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Available online at [Link]
CITY UNIVERSITY RESEARCH JOURNAL OF LITERATURE AND LINGUISTICS
Vol (2), No. (1)
Juxtaposition of Tradition and Modernity in Contemporary Pakistani Fiction
Sadia Nazeer1, Dr. Munazza Yaqub2
ABSTRACT
Keywords:
The current study discusses contemporary Pakistani Fiction in the light of
Globalization, competing forces of tradition and changing trends of modernity in Pakistani
Modern culture, society and culture. By using Anthony Giddens’ concept of contrast between
Pakistani Society, ‘Pre-modern culture’ and ‘Modern culture’, the study analyzes the characters in
Pre-modern Culture, three novels by Pakistani writers to argue that globalization has transformed the
Traditional values social and individual perceptions. The study also takes into account Muhammad
Abdul Qadeer’s analysis of social and cultural transformation in Pakistan to
highlight the contradictions between ‘tradition and family life’ which continues
to contribute long term stability to the society and ‘Modernity’ and is thought to
be uprooting this stability. Results of the study shows that Pakistani society has
become waywardly modern and is actually conditioned to keep cultural and
traditional sanctity. Furthermore, it is always oscillating between the former two
conflicting forces. This overlapping of pre- and post-modern traditions and
values at individual, domestic and social level has resulted in an uncertain and
unstable Pakistani society where true happiness is rare to find.
INTRODUCTION
Culture and tradition as defined by E.B. Taylor is an integral whole which affects human ideals,
actions and modes of living. It is “a complex whole which includes knowledge, beliefs, art, morals,
customs and all other capabilities, and habits acquired by a man as a member of a society” (Taylor,
1995. p.20) The communities in the modern times have witnessed certain readjustment in the social
and cultural consciousness. They often oscillate between traditional affiliations with their
community, newly formed national identity and global unrest (Maluleke, 2012).
The society of Pakistan comprises of many diverse cultures and ethnic groups such as the Punjabis,
Kashmiris and Sindhis in the East, Muhajirs and Makrani in the South, Baloch and Pashtuns in the
West, and certain ancient communities in the North. This diversity gives birth to a mixed culture
and diverse traditions in Pakistani society. Muhammad Abdul Qadeer in his Pakistan: Social and
1
BS Scholar, Shaheed Benazir Bhutto Women University, Peshawar, Pakistan, Email: sadianazeer33@[Link]
2
Assistant Professor, Shaheed Benazir Bhutto Women University, Peshawar, Pakistan, Email: munnazayaqub@[Link]
53
Cultural Transformations in a Muslim Nation (2006) writes, “Everyday life in Pakistan is a mosaic
of intersecting circles of different lifestyles and separated circuits of activities. Differences are
visible in dress, food, language, gestures, working conditions, deportments, homes and
neighborhoods etc.” (p.231).
Having such a variety of traditions and cultures, Pakistani society is still distinct due to its common
features which actually make the mainstream culture of Pakistan. Out of the three main aspects of
this culture, the first is the South Asian traditions of domesticity, food, marriages etc. which are
traced back to Pakistan’s belongingness to and influence of South Asian civilization. The second
is Islamic values and traditions which have a strong impact on cultural practices and traditions.
The last is conservative-normative structure of the Sub-continent society and culture (Nauman,
2015). In addition, having all these three components of the mainstream culture, Pakistani society
still has headed towards modernity.
Aims and Objectives
The purpose of this study is:
• To investigate the ideas of signification, language arbitrariness, and binary oppositions by
examining the setting and social context in Chopin’s “The Story of an Hour” (1894).
• To analyze the structural development, diction, lexical choice, and narration by evaluating
the fictional characters in Chopin’s “The Story of an Hour” (1894).
LITERATURE REVIEW
Today in the multicultural world, Pakistani society and its younger generation face difficulties to
reconcile the two conflicting forces of tradition and modernity and are thus experiencing the
tensions between “tradition, reform and modernism pulling it in different directions” (Ahmad,
2011). These tensions continue to exist within a largely tribal-feudal structure in parts of Pakistan
and explain many of the difficulties facing it today.
According to Muhammad Abdul Qadeer (2006), it is a fact that a close relationship exists between
materialistic success and religious or traditional observances which is an important discovery
about the social ethos of the Pakistani society. In the post-colonial era, globalization proves to be
a compelling force to precipitate the tension between traditional values and Modernity. The social
and cultural consciousness of the communities who live in the modern times is in the process of
readjustment. According to Maluleke (2012), people who belong to the modern era mostly oscillate
between their traditional values and global flux. The emergence of global culture with its constant
exchange of commodities and people has overwhelmed the indigenous traditional and cultural
norms. This is exactly what Pakistani society has been going through in today’s Multicultural
world and is also reflected in the contemporary fiction. Modernity, according to Giddens (1991),
is:
A society can't be fully modern if attitudes, actions or institutions are significantly influenced by
traditions, because deference to tradition - doing things just because people did them in the past -
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is the opposite of modern reflexivity. Because of this, societies which try to 'modernise' in the most
obvious institutional sense - by becoming something like a capitalist democracy - but which do not
throw off other traditions, such as gender inequalities, are likely to fail in their attempt to be
successful modern societies (p. 68)
Similarly, Muhammad Abdul Qadeer (2006) also observes that social change proceeds by
incorporating traditions and receiving religious practices through the adaptation of modern
materialistic ways.
Such transnational shifting paradigms are significantly represented in literature written in English
by Anglophone writers. Most of the writers use diasporic approach in their studies and reside away
from their homeland, but still maintain a decent connection between the national and the
international cultures. Therefore, it means that these writers represent the role of juxtaposition
between the tradition and modernity in an individual’s life.
Changing Narrative
Over the decades, there has been a considerable shift from the local to the international. The global
culture has emerged with the advancements in technology and hence, a global culture has over
whelmed the local. It has been noticed that culture does not remain a phenomenon subservient to
the local or the national. It becomes a homogenized body which reflects transnational values. The
Diasporic literature is a representation of this homogenized body. It reflects not only the shifted
narrative of the national culture, but also of the global cultural flow (Appadurai, 2011). Thus,
literature today is a representation of tradition, modernity and shifting paradigms.
Introduction of the Novels
Salt and Saffron (2000), the novel by Kamila Shamsie is an account of the past memories and
traditions as preserved by the family Dard-e-Dil. It also reflects the appropriation of traditional
values in a modern scenario by the members of new generation of this family. It not only
effectively shows the past Muslim cultural and political glory yet it revisits the issues of modernity.
It is the story of Aliya, a young family member of Dard-e-Dil, who revisits the family traditions
and values. The story revolves around the cultural norms, traditional fears and prejudices held and
entertained by the older generations and the skepticism rampant among the new generation.
Trespassing (2003) is a novel of modern Pakistan where Uzma Aslam Khan shows the stifling
demands of tradition and family. Through Daanish, a young Pakistani student who is studying in
America, and Dia, the gifted daughter of a silk merchant, Riffat Khan explores the interplay
between tradition, modernization, culture and prejudice. The importance of this novel also
emanates from the fact that it provides a glimpse on the agonies of Salaamat, Nessrine, Dia, Anu
and Daanish who not only undergo the processes of identification, assimilation, adaptation and
alienation etc. but also experience the structural changes vis-à-vis their society and culture.
How It Happened (2013), a novel by Shazaf Fatima Haider also depicts the story of a younger
generation caught between the throngs of familial and cultural traditions and modernity. Haider’s
story is all set to expose contemporary Pakistani society where tradition struggles to reconcile with
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changing times, where marriages are not always arranged and women may not be well versed in
the arts of cooking and sewing.
The present study selected the above three novels on the basis of representation of clash in cultural
traditions between generations and the rise of modernity in new generations. With the help of
diversity among the presented schools of thought of the characters, the present study tries to
evaluate the gap between the older generation which upholds the traditions and the younger
generations who are torn between the traditional ties and the modern world.
TEXTUAL ANALYSIS AND DISCUSSION
The culture of Caste system “Zat and Biradari” is very strong in Pakistani society and there is strict
adherence to it as far as the older generation is concerned. Qadeer (2006) observes that Pakistani
society is overlaid with castes like “Sayyids, Qureshis, Ghaznavis, and Mughals” (p, 109). He
further adds that “Muslim castes are endogamous and confer identity and status on individual”.
This is how even a typical village reflects “Zat and biradari hierarchies, which correspond to the
hereditary occupations and corresponding social standing, layered hierarchically into landlords,
tenants, farm workers, maulvis and Kammis. …” (p.114) This is reflected in Dard-e-Dil, a
sprawling aristocratic family with the shared distinction of "angular features, a prominent clavicle,
straight black hair" (Salt and Saffron, p. 7) which has a historical presence dating back to Taimur
Lang that runs parallel to, overlaps and intersects with that of the Mughals. Almost a similar
description of Bandian family is given by Haider in How It Happened. One of the main characters,
Dadi is fed up with these “modren” times and her favourite method of countering them is through
nostalgic recollections of tales of her ancestors that she modifies according to the lesson she wants
to dispense at a particular point. Her tales of High-born Shia Bandian family to which she belongs.
Bhakuraj, the family’s ancestral village, serves as a guide to the lives she wants her grandchildren
to live. She takes great pride in tracing back the origins of her highly valued family to a village in
Pre-partitioned India. However, all claims of superiority and royalty are rendered pointless in the
modern context as the young members of the families in these novels reject the past traditions and
conceptions as irrelevant.
The fact that family’s elders are strictly against of marrying their young ones outside their vaster
family circles and their insistence upon arranged marriages for them also comes out very strongly
in these novels along with the unrest caused by it in the members of younger generations. In a
society as driven by differences of class, caste and community as in Pakistan, the notion of
marriage becomes even more complex. For not only must marriages be arranged by the family
elders who take into consideration the extent of variations and combinations, but also arranged
among one’s own sort. While speaking at Allaince Francaise, White Star on “Broadening
Traditional Views on Love and Marriage”, Shazaf Fatima Haider reflected on the presence of
authoritarianism in family and the sheer loyalty to tradition, both of which are considered
unquestionable and unchallengeable. “We come from a religious culture that places restrictions on
open dialogue between man and woman before marriage. But the minute you start questioning this
culture or your parents, you are seen as being disrespectful,” she said.
This is only one norm to which reconciliation becomes difficult by the younger generation of
modern times. In How It Happened, we are introduced to the same unrest that can occur in well-
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furnished Pakistani drawing rooms when it comes to young people choosing their own life
partners. The drawing room Haider has written about happens to belong to a ‘High-born’,
ultraconservative Shia Bandian family where the narrator has a whole caste of aunts, uncles and
cousins who have been programmed by Dadi to get married in time-honoured way: ‘correctly and
modestly, living their lives the Arranged Way’ (How It Happened, p.4) because “The Bandians
of Bhakuraj, true to their ancestral heritage, married not for love . . .” (How It Happened, p.1). As
the overzealous matriarch, Dadi, races to get her grandchildren bound by the ties of arranged
matrimony we come to be well-acquainted with the problems of making it happen. The idea that a
girl opts to find her groom is considered uprooted and the one who is a Sunni (as in case of Saliha’s
elder sister) is taken as “horrors of horrors” (p. 55) which also makes Umer’s case even worse as
the Khalif Umer bin Al khattab is thought by the Shias as usurper of the right of Khalifat which
belonged to Hazrat Ali.
Trying to bring her spoilt granddaughter to the right track, Dadi recounts innumerable tales of the
past where women led a puppet-like life deemed to be the most appropriate one. One such tale
with the suggested moral for Zeba goes like this:
My poor sister, Khanum, may she rest in peace. Abba Huzoor came home one day and told her
she would marry a young lecturer who taught with him at Patna University. She bowed her head
and said: Jee acha, Abba Huzoor. Did you hear that Zeba? That’s how good girls respond to their
parents. They trust their elders to do what is best (How It Happened, p. 35).
Haider’s book portrays a culture in transition; the clash between the past when people were
“betrothed even before birth” (How It Happened, p. 36) and the modern times when youngsters
want to have a say in everything which concerns them.
Almost a similar situation is faced by Daanish in Trespassing, an Amherst journalism student on
his visit home after his father Shafqat’s death. He adored Shafqat, an enlightened doctor who
traveled the world, but Daanish’s smothering and needy Pakistani mother, the traditional Anu, is
pushing him into an arranged marriage with Dia’s best friend Nini. Hence, the young generation
finds it very hard to come up to the traditions of their family and also to follow their own new
ways.
Aliya in Salt and Saffron, also has a chance encounter with Khaleel, a young Pakistani studying in
Britain, first on her way to, and then, in London. She hails from a society where hierarchy is rigid
and she begins to feel the burden of the family heritage which she is carrying, especially after she
finds her affection growing for Khaleel who has his family from Liaquatabad - a locality far below
the standards of the riches of her family.
This brings our discussion to another important point. The culture of Pakistan deeply entrenched
in patriarchy and male chauvinism has given rise to constructs of ideal femininity as devotion,
endurance, loyalty and self-sacrifice. A study on cultural discourses and beliefs in South Asian
communities highlight that patriarchal notions about gender roles have evolved from a number of
inter-related discourses held despite changing social contexts. Such notions about gender roles
include the ideas:
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Sons are more important than daughters; man is the woman’s protector; the ideal wife
must obey her husband, be loyal, devoted and chaste; children must obey parents and be
dutiful towards them at all times; and woman’s primary role is towards the family and
household. (Shankar, Das, Atwal)
This deeply rooted patriarchal culture in which women are silenced and marginalized to the
domestic sphere and also having a liberal and modern exposure through a foreign education is
represented in contemporary fiction. In some situations, women remain bound to while in others,
they rebel against the gender stereotypes embedded in their consciousness by the traditional male
dominated culture of Pakistan.
Thus, we see in Riffat (Trespassing), a complete image of a modern woman and wife, an
innovative and decisive business woman who is forced into a marriage against her wishes. Later
on she leaves her husband on the reason that he demands total obedience and submission from his
wife and expects that she would follow his family traditions. As retaliation, being a single mother,
Riffat makes sure her daughter Dia gets what she likes. Daanish’s father Shafqat, also represents
a very traditional figure when comes to strong family bonds and particularly the role of his wife.
Otherwise he is a man with not a very narrow perspective when it is about his own travelling
abroad or sending his son abroad for education.
There is a clash found between traditional and modern dresses in these selected novels. In How It
Happened, Zeba’s dresses are always a matter of distress for Dadi. She is a handful for her
grandmother and is seen as the rebellious one “displaying disconcerting signs of independence”
which includes “wearing a sleeveless kameez and then going out to a restaurant for dinner with a
group of friends” (How It Happened, p. 35).
As the story progresses, the author’s main intention to portray a world of changing realities
becomes clear; the constant tug-of-war between the old and the new comes to the forefront.
According to Dr. Payel Dutta, “most of these traditional ideas in the present-day times are confused
ones, of the utmost desire to keep up the orthodox ways and yet to show a liberal-mindedness” (p.
3) As in How It Happened, Dadi says: a suitable girl “should not cover her head or wear a ‘burqa’
like a fundo. Neither should be so liberal that we are forced to stare at her cleavage all day long”
(How It Happened, p. 33). Haider’s depiction of the changed world is mainly through her women
characters, Fati Phupps, who refuses to leave a life of blessed spinsterhood, writes for a magazine
and lives an independent life; Saima represents a woman’s ability to work in a man’s world and
Zeba, who reads Pride and Prejudice, talks of orgasms, discusses politics and dates a Sunni man.
Similarly, in Salt and Saffron, Aliya, while sitting on Clifton beach in Karachi, observes:
“Between my jeans and the black burkha of the woman climbing gingerly down the rocks
to the sand beneath, between Sameer’s pin-striped shirt with French cuffs and the bright
pink kameez of the man selling kites, there was a whole range of styles and colors and
materials” (Shamsie, 2000, p.212).
Shamsie’s novel is an acceptance of difference on equal terms. The most important contrast for
Giddens (1991) is between pre-modern (traditional) culture and modern (post-traditional) culture.
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When tradition dominates, individual actions do not have to be analyzed and thought about so
much, because choices are already prescribed by the traditions and customs. Furthermore, this does
not mean that traditions can never be thought about, or challenged. In post-traditional times,
however, we don't really worry about the precedents set by previous generations, and options are
at least as open as the law and public opinion will allow. All questions of how to behave in society
then become matters which we have to consider and make decisions about. Society becomes much
more reflexive and aware of its own precariously constructed state. Dard e Dil reflects strong sense
of traditions while the sense of being individual is seen in Aliya’s character. Through her journey
back to her family, quite literally, she becomes reacquainted with her clan members, first in
London where she stops midway and then in Karachi. The prejudices and "objects of baseless
terror" or 'bugaboo' (p.1) in Shamsie’s Salt and Saffron, that run in families and are possessed and
nurtured by it through generations, the prejudices that are handed down from one generation to the
next in legacy and become a vital part of the existence of the members of the family whose beings
are sometimes shaped and other times victimized by it, bringing upon an effect which defines their
mental space, "We of the royal family of Dard-e-Dil have always held true to our family fears. No
marriages, conversations or redistributions of wealth can change that. Not-quite-twins are not-
quite-twins; no way around that" (Salt and Saffron, p. 2). Often such prejudices have to be accepted
without questioning and nonconformity to them calls for banishment from the family.
Anthony Giddens (1991) has described the modern world as a ‘juggernaut’, that is, as an engine
of enormous power which can be directed to some extent, but which also threatens to run out of
control. The juggernaut is a runaway world with great increases over prior systems in the pace,
scope, and profoundness of change. A micro ‘juggernaut’ is seen in all these novels under
discussion. All the protagonists of these novels reflect a change and deviation from the prior
systems and traditions. Shamsie hints at this cultural deviation and reminds us of the diasporic
element on play in her work when Aliya landing in London has to adjust " 'cultural expectation'
knob in [her] brain from 'America: chatty' to 'England: not' " (Salt and Saffron, p. 5).
As Aliya finds herself drawn to this Westernized Pakistani Khalil, her disillusionment with the
family snobbery and her identification with Mariam Apa who broke the family tradition and
married a servant intensifies. Haider in her novel portrays the same through the characters of Zeba
baji who deviates from family traditions and marries of her own will to her love and Saleha, the
narrator herself who deviates from traditions at every step. In Trespassing, it is shown through
Dia’s Western-educated mother, Riffat, who has run the family’s silk business since her husband’s
random murder. She has raised Dia to share her independent thinking and assures her daughter that
she’ll be allowed to marry for love. Therefore, when Daanish and Dia meet, Dia is head-over-heels
in first love while Daanish has a more casual American attitude. Daanish never trespasses the
tradition that binds him to the role of a submissive son—although he expresses his unhappiness
frequently, he consents to the arranged marriage at the end, with no uneasiness over how he may
have and will continue to influence the lives of two women—his former lover, Dia, and her best
friend he is bequeathed to be married.
In modern societies, self-identity becomes an inescapable issue. Even those who would say that
they have never given any thought to questions or anxieties about their own identity will inevitably
have been compelled to make significant choices throughout their lives, from everyday questions
about clothing, appearance and leisure to high-impact decisions about relationships, beliefs and
occupations. Whilst earlier societies with a social order based firmly in tradition would provide
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individuals with (more or less) clearly defined roles, in post-traditional societies we have to work
out our roles for ourselves. As Giddens (1991) puts it:
What to do? How to act? Who to be? These are focal questions for everyone living in
circumstances of late modernity - and ones which, on some level or another, all of us
answer, either discursively or through day-to-day social behavior (p, 70).
Kamila Shamsie infuses a nostalgic streak in Aliya who seems to be psychologically caught
between two worlds with a desire to reclaim the past yet revolt against it. Arriving in London Aliya
is overtaken by memories, "More than anything else, more than the mangoes, gal guppas, nihuri
and naans, more than cricket mania, more than monsoon rains, more than crabbing beneath a star-
clustered sky, what I missed most about Karachi was the intimacy of bodies" (Salt and Saffron, p.
14).
At another point, she is caught between her past and present:
But actually, I was thinking about America. My college days, so recently finished, were days of
empty spaces in my head. Spaces without chatter, spaces without textured silences. I was so
utterly foreign there, so disconnected from everything that went on that I could afford to be
passionate about the tiniest injustice in the domestic news (Salt and Saffron, p. 49).
She loves things about Karachi and about her family, still wishes to revolt against many of its
traditions. Thus, Aliya returns to her family and views her culture from a different perspective –
of questioning the aristocratic feudal society where a lot of obsolete traditions are carried in the
name of family's pride, of environments where rules are rigid and suffocating, burdening the
members with the family heritage.
CONCLUSION
Hence, these traditions over burden the young generation that feels hard to live up to the modernity
of the multicultural world along with keeping the traditional heritage. Neither of the characters
discussed find true happiness and so continue to live an uncertain life. Qadeer (2006) observes that
Pakistani society is compartmentalized into two compartments; Islamic/ cultural traditions and
material progress: “Yet they clash as well as complement each other in myriad ways. The result is
a state of moral uncertainty and social cleavages” (p, 7). The young generation feels compelled to
be driven by the forces of modern and material development which surrounds them. They live in
a post-modern world where one cannot avoid the benefits of the modern world. But at the same
time the traditions pull them towards the older culture, and these are the ties which are difficult to
sever.
In conclusion, this is a state of predicament which gives rise to an uncertainty, chaos and
disequilibrium in the society. Such as Daanish and Dia’s union in Trespassing if takes place, this
union will forever rupture the peace of two households and three families, destroying a stable
present built on the repression of a bloody past. Similarly, Aliya in Salt and Saffaron remains
reluctant in accepting the family norms and traditions completely till the very end. Saleha, along
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with the rest of the family members find it difficult to accept the family norms retold by Dadi and
to reconcile to them. This is why there is a great need to adopt a synthesis in order to come out of
the uncertainty in which we as a society are living. According to Qadeer (2006), “only a
harmonious synthesis between these powerful forces can help the society to make a move towards
stability and prosperity” (p. 285).
The terms tradition and modernity have always been used as opposites which could never be
reconciled. It has been noticed that traditional forms of the society may provide support to
modernity and modernity does not necessarily weaken the traditions. The traditional societies
along with being normatively static and structurally homogeneous can still be modern in their
attitude and outlook. The rise of modernity in contemporary societies cannot be stopped altogether
so it is better to assimilate the two phenomenon and to accept the differences. This kind of a
synthesis between these two forces will help the South Asian society to be stable and prosperous.
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