The bride and other microfiction/gender identity
(Syed Majid Shah)
For a while, I had the intention of writing on short fiction or micro-fiction. In particular, I wanted to show the characteristics or elements of this genre that would not only determine its structure but also the distinct identity of this genre to the general reader. Be clear in mind.
First, I consider it necessary to identify three weak definitions of fiction from which to attempt to establish the gender identity of different genres of fiction (novel, novella, novelette, fiction, short fiction/micro-fiction, epic and word stories, etc.). is done
1. Genre recognition by word count.
2. Separation of one genre from another by the length, width or number of pages of the text.
3. Determining study time, genre to be completed in half an hour to one hour or genre to be completed in one sitting etc.
When we identify a genre by counting the number of words in its text, its identity becomes not only difficult but impossible. Thus, it becomes difficult to distinguish journalistic stories (such as a hundred word story, a thirty word story), fairy tales, legends and short fiction/micro fiction on everyday topics as separate genres. By taking advantage of this situation, every writer will invent a new genre by adding or reducing the number of words one by one. After the story of a thousand words is invented, how do you separate it from other genres and establish a distinct identity for it?
Novelt was born from the mistake of measuring the length of the text or identifying the genre by the number of pages, although novelt is not a genre. Such definitions of fiction have done us a great disservice to the novel. Every novelist has his own number of pages for a novel. This number starts from 07, 08 and goes up to two hundred pages. In the process of proving his writing as a novel, our writers do unnecessary and sometimes illogical events. They continue to increase. A single event is sometimes repeated three or three bars, and nothing happens, so the number of words in each line is reduced by a couple of lines from the normal setting of the page, so that the total number of pages is within the limits of the novel. Go beyond and enter the limits of the novel. At such ridiculous actions, they don't even think that when we have the elements of a novel, its broad canvas and its wide coverage of life, etc., what difference does it make if the page is fifty or two thousand?
A similar misconception arose in fiction, due to the well-known definition that fiction is a story that can be read in one sitting. After that, a sitting began to be measured from half an hour to an hour, resulting in the long form of fiction. Writers of long fiction have piled on imagery without thinking about whether the scene is needed in the story or not. This process slows down the story. The celebrants made the story so loose that God's refuge!!!
The elements of the fiction and its timing became so important, that every element was drawn so well that the fiction technically met the definition. And there was a severe lack of art. It was felt that Dr. Anwar Sajjad and Intar Hussain had taken fiction to the height of the simple story-like writings, pushed it into a blind abyss. The damage was that the creative mind which New experiments in style and treatment were to be made. Instead of them, superficial minded writers broke on fiction. The limit is that this Jim Ghafir not only wrote fiction but also often became a critic himself. The scholarly, research, observational and literary level of the fiction, like the plaintiff himself, the judge himself, was affected and the journalistic style and the abundance of events connected the fiction with superficial sentimentality.
One of the losses from this journalistic series was that fiction became dependent on events. Now the event did not happen and fiction came, then the events began to wait. Here the event happened, here the book of legends is ready. This series started after partition and reached 'Corona' through terrorism. Guys, people are still waiting for the accident. This is good for the micro-fiction, which separates the story from the events and creates an idea, an ideology, a philosophy. Under the influence of the full creative imagination. The influence of which can now be seen in the fiction of the 21st century. Because unnecessary content has disappeared from it. New angles of subject matter, style and treatment are emerging.
I am grateful to Aqeel Abbas, who sent me his book, Brides and Other Micro-Fictions, and from this book I have collected many examples which make the true nature of this genre more clear. I wanted to write an essay on micro-fiction at the beginning of my book of short fiction, but then it didn't seem appropriate to write an essay based only on examples of my own creations.
"The Bride and Other Microfictions" Since the title of the book contains the word microfiction, I will now use microfiction instead of short fiction (which I think is the correct name).
The elements of microfiction are story, plot, characterization, dialogue, unity of impression, imagery and title, etc. are closer to fiction, literal stories and fairy tales, but all these elements in microfiction due to their specific behavior.
Establish a distinct identity for this genre.
I will discuss all the elements individually with examples from "The Bride and Other Microfictions" to prove my point.
Story:
Microfiction is about creating a story in the reader's mind rather than telling a story. Therefore, this genre increases the thirst of the reader sometimes by showing only the dialogue, sometimes by showing a picture of the scene and sometimes by introducing a side of the character in such a way that the curious reader becomes involved in the creative experience of the creator. Therefore, the edifice of microfiction is based on an idea, psychological complexity, theory or philosophy rather than an accident or a political event. In "Bride and Other Microfictions", Aqeel Abbas gives the story a foundation of ideas instead of events. In the book There are many examples of this, especially "Prisoners of Civilization", "Pencil and Bird", "Chalk", "Hunger".
the topic:
Reading "Dulhan and other micro fictions" one realizes that almost all genres of fiction are mostly taken from thematic material, events or accidents like, partition of India, then partition of Pakistan, terrorism, Corona, social problems, political or Social incidents like rape of Zainab and incidents of social upheaval, martial law etc. Whereas micro-fiction makes the event a part of the text instead of making the behind-the-scenes facts of the event a part of the text. Therefore, it can be said that the subject matter of micro-fiction owes to the creator's thought and imagination. Thus, microfiction transcends any theory, narrative, trend or movement and embraces the totality of the world. This is the reason why this genre has more thematic diversity than other genres, the ability to sense the dangers faced by the present age and the skill to present them with technical maturity.
Title:
The biggest test for microfiction writers is the title. The text must be crisp and therefore the title cannot be conventionally styled. In fiction or fiction, usually a word close to the subject, and often a word that has been repeated repeatedly in the text of fiction or fiction, is placed on their forehead, while in microfiction it is made part of the story. A title is what a microfiction cannot be understood without. That is, the problem cannot be solved by just reading the text. In this regard, Aqeel Abbas's microfictions "Queen of Lisbas" and "Conspiracy of the Subconscious" can be seen especially.
Unity impression:
Like fiction and non-fiction, unity of impression is also an integral part of microfiction, but here consciously, unity of impression does not allow the specific style and treatment of microfiction to remain "one-sided". Hence, there are two or more shades of unified impression that diversify the story at the thematic level. Aqeel Abbas's microfiction "Dulhan" is examined, it satirizes religion, the duplicity of religious leaders in the name of God and the psychology of women is described in such a way that the reader sees different shades of unity. .
See example. The priest in the microfiction "The Bride" tells the girl that God's spirit will enter her and God will marry her. Watch the girl's dialogue. "No Father" This two-word dialogue is showing not only the simplicity of the girl but also her consent for the sexual act. Secondly, the priest is also being provided with a sense of complete security.
Similarly during sexual intercourse, the girl who was previously told that woman is an eternal sinner. Now the priest kisses her feet and private parts, she thinks that when God is in this person, licking my soles, she becomes proud. In this pride, she believes that today God is within her reach. Now, there is no sarcastic phrase anywhere in the text of this microfiction. This is the reason why the concept of unity will appear before you in a new way every time you think about it. If the author had added a single word in favor or opposition to any one character in this micrograph, such as savage, lustful, sexually abused, or innocent, forced, etc. for the girl, then the impression of unity would have become "one-sided". .
Start:
Microfiction not only falls under shorthand but is also aware of the training the reader is receiving through social media. In the first two or three sentences of microfiction, the reader has to be grasped in such a way that he is introduced to the subject and connected to the symbolic system of the style. Clever creative takes advantage of both the title and the opening few sentences in such a way that the reader's curiosity stays with the story until the end. In this regard, see Aqeel Abbas's microfiction "Spartacus":
Seeing the flexibility of his body shining in the sun and the heat of his blows, Akhara exclaimed
The plump girls sitting on the stairs used to tear off their shirts.
As soon as you read the title "Spartacus" you are connected to the history and the beginning, by showing the hero's righteousness and bravery, creates curiosity in the story and the theme is announced to a great extent.
Plot:
Microfiction focuses on brevity and conciseness. Its style tells the story in allusions and allusions instead of descriptive style, so there is less scope for a complex and disorganized plot. Usually the plot is simple but tight. But in two or three cases the matter is completed. Therefore, the integrated plot in microfiction is what keeps the story interesting.
The main character is cradled in the velvet arms of a famous actress and feels her touch, while in another scene he wakes up and with fluid seeping into his thighs, disgust changes his face. Now these two events. The setting itself maintains the interest of the microfiction and exposes the unconscious intrigue.
Procedure or style:
In the figurative style of microfiction, allusion and allusion are used. In contrast, fiction treats the subject in a superficial way in a simple narrative, so that an appearance of the event reaches the reader in a very clear and uncomplicated way. While the special style of microfiction enhances the story in such a way that the facts hidden in the background of the subject, which are hidden from the general view, are also revealed to the reader. For example, see these lines from the microfiction "Cowardly."
"Lightning was crackling outside. Clouds were pulling their heavy chariots, ugly man-eaters."
On my laptop screen I was enjoying hunting with friends in groups
The laptop shut down and the cannibal of Wrong Turn's eyes darkened
He started staring at me. I pulled the blanket up and read something on my sides
It started blowing.
scene:
In microfiction, since all the elements are not treated separately, sometimes one or two elements are used to create such an environment that all the nuances of these particular elements come into the text and the absence of other elements is not even felt. A further explanation of this can be found under the heading of dialogue.) Aqeel Abbas has a fine example of imagery in his microfiction "Fear". The last room of the corridor, the horror of the night, the feeling of insecurity from loneliness in the dark, in such a situation, diverting attention from Facebook, the infamous website to comfort and forget the fear. In a few lines, such a scene is depicted that the reader is gripped by the feeling of watching a horror movie.
Dialogue:
Dialogue is a very important element in microfiction. Because microfiction is the perfect form of brevity and brevity, sometimes just one dialogue creates that atmosphere.
That the scene of the house, the intensity of the subject, the manners of the characters, their economic condition, etc. all come together in just one sentence. In this regard, "Aflas" is a good example. It is written on the subject of poverty. Hunger has been written about in every language of the world and in every genre, but when the issue comes up in microfiction, just look at the dialogue in "Funger," when the starving child hands the mother a frog and says, "Cook it." "This dialogue has come from this innocent intensity that after that the clothes of these hungry children, the condition of their house, the dress of their mother, everything revolves automatically in the reader's eyes and every reader has his own cultural and social The background fills in the missing corners of this story. Such a universal atmosphere, only microfiction can create.
Characterization:
In "The Bride and Other Microfictions" there are those fine examples of characterization that characterize a successful microfiction and distinguish it from other genres. Times are woven into a dialogue so imperceptibly that the rest of the details become redundant. To understand characterization in microfiction, it is important to understand the characters in this poem by Mirzaghalib. Because the characterization, dialogue, detailing, scenery of microfiction is closer to Ghazal.
Look at the poem first.
Yes, he is not God-fearing, let him be unfaithful
Why should anyone who has religion and heart dear go to his street?
In these two stanzas you get three characters. A loved one who neither believes in God nor is faithful. You can estimate the affection of the beloved without knowing anything. The second character is that of a lover who, despite knowing everything, is ready to perish like a butterfly on a candle. He is free from interest. While the third role is that of the nasih who is not only advising but also insisting on abandoning the relationship with the lover. Nasih's continuous insistence is showing from the first word of the poem "Yes". Now in this one poem we are not only aware of the mental state of the three characters, but we can also get a complete picture of them.
Such examples of characterization are the life of microfiction, which is missing in other prose genres. In relation to characterization, you can analyze the characters of Aqeel Abbas's microfiction "Dilhan", Dasi and Fader. The main character can also be analyzed.
Serapa:
Aqeel Abbas's microfiction "Zamin". Which is a half-page story..in it a man who, after the destruction of the Earth, is living in space and yearning for the memory of the Earth. Along with determining her age, her dialogues are also describing her attire.
Oh my children!
Tell me why I should not scratch my breast hair while the earth is destroyed.
How do I stop my ingrown nails from injuring my bald head?
In these instances, my children! Saying gives an idea of his age. Likewise, chest hair, ingrown nails, bald head, are prime examples of the sarcasm characteristic of microfiction. Similarly, Aqeel Abbas comic microfiction "Naazm" is also a good example of serialization.
Comprehensiveness:
There are excellent examples of comprehensiveness in Aqeel Abbas's book "Dilhan and Other Microfictions". Several examples can be presented in this regard. Especially in "Third Photo", the way the problem of the era is seen combined with the first historical situation of the past, it has the status of perfection. Women are shown to be bound in a love relationship. The question arises in his mind whether all this is being shown to us under some conspiracy. Then his mind turns to Sappho, the poetess of Lysbas. The micro-fiction of this shortest period spanning thousands of years is presented in a short but comprehensive fiction. In fact, this is microfiction. In this regard, we can say that the spirit of microfiction is not at all that of everyday anecdotal literature. This genre has its own unique blend of imagination, curiosity, knowledge, research and experience
The name of the mixture is
finish:
Generally, the ending of microfiction is neither as descriptive, journalistic, or narcissistic as fiction, nor does it follow an event. Rather than completeness, the punchline of a good microfiction has a sense of unfolding, which can also be exemplified by incompleteness. For example, see the punch line of Aqeel Abbas's micro-fiction "Adhirabban": "The experience of a poet's imagination was not yet fully realized."
Likewise the microfiction "Spartacus," the great rebel. Centuries ago his movement failed. Note the closing sentence of the microfiction, referring to his unmarked grave: "My mind, even today, sits at the head of his unmade grave, the fabric of the destruction of a great empire."
If the microfiction is done in an explanatory or complementary style, there must be some parts in the overall atmosphere of the story which can be completed only in the mind of the reader. For example, keeping some part of the character hidden, making the dialogue ambiguous or showing such an image of the scene that is neither completely clear nor hidden means that such a thirst is definitely left somewhere that can be fulfilled by each reader according to his cultural environment or experience.
You may find similarities between fiction, nonfiction and microfiction in some elements, but if you examine the genre as a whole, you will definitely find microfiction a distinct genre. Is.
Microfiction is the need of the hour, this genre is associated with the contemporary spirit of Asr (brevity and conciseness). You will see this brevity and conciseness in every field of life. These short clips are having an impact on Tik Tok which is being watched by hundreds of millions of people. Similarly, in cricket, the journey from T20 to T01, the completion of a film in minutes instead of three hours, all these things are becoming part of the psyche of Generation Alpha.
In microfiction, the unique treatment of elements with brevity and compactness is the quality that has led to more successful thematic experiments than in other genres. Made several successful thematic experiments. See the description of these themed events. Conversational microphones etc.
Some less understanding critics consider this genre to be fiction while fiction is a diminutive noun. Diminutive nouns are used for small things. Therefore, in terms of fiction genre, such a simple, ordinary story, which is based on everyday events, journalistic style, punch line is explanatory or understanding. Such stories are called fiction. There are but it is not appropriate, it is definitely close to them but it has the status of a literary genre. While microfiction is the name of using the sceneries, dialogues, plot, characterization, etc. in its specific style in addition to its layering, symbolic style, intellectual themes, on the literary aesthetic level with brevity and comprehensiveness.
The book "Bride and Other Microfiction" is the first book of microfiction, it has also played an important role in the gender rules and regulations of microfiction. Aqeel Abbas has decorated the bouquet with his fresh thought and literary aesthetics. It has given microfiction a distinct gender identity in the genre and has also increased its prestige.
Postscript:
The author of this piece, Syed Majid Shah, an enlightened educator, a renowned storyteller, a gifted poet, and a sharp critic, examines common misunderstandings about how different fiction genres are categorized based on word count, length, and reading time. He contends that it is challenging to identify the unique identity of any genre given these conditions. It might be difficult to distinguish between other genres, such as micro-fiction and journalistic pieces, when one counts the words in a story. The usage of page count or reading time to categorize a piece of writing is also criticized by the author since it causes the plot to repeat itself and add superfluous details. In the end, the author stresses the significance of taking a story's aspects and ideas into account rather than concentrating exclusively on technical requirements.
اس تحریر کے مصنف، سید ماجد شاہ، ایک روشن خیال ماہر تعلیم، ایک مشہور کہانی کار، ایک ہونہار شاعر، اور ایک تیز نقاد، اس بارے میں عام غلط فہمیوں کا جائزہ لیتے ہیں کہ الفاظ کی گنتی، طوالت اور پڑھنے کے وقت کی بنیاد پر افسانے کی مختلف صنفوں کی درجہ بندی کیسے کی جاتی ہے۔ اس کا دعویٰ ہے کہ ان شرائط کے پیش نظر کسی بھی صنف کی منفرد شناخت کی شناخت کرنا مشکل ہے۔ دوسری انواع کے درمیان فرق کرنا مشکل ہو سکتا ہے، جیسے کہ مائیکرو فکشن اور صحافتی ٹکڑوں میں، جب کوئی کہانی میں الفاظ شمار کرتا ہے۔ کسی تحریر کے ٹکڑے کو درجہ بندی کرنے کے لیے صفحہ کی گنتی یا پڑھنے کے وقت کے استعمال پر بھی مصنف نے تنقید کی ہے کیونکہ اس سے پلاٹ خود کو دہرانے اور ضرورت سے زیادہ تفصیلات شامل کرنے کا سبب بنتا ہے۔ آخر میں، مصنف صرف تکنیکی تقاضوں پر توجہ مرکوز کرنے کے بجائے کہانی کے پہلوؤں اور خیالات کو مدنظر رکھنے کی اہمیت پر زور دیتا ہے۔
