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Often, when I’m bored with the books I’ve been reading or with the enforced solitude of lockdown, I return to my shelves for collections of fables, folktales and wonder tales from many cultures and in many languages. I have a special predilection for Chinese tales of the uncanny, particularly because so many of those such as Pu Songling’s Strange Stories from a Chinese Studio are not retold from traditional or oral sources, but written in a finely calibrated style, long before the modern short story established its formal hegemony in the realms of world literature. Today, though, I’ve finished the last story in Midnight Doorways, by our very own fabulist Usman T. Malik. This book, for which I’ve waited for a year, arrived in my mailbox three days ago and has been beside me ever since. I call Malik a fabulist here because he’s subtitled his first collection Fables from Pakistan. The stories in it may well be described as tales, but however we choose to describe them,

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