Singh, Nanak, the father of Punjabi novel, was born at Peshawar. Like most Hindu families in the West Punjab in those days, Nanak Singh\’s parents were devoted to the Sikh faith. Their son, Hans Raj, embraced Sikhism under the influence of the Singh Sabha Movement of the early twenties and was named Nanak Singh. Nanak Singh was jailed for some time as an Akali Satyagrahi, and while in jail, he read the famous Urdu novelist, Munshi Prem Chand, who stood for a Gandhian egalitarianism.
Being a Sikh though, Nanak Singh found Gandhism compatible with Sikh humanism. He reacted to the developing social environment around him in this dual spirit and wrote his novels in this vein. Chitta Lahu (1932) marked the end of the first phase, but in fact, it is a novel of transition. Fauladi phul was published in 1934, followed by Kagtan di beri (1936), Piar di duniya (1946), Dhundle parchaven, Love marriage (1945), Garib di duniya (1949), Adh khiriaphul (1948), Pavittar papi, Jivan sangram (1950).
All these novels of the second phase immortalised Nanak Singh as a Punjabi novelist. With Tutti vina (1945), Ganga jal wich sharab (1947) and Dur kinara (1948) he touches 1947, the fateful year of Independence and bloody Partition. Partition and its tragic consequences threatened Nanak Singh\’s indomitable optimism. But he refused to give up hope. Khun de sohile (1949) and Agg di khed (1948), both written just after Partition, are two linked novels.
In them Nanak Singh\’s heroic Sikh and Muslim characters fight last ditch battles against overwhelming odds and would rather perish fighting than give in to inhumanity. From 1947 onwards Nanak Singh was a shaken man, trying to uphold his idealism against mounting odds. Khun de sohile and Agg di khed marked the transition to the final phase of his career, when he wrote Katti hoi patang (1953), Suman Kanta (1952), Adam khor (1953), Nasoor (1954) and Banjar. In a few novels like Pujari, Astik nastik, Chhalawa, Gagan damama bajia and Ikk mian do talwaran, which was given Sahitya Akademi Award for 1961, he demonstrated that he had acquired a facile pen and the ability to link contemporary reality with the stories he wove.
His novels became longer as well as more varied in theme. He grappled with new problems and was obliged to discuss the old, now fast-changing moral values. In Katti hoi patang (1953) he created three different situations. In Adam khor (1953), Nanak Singh is far less sentimental and far more realistic than in Garib di duniya (1949) discussing the problem of man\’s exploitation by man with far greater insight.
In advocating a non-violent educative campaign as the way to salvation, he is much more with Vinoba Bhave than with Marx. During his long span of creativity, he wrote more than 60 novels and a number of short stories. A facile short autobiography Men duniya was published in 1948. He also edited a monthly journal Lok sahitya for quite a long period.
References :
1. Amarjit Singh, Punjabi sahit da itihas ”Qissa kal, Amritsar, 1981.
2. Encyclopaedia of Indian Literature, 6 Vols., Delhi, 1995.
3. Sekhon, S.S. and K.S. Duggal, A History of Punjabi Literature, Delhi, 1992.
4. Singh, N.K., En cyclopaedia of Indian Biography, Delhi, 2000.
Nanak Singh is celebrated as one of the seminal figures in modern Punjabi literature whose novels continue to captivate readers with their vibrant tapestry of romance, social commentary, and historical insight. Born as Hans Raj in 1897 and later adopting the name Nanak Singh after embracing Sikhism, his literary journey marked a turning point in how Punjabi novels were crafted and understood. His command over language, combined with an authentic portrayal of Punjabi life and culture, allowed him to create narratives that delve deeply into human emotions, ethical dilemmas, and societal transformations. His works remain timeless not only in their storytelling but also in their power to evoke the struggles, passions, and evolving identities of his people .
Among his most acclaimed novels is Chitta Lahu (“White Blood”), a work that exemplifies his gift for realism and introspection. In this novel, Nanak Singh explores the interplay of love, honor, and societal conflict, offering a narrative that reflects the dynamic shifts occurring within Punjabi society. His characters are painted with keen detail and humanity—steeped in the traditions of the past yet facing the challenges of a modernizing world. Similarly, Ik Mian Do Talwaran (One Sheath and Two Swords) is praised for its majestic blend of historical drama and personal valor, an achievement that earned him accolades such as the Sahitya Akademi Award. Such works not only entertain but also provoke thoughtful reflection on the cultural, political, and ethical landscape of his time .
Beyond his epic narratives, Nanak Singh’s other novels, such as Saintly Sinner (also known as Pavitra Paapi) and Love Marriage, further showcase his keen ability to challenge conventional boundaries. These novels examine the complexities of morality, the tension between societal expectations and personal desires, and the transformative power of love. His progressive themes were ahead of their time, inviting readers to question established norms and explore the multifaceted nature of human relationships. Through his nuanced narrative style, he opened up dialogues on social justice, freedom, and identity, elements that resonate with the evolving spirit of modern Punjabi literature .
Today, Nanak Singh’s literary legacy is essential reading for anyone interested in the history and evolution of Punjabi novels. His works serve as a bridge connecting the rich cultural heritage of Punjab with the progressive impulses of the modern era. Each page not only narrates personal and collective stories but also encapsulates the struggles and aspirations of a people in transition—making his body of work as relevant and impactful now as it was when first published.
