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Once asked, why do you write stories? Manto replied – ‘I do not write stories, stories write me.

Dive into the compelling world of Saadat Hasan Manto, celebrated for his incisive and daring stories that lay bare the complexities of human nature and society. This collection features a selection of Manto's most powerful works, each offering a unique perspective on themes of love, loss, and societal struggle.

दस्तावेज़ सिरीज़ का ये पाँचवा पार्ट है! इससे पहले के चार पार्ट को काफ़ी सराहाना मिली है. 'मंटो' की लिखी और भी कहानियाँ सुनिए "दस्तावेज़-5" में!

दस्तावेज़ सिरीज़ का ये चौथा पार्ट है! इससे पहले के तीन पार्ट को आप सब का अपार स्नेह मिला है. 'मंटो' की लिखी और भी कहानियाँ सुनिए "दस्तावेज़-4" में!

A master of the short story, Saadat Hasan Manto opens a window onto Bombay's demimonde - its prostitutes, rickshaw drivers, artists, and strays as well, probing the pain and bewilderment of the Hindus, Muslims, and Sikhs ripped apart by the India-Pakistan Partition. From a stray dog caught in the crossfire at the fresh border of India and Pakistan, to friendly neighbors turned enemy soldiers pausing for tea together in a momentary ceasefire - Manto shines incandescent light into hidden corners with an unflinching gaze, and a fierce humanism.

‘If you find my stories obscene or filthy, then the society you are living in is obscene and dirty,’ once said Manto. While Manto was time and again accused of obscenity, his stories addressed several social issues. With his astute understanding of the complexity of human nature and his ability to write griping stories, Manto was considered one of the most powerful voices of his time. This collection brings together some of Manto's finest stories including 'Chor', 'Mausam ki Shararat' and 'Paseena'.

To mark the birth cenetary of Saadat Hasn Manto in 2012, Zambeel Dramatic Readings presented a selection of his plays from the series titled Aao. Manto wrote these short plays in Mumbai specifically for radio and the collection was published in 1940. Amongst these, Aao Kahaanai Likhein (Come, let's write a story) is mentioned in All India Radio 1939 progress report as one of the most successful production of the series.

This collection in Urdu includes: "Manto Fasadaat Par", in which the literary critic Muhammad Hasan Askari invites the listener to contemplate Manto’s approach towards writing on Partition; "Baray Aadmi", a short story in which we meet the innocent and vibrant Zakiya Begum; and "Hamid ka Bacha", Saadat Hasan Manto’s short story addressing hypocrisy.

Urdu-language selections, featuring "Khaana Vazir", "Jul Kuukri", "Chauthi ka Jora", and more.

Saadat Hasan Manto (1912-1955) needs no introduction. One of the greatest stars of Urdu literature, Manto published over 20 collections of short stories in a literary career spanning almost two decades. Several of these have been adapted into films and plays that have won a multitude of awards and his stories about the 1947 Partition remain some of the best accounts ever written on the catastrophic event.

"If you find my stories obscene or filthy, then the society you are living in is obscene and dirty", once said Manto. While Manto was time and again accused of obscenity, his stories, however, addressed several social issues. With his astute understanding of the complexity of human nature and his ability to write gripping stories, Manto was considered one of the most powerful voices of his time. This collection brings together some of Manto's most popular stories including "Blouse", "Shikari Auratein", and "Janaki."

मंटो एक सोच है, अफ़साना है, कल्ट है, दीवानगी है, दर्द है. मंटो पर मुकदमा चला, उनकी कहानियों को अश्लील कहा गया लेकिन उन्होंने अपनी कला की सच्चाई के हक़ में लड़ना चुना. वह भारतीय उपमहाद्वीप के बंटवारे के सबसे मार्मिक कथाकार है. उनकी कहानियाँ इंसानियत के पतन और समाज की गंदगी का एक बेलौस और विचलित करने वाला दस्तावेज़ हैं. यहाँ प्रस्तुत है उनकी बेमिसाल कहानी - मेरा नाम राधा है

हिन्दी और उर्दू के मशहूर संपादक प्रकाश पंडित के अनुवाद में मंटो की कलम का जादू इस पुस्तक की हर कहानी में बरकरार है।

Urdu bhaasha ke prakhyaat kahaaneekaar Saaadat hasan Manto vishv katha sahitya kaa ek aisa naam hai, jisase sahitya kee samajh aur prem rakhne vaala pratyek paathak parichit hai. Manto ne apane jeevan kaal mein samaaj kee jis gandagee aur ghinaunepan kaa anubhav kiya tatha jindagee ke jahar ko mahasoos kiya, use hee apnee kahaaniyon mein utaara. Manto kee kahaaniyaan ek arth mein manovaigyaanik sansanee paida karne vaalee kahaaniyaan hain.

ఖోల్ దో అనే టైటిల్ ప్రాముఖ్యత ఏమిటి? "ఖోల్ దో" అనేది విభజన సమయంలో సామాన్య ప్రజలు ఎదుర్కొన్న హింస మరియు గందరగోళానికి ప్రతినిధి. "ఖోల్ దో" 2012లో ఢిల్లీలో జరిగిన సామూహిక అత్యాచారం సమయంలో చూసిన మానవ అధోగతి యొక్క లోతులను కల్పితంగా వర్ణించబడింది. ఈ కథ సిరాజుద్దీన్ యొక్క దృష్టికోణంలో చెప్పబడింది దేశ విభజన సమయంలో తన కూతురి కోసం వెతుకుతున్న తండ్రి మరియు అతను ఆమెను కనుగొన్న పరిస్థితులు.

मंटो एक सोच है, अफ़साना है, कल्ट है, दीवानगी है, दर्द है. मंटो पर मुकदमा चला, उनकी कहानियों को अश्लील कहा गया लेकिन उन्होंने अपनी कला की सच्चाई के हक़ में लड़ना चुना. वह भारतीय उपमहाद्वीप के बंटवारे के सबसे मार्मिक कथाकार है. उनकी कहानियाँ इंसानियत के पतन और समाज की गंदगी का एक बेलौस और विचलित करने वाला दस्तावेज़ हैं. यहाँ प्रस्तुत है उनकी बेमिसाल कहानी -शादाँ

Saadat Hasan Manto was born in 1912. As a playwright and author, he wrote in what was then British India until the 1947 partition placed him on the Pakistan side of the new border. He wrote mainly in Urdu and was a prolific short story writer. His writing attracted controversy, and he was arrested and charged with obscenity 6 times but was never convicted.

In this Urdu-language collection: "Vehshi" by Ahmed Nadeem Qasmi; "Phir Wohi Eid" by Shaukat Thanvi; "Kahin Yeh Purvai Tau Nahin" by Altaf Fatima; and "Ishqiya Kahaani" by Saadat Hasan Manto.

ఇది మాంటో యొక్క అసమానమైన కథ, ఇది వైకల్యంతో కూడిన జీవితాన్ని ఒక పదునైన రిమైండర్. మాంటో ఒక ఆలోచన, ఒక విషాదం, ఒక కల్ట్, ఒక అభిరుచి, ఒక బాధ. మంటోపై కేసు పెట్టారు. వారి కథలను అశ్లీలంగా పిలిచేవారు, కానీ అతను తన కళ యొక్క నిజం కోసం పోరాడాలని ఎంచుకున్నాడు.

నిక్కీని తన భర్త ఎప్పుడూ కొట్టేవాడు. అలా దెబ్బలు తిన్న తనలో పేరుకుపోయిన కోపం మరియు ద్వేషం కొత్త ప్రాంతంలో బయటపడటం ప్రారంభించింది. ప్రతిసారి ఇరుగుపొరుగు వారితో గొడవ పడటం ప్రారంభించింది. వారితో గొడవ మొదలుపెట్టి ఆ తర్వాత ఈ నైపుణ్యాన్ని తన వృత్తిగా మార్చుకుంది. గొడవలకి డబ్బులు వసూలు చెయ్యడం మొదలుపెట్టింది కొట్లాటలు, గొడవలు ఆమెరక్తంలో ఎంతగా నాటుకుపోయాయంటే, తనికి మూర్ఛలు రావడం ప్రారంభించాయి మరియు ఇరుగుపొరుగు వారిని దుర్భాషలాడుతూ మరణించింది.