Shazia Tasneem Farooqi
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PUBLISHED
February 01, 2026
Kamran Mughal’s Haan… Koi Hai is a profound exploration of the human situation, performing as a bridge between the intimate struggles of the person and the collective pulse of humanity. It doesn’t retreat into the summary; moderately, it finds its energy within the “soil” of our lived experiences, making certain that each line carries the burden of fact.
Within the panorama of latest Urdu literature, it’s uncommon for a primary enterprise to reach with the gravity of a seasoned masterpiece. But, Mughal’s debut assortment does precisely that, bolstered by the uncommon and prestigious endorsement of twelve distinguished Urdu students. Their forewords function a gateway to a piece that performs a meticulous thematic post-mortem on the collective nationwide soul and the non-public human coronary heart. Writing with a fluid, “flowy” grace and an accessible, abnormal vocabulary, Mughal bridges the hole between the high-brow scholarly custom and the visceral, lived expertise of the trendy citizen.
A primary e-book of poetry isn’t merely a set of verses; it’s an unveiling of the interior life.
Divine submission
The e-book stands as a threshold between the poet’s interior universe and the world he bravely invitations into its divine house anchored by the magisterial title poem, Haan…Koi Hai is a two-page non secular manifesto that serves because the e-book’s philosophical heartbeat. In these verses, Mughal establishes himself not merely as a poet, however as a delicate diagnostic observer of a divine system. He describes a Creator who “runs the system of life,” a presence that doesn’t stay distant however actively teaches the weary traveller easy methods to cross the tough terrain of existence.
The poet writes as somebody deeply attuned to the thought of divine presence, a singular, all-encompassing energy that governs not solely human future, however the silent rhythms of nature, the instinctive knowledge of animals, and the unseen order of existence itself. His perception in a single Creator just isn’t inflexible or dogmatic; moderately, it breathes by means of his strains like mild by means of leaves. At occasions, his poetry reads as devotion, a mushy, reverent, and surrendered. At different moments, it seems like a dialog with the Divine, questioning, craving, and looking for reassurance in a world that usually seems fractured and unjust.
The debt of the homeland
At a sure level, poet’s gaze shifts seamlessly from the celestial to the terrestrial. In Aao Watan Tameer Karein [let us build the homeland], he adopts the persona of a humble debtor to his soil. He views nationwide service not as a political alternative, however as an ethical reimbursement for the identification bestowed upon him by his nation. His name to motion is remarkably pragmatic; he urges his readers to forged apart mayoosi [despair] and embrace tadbeer—a time period implying strategic knowledge and calculated efforts to “conquer the world” and usher in a brand new daybreak.
The paradox of intimacy
What makes this assortment compelling is the way in which Mughal balances religion with consciousness. He doesn’t retreat into spirituality as an escape from actuality. As a substitute, he stands firmly inside the world, observing it with open eyes and a wounded coronary heart. His poems usually carry the burden of social consciousness of ache witnessed, wrongs endured, and voices silenced. There may be an activist’s pulse beneath his calm tone, a quiet resistance in opposition to cruelty, apathy, and ethical decay
Regardless of his public requires nationwide reconstruction, Mughal’s most haunting work lies in his non-public reflections. Within the poem Ajeeb Larki [strange girl], he shows a weak, introspective persona. He paints a lyrical portrait of a girl outlined by her “wandering temper” and unpredictability. The emotional core of the piece lies in a startling admission of human fallibility: the speaker confesses to frequent mendacity, but he’s undone by the woman’s absolute, “word-for-word” belief in him.
Witnessing the descent
His newest piece of labor Karachi Jal Raha Hai, devoted to victims and affectees of the Gul Plaza inferno. This poem, although not within the e-book, is a strong, uncooked piece of “witness poetry.” It captures the tragedy of the Gul Plaza hearth with a concentrate on human price moderately than simply bodily destruction. Karachi is burning— not simply the buildings; however human goals and hopes too. It wasn’t the partitions of Gul Plaza that fell, however a mom’s prayers, the youngsters’s lengthy wait, and the labourer’s whole day of toil that got here crashing to the earth.
Right here Mughal feels deeply, and that depth interprets into verses which might be fragile but resilient, private but common. His phrases recommend a soul that absorbs the world’s sorrow and transforms it into reflection moderately than bitterness. This sensitivity permits him to maneuver seamlessly between the non-public and the cosmic—from a person’s grief to the huge intelligence governing existence. In doing so, he reminds readers that perception, ache, and accountability will not be separate experiences, however interwoven strands of being human.
Mughal’s “post-mortem” of society turns into piercing when he addresses the breakdown of communal concord. Within the pained verses of Aman Ki Fakhta Kho Gayee [The dove of peace is lost], he paperwork a descent into societal insanity. The poem is a chilling report of mob violence, the place slogans of loss of life echo by means of streets as soon as identified for peace. It’s a courageous piece of writing, the place he captures the chilling silence of those that watched however didn’t cease the chaos, making the poem a diagnostic of a society’s ethical well being.
The sanctuary of innocence
The poem Masoom [Innocent] capabilities as a respite from the encircling darkness. He expresses a determined, nearly childlike eager for time to cease and for a actuality the place each rival turns into a buddy. This poem reveals a coronary heart that seeks refuge within the dream of common friendship, the place butterflies converse with flowers and loneliness is completely banished. It’s an important key to understanding poet’s persona, a person who feels the “loneliness of humanity” deeply and proposes “innocence” as a radical type of resistance in opposition to a harsh world.
The ultimate journey
The gathering finally leads the reader to a confrontation with the unexpected finish of all issues. Within the stark, fashionable imagery of Nylon Mein Lipti Lash [The corpse wrapped in nylon], Mughal treats mortality with a scientific but compassionate eye. He describes the physique as a “traveller” whose journey has abruptly shifted into a brand new, silent dimension.
He means that loss of life just isn’t an ending however a metamorphosis and advises the reader, “don’t worry the unexpected” is a testomony to the non secular fortitude established in his opening poems. Even when encased in artificial nylon, the human spirit is handled as a traveller who has merely reached a brand new vacation spot.
A love for all seasons
Mughal’s journey of emotion concludes with Mujhe Mausam Se Kya Lena [Why do I care for the season], a complete give up to the fidelity of affection. Mughal asserts that his inside world is dictated by the presence of his beloved, not the calendar. Whether or not the world outdoors is gripped by the nippiness of December or the warmth of September, he finds “all the colors of spring” inside the particular person he loves.
The author’s energy lies in his many roles as a witness. In his poem Udaas, he highlights the plight of ladies by means of customs like Vanni and the commercialisation of the noble occupation of instructing. It’s a critique of the middle-class gaze, the place one watches the exploitation of a mom and baby by means of the secure window of a automobile, trapped in their very own insensitivity.
The poet balances these heavy themes with the fragile great thing about Gajra, the place the contact of jasmine petals in opposition to a cheek turns into a second of reckoning. Right here Mughal emerges as not only a critic of the world, however a participant in its magnificence. Conversely, Tamasha Mere Agay provides a stoic, philosophical acceptance of betrayal, the place the sorrow of life is greeted with a bitter however crucial gratitude.
As a primary launch, this e-book carries the uncooked honesty of beginnings. There isn’t any pretence of mastery, solely sincerity. Mughal doesn’t declare solutions; he simply provides questions formed into poetry. His work invitations readers to pause, to really feel, to consider, and to rethink their relationship with the Creator, with society, and with their very own conscience. This assortment is not only learn—it’s skilled. It leaves behind a lingering stillness, urging us to hear extra intently to the world, to others, and to the divine echo inside ourselves.
In welcoming Mughal’s poetry into the literary house, readers will not be merely discovering a brand new poet; witnessing the beginning of a voice that dares to be weak, trustworthy, and awake.
