By Shafqat Naghmi Book Corner ISBN: 978-969-662-547-6 Understanding Pakistan’s 78-year journey as a country can be done in two ways. One way is through government-approved textbooks, which often give only one side of the story. The other way is through literature — especially fiction — which can help us examine deeper truths about our history, society and politics. Saat Janam [Seven Lifetimes], a powerful Urdu novel by Shafqat Naghmi, is an excellent example of such kind of literature. It tells the story of Pakistan’s political and spiritual struggles through the life of one central character, Muhammad Khan. Shafqat Naghmi is not only a writer but also a former civil servant who served as the Chief Operating Officer of the Pakistan Cricket Board. He published his first novel, Chain of Being, in 2005 in the UK, under the pen-name Khan Shafqat. Originally from the village of Behbudi, Naghmi was an avid reader of Ibn-i-Safi and wrote poetry in his youth. He joined the civil service in 1980 and served for four decades, gaining deep insights into the inner workings of the state. His background gives him strong insight into how power works in Pakistan. In Saat Janam, he uses that knowledge to build a rich, symbolic story using metaphors, magical realism and political commentary. The book has 34 chapters divided into six parts, and it tells the story of not just one man, but the journey of an entire nation. A powerful Urdu novel invites readers to question not only Pakistan’s political journey but also deeper spiritual and moral questions about identity, change and destiny The main character, Muhammad Khan, goes through seven lifetimes or janams, each showing a different phase of Pakistan’s history. Even though janam or rebirth comes from Hindu philosophy and is not part of Islamic belief, Naghmi uses it creatively. He invites readers to question not only Pakistan’s political journey but also deeper spiritual and moral questions about identity, change and destiny. The novel starts in Behbudi, where Muhammad Khan is born. What begins as a personal story quickly becomes a larger tale about the country’s transformation. The early chapters of the novel span key historical events — from the 1857 rebellion against British colonialism in united India to the 1971 break-up of Pakistan — highlighting how personal lives are closely tied to national history. Shafqat Naghmi is not only a writer but also a former civil servant who served as the Chief Operating Officer of the Pakistan Cricket Board. He published his first novel, Chain of Being, in 2005 in the UK, under the pen-name Khan Shafqat. Originally from the village of Behbudi, Naghmi was an avid reader of Ibn-i-Safi and wrote poetry in his youth. He joined the civil service in 1980 and served for four decades, gaining deep insights into the inner workings of the state. The portrayal of Muhammad Khan’s ancestors is especially well done. Even though readers have never met their own ancestors nor have memories of them, the writing creates a strong emotional connection, making these early characters feel real and familiar. Muhammad Khan, at first just one man, slowly becomes a symbol of the nation itself. One of the strongest features of Saat Janam is its use of magical realism — a literary style where real events are mixed with dream-like, spiritual, or magical elements. This helps the author poetically talk about deep issues. A powerful symbol in the novel is the babul tree — a dry, thorny plant that Muhammad Khan believes will one day bloom. It also appears on the book’s cover, reinforcing its meaning as a symbol of pain, resilience and hope. This tree represents Pakistan: hurt, stuck in the past, but still holding on to hope. Each chapter begins with a quote from religious texts, poetry or history. These short passages prepare the reader for the themes to come and add meaning to the story. The novel is divided into six parts, each with a meaningful title. The first part, Umeed-i-Bahaar Rakh, includes eight chapters and introduces the reader to Muhammad Khan. It provides a well-written background of his early life and family history. This section also covers major historical events from 1857 to the 1971 break-up of Pakistan, showing how national tragedies deeply affect personal identity. For example, Muhammad Khan’s troubled childhood — including his sister being forcibly married to the Quran and his own personality being shaped by a narrow-minded teacher — is part of the novel’s powerful critique of social and cultural injustices. The second part, Diyaar-i-Ishq Mein, takes place in the 1970s, a time when many Pakistanis were moving abroad in search of better opportunities. Set in America, this section has five chapters and explores Muhammad Khan’s life in the West. It follows his romantic relationship with a woman named Julia and his inner conflict as he tries to balance his Eastern roots with Western culture. Coming from a modest background, this cultural gap proves to be a major challenge for him. The third part, Tehzeebon Ka Tasaadum, contains four chapters and focuses on the growing tension in Muhammad Khan’s family. He appears confused and disconnected, especially from his children, who are growing up with different values. His daughter embraces freedom and individualism, while Muhammad Khan still holds on to traditional beliefs. This creates deep cultural and generational conflict, reflecting the wider divide in our own society, where modern and traditional values often collide. In the fourth part, Muhammad Khan returns to Pakistan and enters politics. Titled Laut Ke Budhoo, with eight chapters, this section shows how Muhammad Khan’s rise reflects modern leaders who gain popularity by promising change but end up facing the same old challenges. In the three-chapter fifth part, Khwaabon Ki Duniya, hidden powers prepare Muhammad Khan for leadership. He forms a party called Tehreek-i-Intekhab and is elected after being groomed by unseen forces. The sixth and final part, Raja Gidh (named after Bano Qudsia’s famous novel), has five chapters and shows Muhammad Khan’s downfall. Once a man of high morals and values, he loses his spiritual core while in power. The story ends with his imprisonment, but not with a final conclusion. Instead, the 288-page novel suggests that his story, like Pakistan’s, is still unfinished. The chapter titles, such as ‘Shajar-i-Tajassus’, ‘Dararron Ki Aamad’, ‘Kitaab Se Nikaah’, ‘Saamri Aur Azhdaha’, ‘Terah Second Ki Jang’, ‘Jahaangard Ki Wapsi’, ‘Sar Mundaatay Olay’, ‘Truck Ki Batti’ and ‘Tabdeeli Ka Aghaaz’ show how the novel uses humour, deep meaning and social criticism to talk about important issues such as curiosity, divisions in society, forced customs, misuse of religion, political lies and fake promises of change. In conclusion, Saat Janam is much more than a novel. It is a journey through Pakistan’s soul — filled with pain, hope, failure and potential. For readers who want to understand Pakistan not just as a country but as a living, struggling idea, this book is essential. Shafqat Naghmi has given us a story that is both deeply emotional and intellectually rich. It deserves to be read, discussed and remembered. The reviewer writes on old films and music and loves reading books. X: @suhaybalavi Published in Dawn, Books & Authors, June 1st, 2025