a collection of devotional poems. This was followed by Gul-e-Khoonchakan, Barg-e-Sabz, Aashian Hamara, Khoon-e-Jigar, Musbit and Manfi, Mahekte Virane.

Bano’s poems contain a rich collection of devotional verses on Lord Krishna, Rama, Sita, Jesus and and Gururnank, besides Islam. Moved by the frequent communal flare-ups in Hyderabad, she wrote:

Shayaron ki tarha jio logo
Mazhabe ishq iqhtiar karo
Dosti ka gar nahin hai mizaj
Dushmani bhi na iqhtiar karo

A champion of women’s cause, she took cudgels on their behalf. In one poem, she writes:

Kabhi Maryam, kabhi Zehra hai aurat
Kabhi Durga, kabhi Sita
Abhi tak bazm mein gharatgaron ke
Zaleel-o-khwar hai aurat

She doesn’t hide her annoyance at the disservice being done to Urdu by labelling it as the language of Muslims. Her poem Urdu Zaban is a fine example of her love and concern for the language. While glorifying the sweetness of the language, the poem reminds its na-qadardan (disapprovers) how it is very much Hindustani. Like Allama Iqbal’s Sare jahan se accha, this poem has a natural flow and appeal. This 32-line nazm is recited in most Urdu programmes all over the country. Sample these verses:

Kitni meethi zaban, kaisi payari zaban
Meri Urdu zaban fakhre Hindustan
Is mein Radha ke payal ki jhankar hai
Zulfe Zaibunnisa ki bhi mehkar hai
Is mein Jhansi ki Rani ki lalkar hai
Is ke daman mein hain kitni rangeenian
Meri Urdu zaban fakhre Hindustan

Hind mata ki beti hai Urdu zaban
Saunli, chulbuli, naujawan, gulfishan
Hindu-Muslim ke ikhlas ki dastaan
Ittehad woh muhabbat ka qaumi nishan
Kyun isse ‘ghair’ kehta hai na-qadardan
Meri Urdu zaban fakhre Hindustan

Bano’s poems are unique for their profundity and intensity of thought. She writes straight from heart and, therefore, her shayeri carries a special appeal and charm. See how beautifully she talks about her unfulfilled dreams:

Aakash pe deep sitaraon ke
Dharti per phool baharon ke
Sabze per shabnam ke moti
Sawan ki hava thandi thandi
Ye mere bikhre sapne hain

Bano’s poems capture a wide range of thoughts and experiences. Once she was travelling in a train. All her co-passengers were fast asleep. Except for the distinct sound of the train, there was an eerie calm all around. The silence and the moonlit night provoked the poet in her and she penned this beautiful nazm right in the train itself.

Ah! kya raat hai, kya raat ki zebai hai
Noor mein doobi huyee dahshat ki pinhai hai
Din ke hangamon se suraj ne amaan payee hai
Door taraon se pare baj rahi shahnai hai

As a writer, Bano received the love and appreciation of readers in abundant measure. Awards and honours came her way at regular intervals. She was awarded by the Urdu Academies of Andhra Pradesh, Bihar, Uttar Pradesh and West Bengal. She also bagged the coveted Sahitya Academy and Kala Saraswati awards. The Government of Iran, the World Poetry Society International, US and the IBC Cambridge, UK, also recognised her talent.

Bano wrote with equal felicity in English. Her collection of poems titled Beneath the Bough and The Pale Rose have won critical acclaim. In most poems, her heart beats for her unseen, yet unforgettable, friend. The longing and feelings of separation are captured very tellingly in the poem Thee.

Solitude, I love it
Obscurity, I cherish it
Name and fame, I laugh at them
This murmuring world is dead for me
Bless me even with thy frown
For that will be great wealth for me

Bano inherited many influences, including Sufism. She experienced varied emotions like a true poet and portrayed them quite eloquently.

Tadapna, gungunana, aah bharna, dasht paimayee
Dile shayer ki kutch rangeenian hain mere hisse mein

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated July 7,2019

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