When I was in college, I got inspiration from Amrita Pritam's poetry work, 'Naveen Rut' (New Season), to write in the mother language. I had already read some Sufi poets of Punjabi language. However, the poetry of Amrita Ji impressed me a lot and besides Urdu and English, I started writing in Punjabi. My first book 'Kanso Vele Dee' hit the bookshelves in 1972 and I sent a copy to Amrita Ji.
When telecasts of Indian TV started to be watched in Pakistan and the channel started airing Indian films, there was so much eagerness that people installed huge antennas to watch telecasts clearly. I used to watch with lot of interest the Punjabi literary programme 'Darpan' that was presented by Amrita Ji. One day she commented on my book and said: "This is very good poetry". She also congratulated me through the television.
I came to know about Amrita Pritam after reading all her writings, particularly her biography 'Raseedi Ticket' (Receipt Stamp) that got published in 1976 and its second part titled 'Mein Jama Toon'. 'Raseedi Ticket' made a stir in the literary circles and several people objected that she might not have mentioned some points but I think there is nothing of this sort.
In fact, she had no double standards and used to mention everything in a straight way. She did not conceal anything, on the pretext of any diplomacy, about her friends, her life and her views with regard to literature. I think every true author should do the same.
A poem written by Amrita Ji on bloodshed following the division of India in 1947 'Aj Aakhan Warish Shah Noon Kiton Qabran Vichon Bol' immortalised her in the Punjab poetry.
She was the first woman recipient of the Sahitya Academy Award on collection of her Punjabi poetry 'Sanehre' and the title of Padma Shree in 1969. She received three D Lit degrees from Delhi, Jabalpur and Vishva Bharti Universities in 1973 and 1983 respectively.
Amrita Pritam visited Moscow on the occasion of World Peace congress in 1973. Earlier she visited Tashkent, Tajekistan and Uzbekistan on the invitation of Moscow Writers Union in 1961 and Bulgaria in 1966. She was sent to Yugoslavia, Hungary and Romania by the Indian government under a cultural exchange programme in 1967. She mentioned details of these visits in 'Raseedi Ticket' but the award she received from Bulgaria in 1980 was very important.
When Bulgaria instituted an award in memory of its revolutionary poet Nikola Vaptsarov in 1979 and selected five writers from Russia, the United States, Italy, Poland and India for this award, Amrita Ji was selected from India. She received this award at a ceremony on October 16, 1980.
In his speech on the occasion, the president of the award committee said: "We, Bulgarian writers and people are happy that a prominent India writer and poetess is our friend. We published her writings in Bulgaria and love it because her poetry accepts struggle for social values and human welfare".
Amrita Ji was given the symbol of liberty - an injured bird made of brass with wings spread skyward - and half of the award money ($1,300) in cash. She was honoured for attending the International Sofia Meeting of Writers attended by writers from 22 countries.
Amrita Ji was nominated for membership of Rajiya Sabha in 1986. In 1987 I was in Holland when renowned Punjabi fiction writer Ajeet Kor invited me to attend a two-day Punjabi Kahani Conference in New Delhi. I reached Delhi and informed Amrita Ji on telephone about my presence in the city. She asked me to reach her residence.
I reached her Hauz Khas home and stayed there for three days - the golden moments of my life. I discussed with her literature, politics and Sufism as well as Punjabi literature, literary figures and also exchanged views on Pakistan-India relations.
She knew about ban on my Punjabi books during the rule of General Zia-ul-Haq. When I asked her to watch video of a drama on my Punjabi novel 'Bandiwaan', she asked astonishingly how you produced a drama on this novel despite ban on your books. I informed her that when Zia-ul-Haq allowed literary, cultural and political activities within walled premises and we screened this drama on the occasion of first World Punjab Conference in 1986 at a house in Lahore.
She said she had read the novel, so she knew how difficult production of a drama was, as every character of the novel dropped from eyes as itching of a pain. I went around Delhi along with Imroz and Amrita Ji.
We used to sit in the evenings and our conversation covered some books, her recitation of any new poem on my insistence and expression of her experiences and observations about Sufis, rishis and derveshes. She showed two documentaries on herself that were made beautifully.
When I mentioned that she was not writing Punjabi poetry and had started writing in Hindi, she said she had not written a lot of poetry and did so when felt to do so otherwise she did not make any conscious effort to pen down a poem. She said there is a large readership of Hindi, therefore, it is necessary to write in Hindi.
Amrita Pritam received honorary D Lit degree from the Punjab University in 1987 and the French government also awarded her an honorary degree the same year, while she received an honorary doctorate from the SNDT University of Bombay (now Mumbai) in 1989 and Punjabi Academy, Delhi conferred Waris Shah Award on her in 1990.
Throughout her life, Amrita Ji violated disciplines and revolted against traditions and this was the reason that she achieved great successes in her life. She got a good friend and life partner as Imroz. She first met him in 1955 and they befriended in 1960 before becoming life partners in 1964. They jointly launched Punjabi monthly 'Naag Mani' and established a publication house. This journal was launched in 1966 and closed in 2004.
Amrita Ji used to select material for the journal while Imroz was responsible for proof-reading and sketch drawing. This magazine of high quality has been very popular and created a group that has been producing a fine literature.
Amrita Ji encouraged good writers and used to praise their writings. She never wrote foreword or preface of every book for her publicity.
When I invited her to visit Pakistan, she said her health was not good enough and would definitely visit Pakistan whenever she got an opportunity.
When Amrita Pritam slipped in bathroom in February 2000 and got a bone fracture, she was 81 and bone fracture at this age was very troublesome. Her two-hour surgery took five hours.
When she returned home, she hoped to walk again but her foot started aching again after a few days so she spent rest of her life on the bed as sitting or walking had become impossible for her because her body and bones were not strong enough for further surgery.
Although she did not need any award, we announced to confer on her Lifetime Achievement Award from the World Punjabi Congress in 2003 as a gesture. We got prepared a shield and Mehmood Butt, a great painter, drew her picture. At the awards ceremony, the Punjabi writers, poets and intellectuals paid rich tributes to Amrita Ji.
A documentary on Amrita Ji, produced by Basu Bhatacharya, was also screened on the occasion. When I informed her on telephone about the award, Amrita Ji said it was a real pleasure for her because it was to be given to her in Pakistan but alas she could not visit the place where she was born, grew up, got married and gave birth to her two children (her daughter Kundlan and son Noraj were born in Lahore) and where she spent 28 years of her life.
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