As an icon of female consciousness and an outspoken critic against the political oppression of women within Pakistan’s conservative circles, Fehmida Riaz broke glass ceilings as a revolutionary female writer and poet. Her writings challenged and encouraged dissent against social norms aimed at suppressing the authentic female voice.
Her early works and poetry were not only politically charged but were the personification of the liberation of the female body and desires, something considered taboo and often labelled as ‘vulgar’ amongst Pakistan’s patriarchal establishment at the time. Her debut poetic collection, ‘Pathar ki Zaban’ (Language of Stones) in 1967, firmly established her as a daring and unconventional female poet. However, it was her 1973 work, ‘Badan Dareeda’ (Torn Body), that marked her true poetic breakthrough. This powerful collection quickly became a rallying cry for Pakistan’s feminist movements, galvanising protests against the restrictive societal norms that hindered women’s emancipation. The latter was not only symbolic of the unapologetic portrayal of the female body and sexuality but it ignited controversy amongst Pakistan’s male-dominated literary circles. They denigrated the poetry as ‘pornographic’ and religiously incompatible; especially when sentiments against female representation ran high during Zia’s martial law.
Just like any female revolutionary bound by societal constraints, her life was not without poltical struggles. During the 1980’s, Riaz’s criticism of General Zia-Ul-Haq’s dictatorial and authoritarian rule led to her self-exile in India where she found support among many other subcontinental female revolutionaries like Amrita Pritam. Despite her exile, she continued to not only be an advocate of women rights against patriarchal oppression but of democratic rule. Many of her works continued to gain recognition such as 1981’s ‘Agar Beti Zinda Rahti’ (If My Daughter Had Lived) and 1979’s ‘Chador Aur Chardiwari’ (Veil and the Four Walls). The former was one of her poignant works that reflects the impact of societal violence on women while the latter struck a chord on females being physically restricted to the confines of their home at a time when Zia’s rule called for limitations on female presence and dressing with a strict observance of the ‘chador’.
Fehmida Riaz’s bold poetic voice and literary contributions continue to inspire generations of activists, women and poets alike. She not only revolutionised feminist discourse in Pakistan but also cemented her legacy as a poet of resistance, courage, and change. Her poetry remains a beacon of hope for those fighting for justice and equality.
Ek badan dareeda,
Phir bhi dar ke bina bolti hai,
Aurat ki awaz uthti hai,
Ab sharm se band nahi hoti (Badan Dareeda, 1973)
(A torn body, Yet it speaks without fear, A woman’s voice rises, No longer to be silenced by shame)
Chadar ke peeche,
Aur chardiwari mein,
Main tumhari qaid mein nahi,
Main wo toofan hoon jise tum nahi rok sakte. (Chador Aur Chardiwari, 1979)
(Behind the veil, And within the walls, I am not your prisoner, I am the storm you cannot control)
Agar meri beti zinda rahti,
Woh barsaat mein naachti,
Apna geet gati,
Aur apne naam se ooncha uthti (‘Agar meri beti zinda rahti, 1981)
(If my daughter had lived, She would have danced in the rain, She would have sung her own song, And stood tall in her own name)
