• Introduction — Who was Farkhanda Lodhi?
• Book Information & List of Stories
• Fiction Writing — Critical Review
• Imagery, Dialogue & Artistic Craft
• Social Reflection & Rural Cultural Portrayal
• Romanticism, Characterisation & Conclusion

Farkhanda Lodhi is a name that stands prominently in both Punjabi and Urdu literature — a writer who gave voice to the unspoken pains of society through their work. Born on 25 October in Hoshiarpur, they settled in Sahiwal after the Partition. A seasoned storyteller, Farkhanda Lodhi earned recognition by writing in both Urdu and Punjabi, demonstrating remarkable creative versatility across two literary traditions.

Among their notable works are “Chane de Ole” (stories), “Hath de Wich Trerhan” (stories), and “Jind da Angniaar” (novella). Beyond writing for adults, Farkhanda Lodhi also created 6 books for children — evidence of a multifaceted literary personality. They additionally translated 4 international works into Punjabi, enriching the language’s literary treasury.

The collection was published by the Pakistan Adabi Board, Lahore. The preface was written by Farkhanda Lodhi themselves, while the newer 2015 edition also includes a foreword by Board Secretary Parveen.

Stories included in the collection:

• i — پائیدان (Paaydan)
• ii — اوٹا (Ota)
• iii — اک اخباری گل (Ik Akhbaari Gall)
• iv — اک چپ (Ik Chup)
• v — سکھ منہر (Sukh Manhar)
• vi — دھرمی بابل (Dharmi Babal)
• vii — کینوں آکھاں (Kainon Akhan)
• viii — پچھلی پڑھائی (Pichhli Parhai)
• ix — سہوڈا (Sehoda)
• x — چنے دے اولے (Chane de Ole)

Farkhanda Lodhi’s stories represent a beautiful form of realism — using short narratives to convey large truths about life. The most striking quality of their fiction is a deliberate avoidance of unnecessary scene-setting and lengthy philosophical digressions. Whatever they observed in their surroundings was transferred to the page in simple, accessible language. It is precisely this simplicity that brings their stories close to the reader’s heart.

Their stories are dynamic portraits of society — not static scenes, but living depictions of shifting social attitudes and the workings of human psychology.

The plots of Farkhanda Lodhi’s stories are grounded in simple observation. They write a story exactly as events unfold in real life, without artificial colouring. There is a particular coherence to their plots: beginning, climax, and resolution flow together in a natural current. The narrative threads are woven with such skill that the reader remains engaged from start to finish, never feeling bored or lost.

Farkhanda Lodhi wrote in pure, accessible Punjabi that feels entirely natural on the page. Their style is not only simple but carries a distinctive sweetness and impact. Words are woven into sentences with great beauty, bringing both imagery and emotional depth to life. See this example from “Dharmi Babal”:

(Translation: “Bees swayed at the bloom of her beauty, and people were drawn from far away by the call of her voice.”)

This passage is vivid evidence of Farkhanda Lodhi’s mastery over language. They knew how to say the most with the fewest words. Their Punjabi carries the fragrance of rural life and the touch of the earth — a literary quality that is highly valued in CSS and PMS examinations.

In Farkhanda Lodhi’s fiction, rural stories adopt a village dialect while urban stories use a more standard register. A great strength of their writing is the well-placed use of proverbs and verse, which adds weight and depth to the prose. The use of concise simile and metaphor is equally masterful — as seen in this well-known Punjabi proverb from the text:

(A proverb commenting on how a widow’s household becomes a burden borne alone — richly conveying social values and human behaviour.)

Farkhanda Lodhi’s imagery is of the highest order. They paint pictures with words so vivid that the reader feels transported into the scene. Their depiction of rural life is entirely natural. From “Dharmi Babal”:

(Translation: “A tanned neck with dark marks; a broad back and a coarse homespun shirt clinging with sweat — and the raw smell of perspiration.”)

This imagery goes far beyond a physical description. It evokes the sweetness of the character’s personality and the very scent of their presence. These lines prove that Farkhanda Lodhi possessed remarkable precision in describing the human body and clothing in all their nuance.

Their dialogue is simple, brief, and perfectly calibrated to the temperament of each character. Conversations are never lengthy or tedious — they serve the purpose of advancing the story. Through the way characters speak, readers immediately understand their place within the social order.

In terms of emotional depth, Farkhanda Lodhi’s pen is exceptionally sensitive. They articulate the hidden feelings of the human heart — both sorrow and joy — with great beauty. A particular hallmark is the rendering of women’s emotions and their psychological complexities.

Behind all of Farkhanda Lodhi’s stories lies an ever-present moral and reformist impulse. They do not merely tell a story — they point towards the failings of society and compel the reader to reflect. Their fiction carries a message of social improvement and human welfare, an important literary dimension for CSS examination purposes.

Farkhanda Lodhi’s fiction is not limited to storytelling — their writing identifies social ills and is imbued with a spirit of reform. Rather than prescribing solutions, they illuminate the wounds and leave the work of healing to those who shape society’s values. Their art does not merely entertain; it confronts the reader with the sharp truths of social reality.

Farkhanda Lodhi’s stories are the distilled product of keen observation. Their characters are authentic, living representations of real people — a hallmark of the finest realist fiction. In a story like “Paaydan”, the lower classes are represented with striking fearlessness, while “Pichhli Parhai” is wholly social in its subject matter. Throughout the collection, the sufferings of the marginalised, labourers, and the downtrodden are depicted with remarkable skill.

One of Farkhanda Lodhi’s great contributions to Punjabi literature is their rich portrayal of village life. Beyond urban settings, they beautifully captured the light, the way of living, and the texture of rural society. The backdrop of “Chane de Ole” is the rural world — its customs, its people’s simplicity, and the visible weight of social oppression. The smell of village earth and the truthfulness of its atmosphere hold the reader entirely in their grip.

One of the most significant dimensions of Farkhanda Lodhi’s fiction is the representation of women. They make abundantly clear how much women endure within a patriarchal society. They raise their voice for women’s rights and their rightful social standing. In “Dharmi Babal”, the story presents a woman as someone whose worth and dignity go entirely unrecognised. Through their characters, the emotions, deprivations, and helplessness of women are portrayed in a way that cuts to the heart. These artistic qualities place Farkhanda Lodhi at a pivotal juncture in modern Punjabi fiction.

Alongside the theme of exploitation, Farkhanda Lodhi’s stories contain an equally deep portrayal of psychological entanglement. The story “Sukh Manhar” presents the character of Nargis — a woman reduced to a toy in the hands of men, quietly destroying herself. This reflects the reality of women’s humiliation in our society, where her own will and feelings are considered of no consequence.

In Farkhanda Lodhi’s fiction, reality holds more sway than fantasy. The intensity of emotion and the fragility of human relationships are portrayed in an entirely natural manner. Their romanticism is not hollow sentimentality — it is deeply rooted in the sorrows and joys of lived experience.

Characterisation is the most essential element of any work of fiction, for a strong character means a strong story. Farkhanda Lodhi’s characters are vivid and alive — not figures on paper but flesh-and-blood human beings with their own independent existence. The characters of Jameela and Begum Jan in “Dharmi Babal” are prime examples. These are not characters inserted merely to fill space — they fulfil every demand of the art of characterisation. Through them, Farkhanda Lodhi exposes the many faces of society.