Hyderabad: Small in stature but towering in influence, Jeelani Banu was a formidable voice for women and the marginalised. Through her pen, she persistently challenged oppression and social injustice, earning a place among the most distinguished figures in Urdu literature. With her recent passing, the literary world has lost not just a prolific writer but a conscience-keeper whose stories illuminated the lived realities of women with rare sensitivity and courage.
A recipient of the Padma Shri, Banu authored more than 20 books, besides writing three television serials and a telefilm. Her works travelled far beyond linguistic boundaries, finding readers through translations into over a dozen Indian languages. Journalist PV Suryanarayana Murthy translated a selection of her short stories into Telugu under the title “Anta Nijame Chepta,” introducing her powerful narratives to a wider audience.
Gifted with an innate flair for storytelling, Banu produced an impressive body of short stories, novels and screenplays. Set largely in Hyderabad and the Telangana region, her narratives span the pre-Independence era to contemporary times. Her prose – lucid, engaging and evocative – brought alive a wide spectrum of characters, from feudal elites to struggling workers, each etched with authenticity.
At the heart of her writing lay an unwavering concern for women subjected to injustice and exploitation. Yet, few are aware that she also ventured into humour. In her delightful story “Bekari Ke Mashgale,” she wittily suggests how idleness can inadvertently spark innovation, revealing her versatility as a writer.
Literary talent came naturally to Banu. She was the daughter of the renowned Urdu scholar and poet Allama Hairat Badayuni. Born into an intellectually vibrant household, she developed remarkable command over the Urdu language early in life. Her father had migrated from Badayun in Uttar Pradesh to Hyderabad during the Nizam’s rule, having been invited by Maharaja Kishan Prasad to tutor his sons.
Even as a child, Banu gravitated towards literature, staging small plays within the family circle. Her first major literary breakthrough came at the age of 12, when her short story “Ek Nazar Idhar Bhi” was published in Adab-e-Lateef, a reputed literary journal from Lahore. Another story, “Mom Ki Maryam,” earned widespread acclaim in Savera magazine. Eminent writers such as Rajinder Singh Bedi, Krishan Chander and Ahmad Nadeem Qasmi took note of the young writer’s promise.
Thereafter, there was no looking back. She went on to produce memorable works such as “Roshni Ke Minar,” “Nirwan, Jugnu Aur Sitare,” “Nayee Aurat,” “Sach Ke Siva” and “Baat Phoolon Ki,” each earning critical acclaim. However, it was her first novel, “Aiwan-e-Ghazal” (1976) that marked a watershed moment in her career. The novel won her the prestigious Soviet Land Nehru Award, firmly establishing her as a leading voice of her generation.
“Aiwan-e-Ghazal” explores Hyderabad’s culture in the tumultuous pre- and post-Independence periods, highlighting the subtle tensions between feudal structures and emerging working-class aspirations. Through the character of Ghazal, Banu poignantly depicts exploitation and resilience. Her second novel, “Baarish-e-Sang” (1984), set against the socio-political upheavals following the disintegration of the Nizam’s state, portraying a peasant youth’s struggle against bondage and injustice.
One of her celebrated short stories, “Narsayya Ki Bavdi,” was adapted into the acclaimed feature film “Well Done Abba” by filmmaker Shyam Benegal, further amplifying her reach beyond literary circles.
Banu restored a certain refinement to the Urdu novel. Her stories grappled with contemporary issues: the contradictions within human personality, the exploitation of the vulnerable, the dilemmas of working women and the pervasive corruption in society. Her protagonists, often women, possessed the courage to resist and the strength to confront their circumstances. “I am totally against exploitation of women in any form,” she once told this writer.
Before her marriage to Prof Anwar Moazzam, poet and former Head of the Department of Islamic Studies at Osmania University, she had experienced the constraints of a strict purdah system – an experience that perhaps deepened her empathy for women’s struggles. Prof Moazzam passed away in 2023.
Unassuming and free of literary airs, Banu never succumbed to writer’s block. She continued to produce soul-stirring fiction with remarkable consistency. Like many Urdu writers, financial rewards were modest. Yet, she remained steadfast in her conviction. “Writing is not a hobby or a profession for me – it is a way of life,” she used to say.
With Jeelani Banu’s passing away, Urdu literature has lost a luminous presence. But her words — resonant, rebellious and compassionate —will continue to inspire generations to write boldly and live truthfully.
This post was last modified on March 4, 2026 8:10 pm