Qaidi
By Omar Shahid Hamid
Translated by Inaam Nadeem
Maktaba-e-Danyal
ISBN: 978-969-419-117-1
400pp.

Translating a piece of literature, especially fiction, is an art — often something or the other is literally ‘lost in translation.’ It is because retaining all the nuances of a piece of writing — the tone, the tempo, and the colloquial language — is not an easy task. Each language has its own expression, idioms and metaphors and, when translated in another language, they lose their flavour.

But sometimes, the translation is as worthy as the original.

The Urdu translation of Omar Shahid Hamid’s debut novel The Prisoner — a thriller exposing the functioning of Karachi police — by Inam Nadeem, is a case in point. Titled Qaidi, the Urdu translation has all that the reader may look for in a translation of a masterpiece.

Nadeem, a poet and translator, has translated several books in Urdu, which include Dukhtar-i-Rumi (Urdu translation of Muriel Maufroy’s novel Rumi’s Daughter), Aaina Si Zindagi (Urdu translation of Rabisankar Bal’s novel A Mirrored Life), and Dozakhnama (Urdu translation of Rabisankar Bal’s novel Dozakhnama: Conversations in Hell), etc.

As Nadeem writes in his note, when he was asked by Hoori Noorani of Maktaba-e-Danial to translate The Prisoner, he was a bit hesitant, as he is not a professional translator and only translates if he feels inclined towards some piece of literature and also because he had not read the book, though he knew what it was about. But as he read the book, he had the feeling that he could relate to the characters and situations, and hence agreed to translate it.

An Urdu version of Omar Shahid Hamid’s first novel The Prisoner is a model exhibit of how a good translation can delight on its own

After having read the original (The Prisoner) and now the translation (Qaidi) one can say that Nadeem has done a great service to Urdu readers. With this translation, those not well versed in English will surely get a chance to enjoy the great work with which at least all those living in Karachi can relate. And those familiar with both the languages will enjoy both the versions equally.

The translation retains not only the details but also the flavour of the original book, which shows Nadeem’s strong command of both the languages. The story moves as fluently as in the original, the minute details, the suspense and thrill in action scenes are all present.

The colourful language used by the cops is just one example of how close the translation is to the original; those who have experience in dealing with the police would agree that it is a true representation of their style. The language in the narrative, too, is close to that commonly spoken, not too polished or bookish; in fact, it is quite colloquial, punctuated with idioms and phrases that are now in common, everyday use.

In no way as a means to undermine the efforts of the translator, but it can be said that since the book originally had a local background with language close to that spoken by the common man, interspersed with occasional Urdu words even in the English version, it may have made the work a little bit easier.

It can in no way be called a literal translation; if one doesn’t know that it is a translation, one may even take it for an original work, and perhaps that is how translations should be done. Anyone can do a literal translation, but only a few can bring the story to life.

Those who have read the English version need no reminder but, for the benefit of those who have not, the book delves into the working of the police and its corrupt officers, and interference from politicians and political parties as well as intelligence agencies in its functioning.

The story begins when an American journalist is kidnapped from a posh area in Karachi and his captives announce that he will be publicly executed on Christmas. With absolutely no clue in hand, the police is left in the dark, simultaneously dealing with pressures from the government and intelligence agencies.

With time of utmost importance here, they know that only one man, senior police officer Akbar Khan, has the sources to trace the kidnapped American, but he is in jail and despised by the United Front (UF) political party (which is now a government ally) for his role in the operation against the party. But now to achieve their goal — to find the American — the high-ups are keen to enlist his help and are ready to drop all charges against him, and even ask the UF to accept his release and reinstatement.

How Akbar has the information or clue as to where the American is when he himself is in prison and apparently does not meet anyone, not only keeps the readers guessing till the end, but also baffles those on the trail of the kidnapped journalist. Will the police and intelligence agencies be able to save the kidnapped American from the clutches of the jihadis, only time will tell.

The book is a fast-paced thriller that brings to life the overly complicated power structure and the moral ambiguities of justice in Pakistan. One reads how the officers are used and sometimes feel compelled to bribe their seniors as well as politicians for postings and transfers, and fulfil even their demands to be in the good books of the seniors. To top it all, they have to change their loyalties and stance with changes in government, in order to retain their positions. This is all part of not only Karachi police but, unfortunately, all sectors of our society.

Omar Shahid Hamid’s personal experience as a police officer gives authenticity to his depiction of the inside functioning of the police force and political manoeuvring, and an insight into a society where corruption and extremism are commonplace. The author has thinly disguised the names of parties and characters, but the readers can relate to and identify who is being referred to.

Those living in Karachi or who have spent time in the city can relate to the localities, even back alleys, as they move with the cops in their hunt for the American or other criminals.

The reviewer is a freelance journalist. X: @naqviriz

Published in Dawn, Books & Authors, February 11th, 2024