Art and Obscenity: The Case of Manto

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Written by Randeep Singh

The Urdu short-story writer Manto was charged with obscenity six times for his short-stories, three times in India before 1947 (‘Dhuan,’ ‘Bu,’ and ‘Kali Shalwar’) and three times in Pakistan after 1947 (‘Khol Do,’ ‘Thanda Gosht,’ and ‘Upar Neeche Darmiyaan’). He was fined only in one case. The charges of obscenity haunted him nevertheless until his death: “I am not a pornographer but a story writer,” he would defend himself.

Under section 292 of the Indian Penal Code and the Pakistan Penal Code in Pakistan’s early years, a book or writing would be considered obscene if “it is lascivious or appeals to the prurient interest or if its effect … if taken as a whole, such as to tend to deprave and corrupt persons who are likely, having regard to all relevant circumstances, to read, see or hear the matter contained or embodied in it.”

The book or writing would not be found obscene however if it was “justified as being for the public good on the ground that such book, … writing… is in the interest of … literature, art … or other objects of general concern.”

Manto wrote about his experiences at the trial and appeal hearing of “Thanda Gosht” between 1949 and 1952. A witness at trial for Manto, Syed Abid Ali Abid, the Principal of Dayal Singh College, testified: “from Wali to Ghalib, everyone at some time, has written what is generally labeled as obscene. Literature can never be obscene. And, what Manto writes is literature.”

One witness, Dr. Saeedullah, gave Manto the title of “musavvar-e-hayaat,” the painter of life. Soofi Tabassum, a professor of Government College, deposed that “immoral writing is where the sole object of the writer is to undermine morality” and that “Thanda Gosht” did not affect public morality.

In Manto’s testimony, “Thanda Gosht” was a story “telling human beings that they are not separated from humanity even with they become animal like.” Like Flaubert’s Madame Bovary which had also been charged with obscenity, “Thanda Gosht” was a serious story filled with melancholy. As for the potentially corrupting influence of his stories on the public, Manto remarked, “my stories are for healthy people, normal beings, not for minds who dig  up carnal meanings in innocent and pure things.”

The case of Manto is relevant to the question of what is art and what is obscenity. The following questions are worth considering:

  1. What is the artists’ intention in writing the story (to arouse sexual excitement etc.)?
  2. Is the sexual element of the story the primary or dominant value of the story or is it subordinated to the writer’s aesthetic goals?
  3. How does the reader experience the story? Does it appeal more to his or her aesthetic judgement or mostly to his or her senses and carnality?
  4. Does the aesthetic experience of reading the story do away with the reader’s “practical, operational” ways of viewing its characters and situations as if they were real people or situations?

If the story’s primary or overriding goal is to sexually arouse the reader, then the work can be considered obscene. If the story’s primary or overriding goal though is to use sexual or erotic scenes for some larger artistic purpose related to theme, setting etc., the story can be considered literature. A story moreover may have sexual situations or scenes which by themselves may be considered obscene but which have some meaning in the story’s overall context.

In “Thanda Gosht,” Manto tells the story of Isher Singh, a Sikh, who tried to rape an already dead Muslim girl, a heap of “cold flesh.” In “Khol Do,” a brutalized, unconscious  girl on the verge of death, Sakeena, opens her shalwaar qameez after the doctor examining her utters the words “khol do” (‘open’) to a nurse to open a window. The suggestion of raping a corpse or a girl opening her shalwaar on hearing the words “open (it)” by themselves may have been obscene; in their proper context, they illustrate the extent to which women were brutalized in the Punjab in 1947.

Manto was not only holding up a mirror to the dirt, hypocrisy and puritanism in Indian and Pakistani society; he was showing a way out of it. Ismat Chughtai wrote in her memoir “Kaghazi Hai Pairahan” that Manto’s “flinging it (dirt) about makes it visible and one’s attention can be called to the need of cleaning it.”  His stories unsettle us because they take us to the darker corners of our psyche, to desires repressed and to the ugliness that results. South Asia still struggles with the brutalization of women, sexual repression, sexual abuse, a growing AIDS menace and with discussing sex or sexuality openly.

Manto is still holding up the mirror to ourselves.

Further reading:

Ayesha Jalal, The Pity of Partition: Manto’s Life, Times and Work across the India-Pakistan Divide (Princeton University Press, 2013).

Aziz Akhmad, “Manto Ka Muqaddama: Obscenity Trial”:  http://pakistaniat.com/2009/09/29/saadat-manto-trial/

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One comment on “Art and Obscenity: The Case of Manto

  1. urbanzomby says:

    I think this is dilemma of art; when an artist breaks the stagnation and conformity, it not only shocks the world but also makes many ‘otherwise good souls’ to take the guard until it sinks in. Manto did an incredible job and most will agree today, though it’s hard to say had it been so ‘then’. Larry Clark (in Ken Park), Gasper Noe (in most of his films), Poet and Painter Dev (in book Utraayan), Tony Gatlif (in Gadjo dilo) are among many contemporaries who have said what must be said. It’s been same with Jackson Pollock dancing over the canvas, Mark Rothko always stacking blue or red blocks vertically and Lal Singh Dil narrating a love poem (to much shock of his comrades). Thanks for beautiful write-up Randeep ji.

    Like

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