Exoparasti
By Zubair Hassan
Atlantis Publications
Available at Welcome Book Port
ISBN: 978-969-601-504-8
224pp.

Political satire is a dynamic and influential form of commentary that uses humour to address and analyse political and social issues. Through various media and forms, it provides a unique perspective on a nation’s and society’s challenges and helps foster public discussion and awareness.

The novella Exoparasti is one fine addition to such books in Pakistan. Written by journalist-turned-author Zubair Hassan, it is not a story about Pakistan but has Pakistan on its every page. Zubair has been around for over three decades, working in the print and electronic media, yet this is his first attempt at writing a book.

The story begins by introducing Exo, a fictional planet, where animals reign supreme. The structure of the state mirrors that of many real world governments, comprising four essential pillars: the judiciary, legislature, executive and media. However, in this unique world, different animals, highlighting the roles they play in the governance of the planet, symbolise each of these pillars.

A fox, an animal often associated with cunning and craftiness, represents the judiciary. The military, symbolised as a horse, represents strength and power. In the language of Exo, the military is referred to as “Elgoz”, which means the establishment. The judiciary is shown as mere puppets of the establishment.

Although donkeys are technically barred from becoming judges, many have disguised themselves, by painting stripes like those of zebras to appear qualified. This metaphor suggests that unqualified and incompetent individuals have infiltrated the judiciary, hiding their true nature to gain power and authority.

A satirical Urdu novella tells the story of a fantastical planet where animals with various human characteristics reign supreme

The lawmakers, from whom we get the rulers, are not constant on Exo; they change frequently, with different animals taking turns in power. Sometimes an elephant gets the chance, symbolising strength and memory; other times it’s a crow, known for its intelligence but also for being a scavenger. There are times when an owl, often seen as wise but also associated with darkness and death, or a chameleon, representing adaptability and deceit, takes the helm.

Soraki is a scorpion politician, a master at swaying the masses. He boasts about the benefits of his sting so convincingly that the animals come to believe he is their saviour. Similarly, the media comprises different animals with strange habits. A crow, a peacock, a dog named Sniffer, and many more.

The religious class in Exo, referred to as “Baghbi”, is incredibly powerful. Depicted as large goats, they represent the religious clerics in society. They sell religious decrees for their benefit, worship idols and impose bans on scientific inquiry.

The common people of Exo, symbolised by sheep and goats, are portrayed as passive and easily led. Known as “Borbeez”, they symbolise the ordinary citizens who have no real value or status in society. They lack agency and are mere spectators in the grand scheme of governance, manipulated and controlled without much say. The story highlights their suffering and struggles, showing that, while the entire state’s system runs on their hard work, they are the first to be sacrificed, whenever the state requires it.

Dr Z.A. Khan is the main character in the story. He is an animal lover, a researcher, and a globally recognised journalist. The entire story revolves around him, and he serves as the narrator, guiding the reader through the events that unfold. Shilop, a deer, is also a key figure in the narrative. With teleportation abilities, Shilop serves as a guide for Dr Z.A. Khan, leading him through the world of Exo.

His presence adds a mystical dimension to the story while helping to reveal the deeper truths about the society on Exo, bringing the themes of power and corruption to life for the readers.

Animals bearing human-like characteristics inevitably bring to mind the literary experiments that took place in Western Europe towards the end of the 19th century. It reminds the reader of H.G. Wells’ novel The Island of Dr Moreau (1896), where similar kinds of analogies were used. The book also has shades of George Orwell’s Animal Farm (1945), where Orwell uses farm animals to represent different classes and types of people in a satirical allegory of the Russian revolution.

Behind these animal characters, the authors have undoubtedly attempted to portray the world at large, ie human society in general. This novella critiques totalitarianism, the corruption of ideals, and the betrayal of revolutionary goals by those in power. It provides a sharp critique of various societal and political systems, employing animals on the fictional planet of Exo to symbolise and satirise the real-world dynamics of power, corruption and exploitation, particularly in the context of Pakistan.

Zubair Hassan’s writing style in Exoparasti is both captivating and immersive, evoking a strong sense of personal experience. His narrative technique draws readers into the story, making them feel as though they are living the events alongside the characters. One can surely sense real characters were going through the mind of Zubair Hassan when he was writing the text.

This engaging approach not only holds the reader’s attention but also allows them to deeply connect with the unfolding drama. Furthermore, the entirely metaphorical expression in the story is a clear sign of the author’s craft and aesthetic sense.

In a time when Pakistan has ventured into animation and achieved notable success with projects such as The Glass Worker, Exoparasti stands out as a compelling candidate for adaptation into a full-length animated film.

The novel’s rich, imaginative world and its intricate, allegorical storytelling lend themselves perfectly to the visual and dynamic possibilities of animation. The vibrant characters and the detailed, symbolic setting of Exo would translate well into an animated format, offering a unique and visually stunning cinematic experience. An animated adaptation could effectively bring to life the supernatural elements and complex societal critiques embedded in the story.

With its potential for creative visual representation, Exoparasti could not only entertain but also provoke thought, just as the novel does. Such an adaptation could further showcase Pakistan’s growing prowess in animation and storytelling, contributing to the country’s reputation in the global entertainment industry.

The reviewer writes on old films and music and loves reading books. X: @suhaybalavi

Published in Dawn, Books & Authors, September 1st, 2024