In March 2020, India was slated to be the Guest of Honour at the Paris Book Fair. Unfortunately due to the pandemic, it was cancelled at the last minute. But in anticipation of the book fair, the French Institute in India had begun preparations in 2019. One of these initiatives was to organise a tour for a delegation of French journalists in November 2019 to meet publishing professionals. During this trip, Radio France International journalist, Catherine Fruchon-Toussaint interviewed many people, including me, across Delhi. Mumbai and Kolkata. Her half-hour programme giving a bird’s eye-view of publishing in India was broadcast on Saturday, 26 June 2020.
In 1993 Taslima Nasreen wrote Lajja ( “Shame”) in Bengali. It was her response to the anti-Hindu riots that had broken out in Bangladesh after the demolition of the Babri Masjid, Ayodhya, India on 6 December 1992. The novel was published in Bengali and within six months sold over 50,000 copies. It brought the author “fame” that till then had been unheard of in the subcontinent. Prior to this, the only other author to have had fatwas issued against them was Salman Rushdie, an author of South Asian origin but residing in UK at the time. Lajja became one of the first books in translation to be talked about by many readers internationally and this was at a time even before the Internet. ( Dial-up modems, with limited email access, were introduced in India in 1996!) Lajja became a bestseller rapidly. The English edition for the subcontinent was published by Penguin India. Subsequently a new translation was commissioned by Penguin India in 2014-15. The translator of the later edition was Anchita Ghatak. The book was banned in Bangladesh and fatwas were issued against the author. Taslima Nasreen fled to Europe and later laid roots in India. At first she chose to live in Calcutta/ Kolkatta and is now based in Delhi. Years later, Taslima Nasreen still needs security cover wherever she travels.
Lajja was explosive when it was first published as it was a Muslim author, upset by the communal riots in her land, who was writing sympathetically about a Hindu family. The story details the progressive radicalisaion of Suranjan who firmly believes in a nationalist Hindu outlook. So much so it is a belief he continues to nurture even after he, along with his family, flee Bangladesh to become refugees in India. In India he becomes a member of a Hindu nationalist party. Pirated editions of Lajja were sold in India. It became an international bestseller and was translated into many languages. Taslima Nasreen, a doctor by training, has become an established writer with more forty publications. She defines herself as “a secular humanist, a human rights activist, and a prolific and bestselling author, who has faced multiple fatwas calling for her death”.
More than twenty-five years later, Taslima Nasreen is back with a sequel to Lajja. It is called Shameless. Arunava Sinha, the translator, told me “the original title was Besharam but eventually the Bengali book was published, also in 2020, with a very tame title, e kul o kul. The book was written more than ten years though.” Nevertheless Shameless is a unique experiment in writing a novel. It has shades of Pirandello’s “Six Characters in Search of An Author” with Suranjan as the protagonist but in conversation with Taslima Nasreen. The opening pages of the novel have Suranjan, the character, visit Taslima Nasreen, the author, and bring her up-to-date with the events in his life. It then develops into a fascinating narrative where a novel is obviously being drafted but it has so many overlaps with reality. With the author-turned-character (or is it character-turned-author?) providing pithy comments and at times intervening in the story by persuading the characters to act in one way or the other. It is a work of art. Shameless is a sequel to Lajja but seems more that that — Taslima Nasreen seems to have sort of trickled into the space between reality and fiction to put herself under the lens. But the conversation is more than that. It is a conversation between writer and character, commentary on the turbulent times. Taslima Nasreen’s was an emotional response to the increased communalisation in the subcontinent after the fall of the Babri Masjid. It was not necessarily literary writing. But in the intervening years Taslima Nasreen has evolved as a writer. With Shameless she has given herself space to speak frankly without hopefully attracting any more bounties for her head. Also the writing is very close to her memoir (Dwikhondito, 2003, translated into English as Split: In Two, 2018 — translated by Maharghya Chakraborty). Interestingly in recent years her voice as an author comes through very strongly in the English translations despite her experimentation with a gamut of translators. A testament to her strong writing. There are sufficient examples in the novel that indicate her belief in being a secular humanist stem from having experienced or witnessed firsthand many incidents in the name of religion. Much of this she distills into her writing of Shameless, exemplifying how much of the personal informs the political.
Arunava Sinha’s translation is superb. He is a renowned translator who has made available many Bengali writers in English but with Shameless his professional expertise as a translator par excellence is established. He channels Taslima Nasreen’s authorial voice beautifully. His past experience of working with Bengali authors has helped him tremendously to hone his expertise in being utterly respectful to the desire of the author to be heard in the original language and carry it forth impeccably into the destination language, enabling the readers in English to appreciate the text for what it is. It works brilliantly in a translation like Shameless where the author herself has a lot to say, much of it tricky.
The time lapse between the publication of Lajja (1993) and Shameless (2020) marks a significant period of socio-political history in the subcontinent as well. With Shameless Taslima Nasreen seals her place as a relevant author who creates political art, a need of the times when plainspeak is not necessarily always welcome.
Sudhanva Deshpande’s Halla Bol: The Death and Life of Safdar Hashmi is an account of the left activist Safdar Hashmi who was brutally murdered on 1 Jan 1989 at Jhandapur, Ghaziabad. Safdar Hashmi was 34 years old. Jan Natya Manch was staging a 30-minute play called “Halla Bol” on the road when the actors were interrupted by some politicians who wished to cross. Hashmi requested them to return in a little while. They seemed to listen and turn away except they returned bearing iron rods. They attacked the troupe leaving Safdar Hashmi very badly injured. He had been hit on the head many times. By the time of his death Hashmi had been hugely influential in street theatre with his group called Jan Natya Manch or Janam. He was a member of the CPI ( M).
In Halla Bol Sudhanva Deshpande recalls the earth-shattering events of the day. He was one of those who took the injured Safdar Hashmi to hospital. Working “backwards” from the opening scene of the murder of Hashmi, Sudhanva Deshpande recalls the main highlights of Safdar Hashmi’s life. Both men share similar qualities of being street theatre practitioners and a political activists. So while this book is promoted as a biography, it falls more into the category of a memoir and an unusual one at that — a collective memoir. Through much of the book Deshpande is able to rely upon memory as in many instances he bears witness to the events that occured but for many others he interviewed many people who knew Safdar Hashmi and/or had worked with him. There is a veritable army of people mentioned in the text and acknowledged at the end of the book too. It is a democratic inclusiveness of all those who knew Safdar Hashmi — as a man, a colleague, a relative, a theatreperson, a political activist etc. Deshpande’s account while highlighting that Hashmi used the arts for communicating his politics. As cultural critic Kunal Ray mentioned in his review of the book, “Street theatre is political. It began as a workers’ movement against capitalism. As a medium of performance, it facilitates direct conversation or confrontation with the audience or onlookers defying the restrictions and gentility of a proscenium space. It also undermines the hierarchy of the performer and the audience. Street theatre is democratic and Safdar Hashmi believed in a vision of the arts that is secular and people-oriented. He also believed in an art advocating social justice. It is therefore impossible or perhaps unpardonable to think of Safdar without his politics.” ( Kunal Ray, “Review: Halla Bol – The Death and Life of Safdar Hashmi by Sudhanva Deshpande”, Hindustan Times, 24 April 2020) . Interestingly enough National Street Theatre is 12 April which is also Safdar Hashmi’s birthday.
Nandita Das, Sudhanva Deshpande, Moloyshree Hashmi et al reading out the first two scenes of Halla Bol in Mumbai, March 2020.
Halla Bol is an interesting testimony of a life well lived and rudely cut short by hooligans. It may be considered a biography but is more of a primer on theatre in India with a fascinating account of the evolution of street. More importantly an amalgamation of traditional forms of artistic expression that was combined with drama for a public performance. Today we take this for granted, whether watching a play, reading a book or even watching a film. In the 1980s it was still a brand new concept and had the desired impact upon the audience, mostly workers for Jan Natya Manch performances, and who suddenly did not feel alienated any more from cultural performances as plays like “Halla Bol” used vocabulary, situations, dialogue etc that was familiar — “Just like us”. Safdar Hashmi was undeniably sharp, intelligent, a hugely gifted artist, a visionary and knew how to combine smartly political acts with creative expression. Yet there are moments in the book which make it seem like a hagiography since all those interviewed or reminiscing about Safdar Hashmi continue to miss the man fiercely. In a biography one expects there to be a distancing between the author and his subject offering a perspective to the reader but this does not always happen in Halla Bol. Nevertheless this book is a treasure trove of memories, a people’s history of theatre movement in India, evolution of street theatre, documentation of various attitudes towards performing theatre, empowering future generations of theatrepersons by enabling them to be confident in borrowing elements from traditional forms of theatre/ folk art and making it their own. Within months of its publication the book has been translated into quite a few Indian languages. It is a seminal book on Indian theatre.
The following images taken at the fair by the Indian delegation were shared by the National Book Trust, the government agency, responsible for the collaboration.
Picture by Arpita Das, Founder-Publisher, Yoda Press
On the morning of 11 November 2019, Christine Cornet, Attachée Débat d’Idées et Livre, Institut français India/Embassy of France, invited a few of us Indian publishing professionals to address the visiting delegation. The aim was to give the French visitors a bird’s eye-view of the Indian book market with specific aspects highlighted such as regional language publishing, literary prizes, and literature festivals.
I had been invited to address the gathering on the publishing market of India. I chose to dwell on the characteristics of the publishing market in India along with some important points to consider from the point of view of the French publishers.
In March 2020, India will be the “Guest of Honour” at the Paris Book Fair and in January 2022 France will be the “Guest of Honour” at the New Delhi World Book Fair. This reciprocal invitation for this collaboration was announced during the official visit of President E. Macron in India in March 2018 when he met Prime Minister N. Modi. As a run up to this event, the French Book Office invited a delegation of journalists and cultural experts to visit India and meet publishing professionals. As a run up to this event, the French Book Office invited a delegation of journalists and cultural experts to visit India and meet publishing professionals. The delegation consisted of journalists and cultural experts: Eve Charrin (Marianne and Books), Gladys Marivat (LiRE magazine), Lorraine Rossignol (Télérama), Sophie Landrin (Le Monde correspondent for India and South Asia — Pakistan, Bangladesh, Nepal, Bhutan, Sri Lanka, Maldives), Catherine Fruchon (Radio France Internationale and editor-in-chief/ host of the show Littérature Sans Frontières ), Christian Longchamp ( Artistic advisor and playwright, and co-programmer of the annual multidisciplinary festival ARSMONDO, Opéra national du Rhin, Strasbourg), Sébastien Fresneau ( VP Book and Entertainment Events at Reed Exhibitions France and General Manager of Livre Paris, the Paris Book Fair) and Néguine Mohsseni ( Press Attachée, Institut Français, Paris).
Here are some of the salient points of the roundtable.
Indian Book Market
India is geographically deemed as a sub-continent. It is
large. Politically it is a federal structure with a centre and state
governments. The population is over 1.3 billion people. 22 languages are
recognised officially by the Constitution of India and English is not one of
them; instead it is the lingua franca. Interestingly language spoken changes
ever so slightly every 20 kms, making it impossible to consider India as a
homogenous book market as there are so many languages and scripts to consider.
The Indian publishing industry consists of multiple players.
There are publishing agencies like the National Book Trust and the Sahitya
Akademi (the organisation for literature) that were established by the
government, soon after Independence in 1947. Apart from these the well-known
multi-national players exists and a number of independent publishers. Of late
the self-publishing market is a growing segment that has resulted in a lot of
people getting their works published and new vendors are being established.
Bookselling happens through brick-and-mortar stores as well
as online such as Amazon and Flipkart. Online retail allows many
customers/readers to access books from Tier 2 and 3 towns which was not
possible earlier. According to Nielsen BookScan, the estimated value of the
Indian book industry is approximately US$6.3 billion. It has been more or less
at this position since the last Nielsen report of 2015. This is for various
factors, most immediate being – GST
(July 2016) and demonetisation (Nov 2017). Despite this the book market in
India is undoubtedly growing and there is a book hunger. Again this is for
multiple reasons, some of them being that more than 60% of the Indian
population is under 35 years age, making it young, mostly literate[1]
or still studying, so in need of text/books. The K-12 segment constitutes the
largest segment of the Indian book market as 50% of the population is below the
age of 25 years old. The next segment of interest would be the trade list that
consists of MBS (Mind, Body, Spirit) children’s literature, women writing, literary
fiction, general fiction (mythology, historical fiction, fantasy, romance,
commercial fiction etc.) narrative nonfiction (history, biographies,
commentaries, memoirs etc.), cookery books etc. The children’s literature
market cannot be ignored for in the past decade it has grown phenomenally. This
is not just for the school textbook market but for leisure reading. Some of the
factors contributing to its growth have been the presence of school book fairs,
literary weeks in schools and writing retreats for budding authors, initiatives
started by Scholastic India and now adopted by many other players. Also the
insistence of many schools to include supplementary readers and/or books for
leisure reading alongside the prescribed curriculum. Also, ten years ago, one
of the most popular book festivals for children called Bookaroo was
established. Since then it has spread not only to other parts of the country
but overseas too. The reading public in this country is growing and this is
obvious by the rapid rise of piracy with many of the print editions available
at vendors holding large piles of poorly published editions to sell at
crossroads and temporary stalls seen on pavements.
Book fairs are very popular too. Unlike some of the
international book fairs where the focus is also selling of rights, most fairs
in India function as retail outlets. A book fair becomes an occasion for
customers to throng the stalls buying their supply of books. The customer
profile could vary from individuals, families to institutions browsing looking
for titles amongst the front and backlists and often scrummaging through at the
remaindered/second-hand bookstalls too. The biggest of these is the New Delhi
World Book Fair but then there are many regional book fairs organised too.
A major contributing factor to the book hunger in this
country has been the extraordinary growth in popularity of literature festivals
beginning with the mother of them all – “Jaipur Literature Festival”. It is
organised over a period of five days in January and has many parallel sessions
with domestic and international speakers. This model has been emulated across
the country with versions of it springing up. Apparently more than 80% of the
half million visitors that visit JLF are below the age of 29 years old. This
demographic seems to be more or less consistent for other litfests in the
country with more and more of the young visible in the audience.
Advancements in digital technology have enabled
readers/writers to access books from overseas, participate in online discussion
groups, access literature on their phones/pen drives/ebook readers etc. And
those that like reading the ebook, then purchase the print copy too. Increasingly
it is happening in many scripts.
An indication of the robustness of the publishing are also
the increasing number of business conclaves. Four of the prominent ones are the
CEOSpeak Over Chairman’s Breakfast organised jointly by the National Book Trust
and FICCI (Federation of Indian Chamber of Commerce), PubliCon organised by
FICCI, Jaipur
Book Mark organised by Jaipur Literature Festival and Jumpstart organised
by the German Book Office.
Apart from this there are many literary prizes, including
specific ones focused on children’s writing, women’s writing, fiction, debut
authors, translations etc that have been launched. Some are very lucrative,
even awarding the translator, handsomely.
All said and done, the Indian book market is really many
markets within a market!
French Book Market
The French book market is smaller but equally robust. Some of the key characteristics are its Fixed Book Pricing, its protection of the brick-and-mortar stores from online players like Amazon and the prominent book fairs like Paris Book Fair. Also publishing translations of World Literature into French.
Indo-French
collaboration
The French Book Office’s presence in India has helped foster Indo-French collaborations in the book industry. From sponsoring visits of Indian publishing professionals to France for specific book-related events and vice versa to actively promotes translations and publications of French authors into Indian regional languages under the aegis of the Tagore Publication Assistance Programme (PAP Tagore). French books translated in 2018: 75 titles including 1/3 supported by the Embassy of France. In addition to this the French Institute recently established the Romain Rolland Prize that translates French literature into a regional language. Apart from this consistent soft diplomatic initiative with the active cross-pollination of literature and cultures, the Institut Francais in New Delhi, now facilitated the crossed invitation from the governments of France and India regarding the book fairs. India is the guest of honour at Paris Book Fair 2020 and France will be at the New Delhi World Book Fair in 2022.
A great literary feast awaits the literary communities in
both nations!
[1] According to the Census of India, the definition of “literate” in India is that person who can sign their name.
Mini
Krishnan worked with Macmillan India (1980-2000) and with Oxford University
Press (2001-2018) to source, edit and promote translations into English of
works by Indian writers from 13 languages many of which won national prizes and
are included in study courses both in India and in universities overseas.
She is currently co-ordinating multiple publishers to build a programme of Tamil-English translations. This is an initiative designed by the Tamil Nadu government and located in their Textbooks and Educational Services division.
1.How did you begin your career as an editor of texts translated from Indian languages into English?
Well…I think
it is fair to say that it began as both an accident and an affinity for things
Indian long submerged by training in English Literature! I always felt a vague
dissatisfaction with the texts I was reading / studying but had no clear idea
of how to access materials written by Indians. Nor how to relate them to what
seemed to be important intellectual tools gained in UG and PG degrees in English
Literature. In the late 1960s-early 70s when I was a student, books were not
that easily available. Because my father was with the Deccan Herald (Bangalore) I got to read the books he received for
review and that was about all. My college and university libraries did not
stock books by Indian authors.
Seven years
after my post-graduation I got an opportunity to freelance with Macmillan India
in Madras. I was put to work on anthologies of prose, poetry, fiction and so
on. Quite dull work really but I kept asking my editor why she couldn’t include
some Indian writers other than Nehru, Sri Aurobindo and Tagore. “The members of
Boards of Studies do not even consider other Indian writers worth teaching,” she
said. I thought to myself that if I ever got a chance I would campaign for the inclusion
of Indian writers in foundation English courses.
I got my
chance when my editor (Viji Sreenivasan) left, creating a vacuum which I
filled. I was a square peg in a square hole. A week later the Kerala Sahitya Akademi
and Macmillan India signed agreements to produce a two volume publication
titled Comparative Indian Literature
edited by KM George; with 16 chief editors and 200 contributors, it was a
stupendous work. The entire chronology of Indian literature was catalogued and described.
Ancient Poetry (all the languages recognized at that time) Modern Poetry.
Ancient Theatre, Modern Theatre. Fiction. Short and Long. And so on and so on.
It was 4000 pages and took five years to push into shape. I worked on nothing
else.
But where
might all those Indian language works, described in this publication be
accessed? Only a very small number of them were available in English
translation. So, since fools rush in, I designed a project of modern novels
from eleven Indian languages and tried to persuade Macmillans to invest in the
idea. They were astounded. They were textbook
publishers and I was their golden goose publishing for the school and college
market. Why waste editorial time and money on translation? So I set about
looking for support outside Macmillans. If I secured funding I would be allowed
to do the project. For seven years I went from door to door trying to convince
powerful institutions to part with some money for Indian literature. Mind you I
had nothing to show anyone as a promise of what might be possible. Only a
single failed translation by V Abdulla of Malayatoor Ramakrishnan’s Verukal.
Finally, in March 1992, my friends Valli Alagappan, her father, Mr AMM
Arunachalam and her aunt Mrs Sivakami Narayanan who jointly ran the MR AR
Educational Society of Madras agreed to fund me. I still do not know why they
decided to help me. I had nothing to recommend me but my enthusiasm and
determination. I received a letter saying that they would set aside Rs 80,000
per book for 50 books.
No one was more surprised than my highly commercial management but there
was trouble. Though my Vice President R Narayanaswamy supported me, my Managing
Director Sharad Wasani was unwilling to let me spend a lot of time on what he
saw as an unsaleable project. When he received the forms seeking his approval
he refused to sign. I wrote him, “You are the only person in the world who will
refuse funding for his country s literature”and closed by offering to resign.
Only two people from that time left — Jayan Menon and Sukanya Chandhoke—
who will remember this.
Anyway, after Wasani changed his mind, I invited eleven eminent writers to be the chief editors for the languages I had selected for the project ( Tamil, Telugu, Kannada, Malayalam, Gujarati, Marathi, Oriya, Bengali, Urdu, Hindi and Punjabi) and they helped to make up lists of five post-Independence novels from their respective langauges. Because I had been dealing with 16 chief editors on the C.I.L volumes I didn’t think this strange at all but anyone who discussed the project with me was astonished at the volume of work I had undertaken. It didn’t seem like work at all to me ! At last I was getting to do what I had really wanted to do when I entered publishing 12 years before.
Many important works were published in full for the first time in English: Brushte ( Outcaste) by Matampu Kunhukuttan, Randamoozham ( Second Turn) by MT Vasudevan Nair, Bharathipura by UR Ananthamurthy, Danapani (The Survivor) by Gopinath Mohanty, Subarnalatha by Ashapurna Debi, Ponniyin Selvan by Kalki and Karukku by Bama.
In all, between 1996 and 2000 when I left Macmillans I published 37 volumes. They went out of circulation a year or two after I left the company and the C.I.I.L Mysore bought the whole project including unsold stocks in 2007 with a view to republishng the entire list. It never happened because the Director (UN Singh) whose dream it had been, left the Institute.
2. What were the languages you first worked on? How many languages have you worked upon so far?
The first scripts I worked on were translations from Malayalam and Tamil. In all, I’ve worked on translations from Tamil, Telugu, Kannada, Malayalam, Konkani, Marathi, Gujarati, Bengali, Odia, Hindi, Kashmiri, Punjabi, Urdu, and just one from Dogri.
3. How do you select which book is to be translated especially if it is a language you are unfamiliar with?
As I said because of the work I did on Comparative Indian Literature it wasn’t difficult to identify what needed to be translated particularly if the Sahitya Akademi had not already commissioned translations. Then again once the Macmillan project took off I was flooded with advice and suggestions. The difficulty was what to leave out. A great disadvantage is that I could not and therefore did not read the critical material on any of these works. I rely a great deal on the advice of others. But when it comes to translators I use a process of running trial drafts of different kinds of passages from the selected work — one might be a descriptive paragraph, a second something very emotional or lyrical, a third passage would cover conversation – to check the translator’s strengths and where s/he might back off, or skip or be lazy. The editing process can take anything from two drafts to six depending on the competence of the translator and the cooperation between all parties. Long silences, gaps in the process are not healthy for the project nor is impatience or being a speed queen the answer. As for the reception of a translation! Much depends on how well the publisher promotes the finished product. Publishing is only 50% of the responsibility. The other 50% depends on promotion and follow-up.
4. Do you think it is necessary for an editor to be familiar with the source language? If not, how can the editor ensure that the translation is true to the original text?
Of course it is important for the editor to know the source language but then in how many languages can one gain proficiency? The editor/ publisher must appoint reviewers who will read the translation carefully to ensure (as far as possible) that nothing has been left out or distorted. Then the editor can take over and polish in consultation with the translator and author.
5. What are the kind of guidelines you think an editor of translations should be bear in mind while working on a manuscript?
Listen very carefully to the voice of the author. Does it chime with the
translator’s? It helps to have someone read out the original even if you do not
know the language while you follow the English in a parallel reading. You
cannot but help hear the inflexions and emotions as the reading proceeds.
Be respectful. Very important to gain the confidence of the translator. Make suggestions tactfully. Once the translator is convinced you are not out to destroy his work or appropriate it, he will breathe easy and work and redraft willingly. It helps to read other works from the same period and familiarize oneself with the language – bank of that time. You need to enter that world emotionally through images and atmosphere not just intellectually through words.
6. What is your definition of a “good translation”? What are the qualities it must have?
This is something I have been trying to figure out for 30 years! Sometimes a smooth read will fail to capture the imagination of the reader. Sometimes even if a translation is jerky and appears to be rushing along, it will work. I think it is a combination of inspiration and zeal on the part of the translator and very patient work on the part of the editor. The qualities? The language must bring the author alive. It must make you think “If XY had written in English instead of in Marathi this is how he might have phrased it”. Now it is all very well to say this to ourselves but to someone who is not Indian, this might still not work at all. Basically I think we should be translating first for our Indian market before trying to reach spaces and minds outside India.
7. When you began translating texts into English for the Indian market, at the time, most publishing houses ignored translations. Today the reality is very different. Most publishing houses have dedicated translation lists and even the local literary awards are recognising translators. What in your opinion are the pros and cons of this deluge of translations in the market — locally and globally?
It is extremely encouraging to see the increased interest in translations and the care with which they are produced but a worrying feature is the way publishers are responding to criteria laid out by the big literary bursaries and prizes for translation. There is a growing tendency to ignore works published more than 20 or 30 years ago and no one seems to want to do a fresh translation of a classic. Then there is the secret craving on the part of publishers to promote a translation as not a translation. So the translator’s name disappears from the cover page, a most unfair practice. I put this down to the second-classing of translations—as if they are something inferior and not worthy of being viewed as works of art in themselves.
8. Recently machine translations such as Google’s neural technology are making an impact in the space of translation. How do you feel about the impact of machine translation in the literary sphere?
Any technology which helps the human translator will be of enormous help I’m sure but I doubt whether it can supplant imagination and nuanced word choices. For mundane passages for instance this interview can be processed by Google translation but — a poem full of feeling and fire? I doubt it. An approximation would surely be possible but would it be good enough? I’ve always maintained that the translator is as much an artist as the writer of the original work.
9. Your name in Indian publishing is synonymous with translation evangelism. You have been responsible for kick-starting many notable projects. The current one being the Translation Initiative of the Thunchath Ezhuthachan Malayalam University (TEMU). Please elaborate more on this project.
Actually I did not initiate the TEMU project. That was designed by K
Jayakumar the first VC of the University. It was a simple plan: an advisory
committee selected works, I commissioned the translations and marketed the idea
with multiple publishers. In some cases, the publishers already had scripts on
hand; in other cases, I found the translators and did some light editing before
handing over to the concerned group. The University signed agreements with the
publishers to buy 300 copies at a discounted price and the publishers agreed to
carry the logo and mission statement of the University in the selected works. I
did not initiate any project other than the Macmillan list. In OUP I enlarged
and diversified an already extant list which had not — till I began work in
2001— published a single woman writer. Nor had Dalit or Adivasi writers been
considered. That was an arm I grew for OUP India and it has done well.
For a year now, I’ve been working with the Tamil Nadu Textbook Educational Services on a Tamil- English translation project modelled on the TEMU plan. Our collaborators in the first phase are OBS, Niyogi, OUP, Ratna Books, Harper Collins and Vitasta.
10. Can the art of translation and editing a translation be taught or is it a lived experience?
Commitment, determination and passion are crucial to sustained work in
this area. To find a forgotten work, to convince people that it must appear in
English, to struggle with the translator at its rebirth and to learn that a
major publisher in the language of the original work decided to reprint the
book (which had lain in a rabbit – hole for four decades) —- that is the best
thing an editor of translations can hope to enjoy.
Strategies in translation can certainly be taught. Translator training is certainly possible and necessary but finally the translator is on her own except for her editor and together they complete the phantom work. It might succeed. It might not. It might succeed as an aesthetic product and bomb in the sales department. But then that is the fate of any human product which is judged by both ignorant people and by those who know far more than you do. No amount of reading about tennis or watching it on television can help you to be a good player on the court!
11. Translations are most often construed as being undertaken as a labour of love with little financial resources being available for underwriting the costs involved in the task. What are the economics of publishing translations in India? What has been your experience?
Love is great but it won’t put food on the table. Translations need financial support either from a patron or from another line of books from the same publisher who sets aside resources for the translations list.
12. What do you think is the future of literary translations in the world of publishing?
The world literary mart is only just waking up to the hidden power of translations and what they do to cross-pollinate creativity across cultures and civilizations. Consider all the talk about world peace! How can this happen if cultural understanding isn’t an organic process? One way to ensure this is to expose children and young adults to writing from different parts of the world at an impressionable time in their lives. Translation can help the humanities to make a brilliant comeback in a global sense. Comparative literature is impossible to teach without discussing the central role of translation. If we are to survive all the artificially orchestrated hatred and violence and misunderstandings created by politicians and power –mongers, venues of mutual understanding need to be very deliberately developed. Cultural competence, soft –skills — these are words one hears very often but what are we doing to build that theatre of human understanding? I think that if literary translations can be included in academic programmes and introduced into high-interest professions like management, finance and public policy it would help humanize these professions and give publishers the big print runs and inflow they need to keep doing what only they can do.
Note:Women Writing in India edited by Susie Tharu and K Lalitha (OUP) was a reprint of the Feminist Press publication, 1993, NY and not commissioned or developed by Oxford University Press.
Book Post 48 includes some of the titles received in the past few weeks. Wherever available Amazon’s Kindle widget has been embedded in the blog post. It will allow you to browse through the book before you decide to buy it.
On 24/25 August 2019, Sandeep Raina’s “Where No Daffodils Grow” was published in the Hindu Literary Supplement. Here is the link. Given the space restrictions in print, the article had to be edited. Reproduced below with the kind permission of the author is the unedited version.
Sandeep Raina was born and brought up in Baramulla, Kashmir. He studied engineering in Srinagar, and when in 1990 militancy gripped the Kashmir valley, he finished his education and left for Delhi. He lived in Delhi for 10 years and then in Istanbul for 3 years before moving to Surrey, England where he has been living for the past 15+ years with his wife and 3 children. Sandeep’s wife is a doctor in Surrey, their daughter studies medicine at the University of London, and their twin sons are studying engineering at the Cambridge University.
Sandeep has worked as a senior engineering executive in mobile telecoms for the past 28 years and travels globally for his work. As a mobile telecoms evangelist, he has been invited to speak at many conferences across Europe and the USA, and has published numerous professional articles. Currently, he works for a French-American telecommunications software company in London.
Sandeep has written a novel based on Kashmir, which took him over 11 years to write. The reason to write a novel was that it worked as a slow cathartic process to counter the traumatic and violent experiences of the early-90s Kashmir, and the harsh life of being a migrant/refugee in Delhi. As part of his life and travels outside Kashmir, he has acquired different perspectives of the Kashmir conflict. Through his writing about the Kashmiri people, of all communities, caught in the long-drawn, brutal conflict, he aims to present a better understanding of their predicament.
Sandeep has also published short stories about Kashmir, which reflect the exchanges with people caught in conflicts like Kashmir. They not only highlight the broken relationships, the loss of trust, the rising communal politics of Kashmir and India, but also offer introspection and a hope for the communities that have been disadvantaged because of the strife.
His stories have been published in several magazines and papers, including, The Hindu, The Guardian, The Telegraph, and The Times of India/The Economic Times.
****
Men in tall black hats and flowing black
robes strode briskly down an empty street. Some of them had long side burns and
some had long beards. It was a summer
afternoon, hot, and they were quite overdressed. I was visiting a friend in
Golders Green in London and asked him what was going on, who were those people,
why the costumes?
“Nothing, they are our Jewish neighbours back
from a synagogue,” said the Kashmiri Pandit friend. “Many Jews live here since
the 40s.”
Why were they dressed in such a pronounced
manner? I wondered. Here was I, trying my best to assimilate, just landed in
London. It didn’t make sense.
We had lunch at our friend’s home, typical
Pandit cuisine, mostly lamb dishes: rogan
josh, yakhni and matsch. I had
met him and his wife after many years. We chatted for long on the table,
reminiscing. The flat was sparsely furnished but had a few Kashmiri rugs. I noticed
a small ornate candle stand in the window and asked what it was.
“It is a menorah,” said my friend’s wife. “To light candles in the Jewish
festival of lights, Hanukkah.”
Until then I had thought Diwali was the
only festival of lights.
“Everybody
in this apartment building is a Jew, most of them old,” said my friend. “And
they are very nice people.”
The next day, I told Mike, my colleague in
office, about the Jews in costume. Mike was a small young man, who once had
said that being Jewish, Catholic and French was the worst one could be in
England, and he was all of them. One of his parents was French and Catholic,
the other English and Jewish.
“There are other interesting things that we
do, such as not doing anything on Sabbath,” he laughed. “Not even switching on a
light.”
“Why?” I said.
He didn’t want to explain or didn’t know.
I shouldn’t have been so surprised. In
Kashmir, on days of fasts, women in our Kashmiri Pandit family cooked strict vegetarian
meals, cleaning and praying, and not doing much else. And the fasts followed
the moon’s wax and wane. Punim, aetham, mavas. On full moon, mid
moon, and no moon. There seemed to be much in common with the Jews.
“We
are also really good with money,” laughed Mike.
My grandfather’s father had been a zamindar,
a landowner, in Kashmir. My mother said that he was so rich that he didn’t
count coins, he weighed them out of hand balances. But, my grandfather was not
rich, nor us. My mental comparisons with the Jews ended at this thought.
Years went by. In which my grandfather
died. I hadn’t seen him for a long time, but his memories kept on coming back
to me in many different ways. By now we had moved into a new house, and I worked
for a different company, in a different town in England, where I became
friendly with an older Iranian colleague, Paymon.
It was the Persian new year, on spring
equinox, when the day equals night, and the opposites balance out, when I told
Paymon about Navreh, the Kashmiri Pandit new year. How on the eve, we filled a thaal, a deep plate with rice, milk, yogurt,
a pen, a coin, some lentils, a daffodil. Bits that made life.
“We do something similar on Navroz, and we
call it haft seen,” he said, surprised.
I felt a sudden connection build. We discussed
Navroz and Navreh in snatches between meetings, across our office desks, on the
coffee machine. Iran is so far from Kashmir, but it suddenly felt close. I told
Paymon about the chinars, the papier-mâché, and the floral woollen carpets that had travelled from Iran, and
the origins of rogan josh. Things began to tumble out. I even snatched a paper
napkin and wrote my name in Nastaliq, the script that had travelled from Iran to Kashmir.
“I didn’t know this,” he laughed.
I didn’t know either, when growing up in
Kashmir. If it’s a part of you, you don’t think much of it. I remembered my grandfather.
I remembered his bold loud voice, his very sociable manner, his rambling
conversations, his strong physical presence, his eloquent Farsi.
Grandfather used to recite Farsi couplets
when he was in a good mood, when he had an audience, which could be my reluctant
father or a hapless neighbour who had chanced to step by. Grandfather rolled
off the Farsi couplets with the same verve as chanting mantras in Sanskrit,
when he did his puja every morning, with
lots of flower petals and incense sticks, in front of an array of gods. I was
small, the Farsi and the Sanskrit both sounded magical to me, inspiring awe.
I told Paymon all this in the office
canteen, and he listened to me with an older man’s patience.
My euphoria was unabated. For a Foodie
Friday in the office, I woke up early and cooked rogan josh in the morning over
low flame for three hours. My wife
wasn’t happy that I hadn’t let her cook. I packed the rogan josh carefully in a
large plastic box, with a sticker on top and wrote- Kashmiri Rogan Josh in my wobbly Nastaliq, and sped to office, just
in time for lunch. My colleagues had already begun eating, and there were foods
of all kinds on the large canteen table. Italian, Greek, English, Brazilian,
Welsh, Indian, Iranian. The rogan josh was late. Then Paymon saw me.
“So, you can read and write Farsi?” said Paymon,
looking at the sticker, asking me to put some rogan josh on his plate.
“I can’t,” I said. I couldn’t even read and
write Kashmiri.
Rogan josh disappeared fast, everyone ate
it. It was declared the best cooked food on that Friday. I brimmed with pride.
When I left that job, on my last day, Paymon
wrote four lines in Farsi on my farewell card. Under those he wrote in English:
Thank you for enlightening me about
Persian Kashmir. It has been great talking with you. It is sad to see you go
but I wish you all the best.”
I think Paymon said something about those
Farsi words in the card, but in my farewell hurry, I didn’t hear too well.
The card remained unread for years. Later,
I wished I had learnt some Farsi, some Nastaliq from my grandfather. I
wonder why I didn’t. My question took me back to a faint conversation from my
childhood. I was reading out two Kashmiri words written in Nastaliq on a
ten rupee note. In those days, currency notes in India had the value written in
15 official languages, each in its own script.
“Dah
ropiye,” I read out, trying to decipher the curls,
whirls, and dots.
“It’s not dah ropiye, its duh ropiye,”
said my mother.
“What’s the difference?”
“Muslims say dah, but Pandits say duh,
because dah in Sanskrit means cremation. And
Muslims bury their dead.”
My mother also told me that the ancient script
for Kashmiri was Sharada, now dead, and nobody knew what it had looked like.
Pandits and Muslims had other differences
too. I was aware of some. My pheran, the
long woollen garment that I wore in winters, had an extra fold, ladh, near its hem, while Bitta, my Muslim
friend’s pheran fell straight. My grandfather wore a pajama, not a shalwar. My
great grandmother’s pheran was ankle-length, with long sleeves, while old Muslim
women wore knee length pherans, and shorter sleeves.
Many differences, all small. Until someone
powerful outside Kashmir, heard about the tiny twists of tongue, the lengths
and folds of pherans. And questioned if Kashmiri had more Farsi or more Sanskrit?
Whether its script was Nastaliq or Sharada? When the powerful became more powerful with this
knowledge, a powerless man in a tempo bus, after a squabble over a seat, called
my grandfather a kafir, godless. Hurled
the word like a weapon. I was with my grandfather in that bus. I had seen him
pray to God every morning, in fact, many gods. My proud grandfather’s face was livid,
his complaint to the bus driver a mere mumble. I remember my own inertness, the
tremble in my fingers.
Not much later, a powerless young boy, just
out of teens, gunned down my grandfather’s nephew and niece, my mother’s
cousins, with their partners, inside their home. We fled Kashmir.
It’s been 29 springs since that happened. This
year, in London, I forgot to fill up the Navreh thaal. Or look up the new panchang, the Hindu calendar book, which
my mother posts from India every spring. On Navreh eve, when I was small in
Kashmir, I would run out to pluck a handful of nargis, white daffodils, that grew in our garden. They had the
sweetest of scents, but I wasn’t allowed to sniff; they were meant for God. And
on Navreh morning, when the April air pinched my winter-chapped cheeks, I would
wear a new kurta-pajama. Forgetting the thaal has brought sweet nostalgia and tremendous
guilt.
Pictures of Navreh thaals flooded Facebook,
on cue. Rice, milk, yogurt, coin, pen. No daffodils. Where most Kashmiri Pandits
now live, daffodils don’t grow. A panchang said the year is 5094 by the Saptrishi
calendar, 2075 by the Vikrami calendar.
“29 by the Pandit exile calendar,” a friend
messaged. My heart stopped for a long moment.
On the cover of a panchang, I saw a script
that I had never seen before. Sharada. It had fonts like thick brush strokes or
like engravings on stone. Blurry, awoken from a deep sleep.
I had read a book long ago about the
revival of Hebrew after the Jews had fled from European towns. How Hebrew was
invoked to string the scattered Jews. How they would all go home, with a common
language and a new script to a land they could call their own. In a desert.
I think of Thar or Kharan, when I think of
deserts. One on the India-Pakistan border and the other on the Pakistan-Iran
border. I grew up with snow and mountains, I grew up with lush fields, streams
and lakes. What would I do in a desert? What if someone powerful traced my
roots to the Aryan Iranians? And sent me to Kharan in Balochistan. Would I go?
Would my children go? Would my children’s children go?
I am sure the Jews had said this too.
I thought about Iran. I remembered my
conversations about Navroz and Navreh with Paymon. I hunted for the farewell card
from my last job and found it in a stack of birthday cards that our children
had given me over the years. Among dozens of messages written in English was
the quatrain written by Paymon in Farsi, in flowing Nastaliq. Asking to be
read.
I messaged a photo of the lines to Paymon,
asking him if he could translate it for me. Paymon did not reply, I don’t know
why. I had thought Paymon would be a friend for life. Friendship’s a promise. I
thought of who else could help me: Grandfather. But he was not around anymore to
fill me with the awe and magic of his Farsi. Not hearing back from Paymon, not able
to read his message brought a deep sense of loss. Like a forgotten Navreh. Like
a broken promise.
I asked an English friend to help me. He
sent a photo of the Farsi message, all the way to Tehran to his sister-in-law.
A week later, I received the transliteration and the translation in my inbox.
Grandfather appeared before me. And read out in a bold, loud voice:
Yari
keh beh nazd e oo gol o khar yekist
Dar
maz hab e oo mos haf o zonnar yekist
Ma ra
gham e on yar che bayad khordan
Koo
ra khar e lang o asb e rahvar yekist
(Rumi)
“A friend who sees no difference between a flower
and a thorn,
In whose religion, the Quran and Zonnar are
the same,
Why should we worry about him?
As for him, a lame donkey and a swift horse
are the same.”
Zonnar used to be a girdle which Jews wore to
distinguish them from Muslims, long back in time.
Paymon had not forgotten, he had kept his
promise, he had written me a message to remember for life. Like a true friend,
he knew me more than I knew myself.
A few days later, I pulled out a pheran from
my clothes cupboard, which my wife had bought from a Kashmiri trader many years
ago. It is dull brown and woollen, a bit scratchy at the neck, and it does not have
a Pandit fold near the hem. I had never worn it.
That summer day, I wore it. It warmed me up.
I looked at myself in the mirror, and the image of the Golders Green Jews
walking briskly down a street flashed in front of my eyes. Now I knew why they were
dressed like that.
What they were holding on to.
Next spring, I won’t forget Navreh. I will fill
up a thaal with rice, pluck a yellow daffodil from our English garden, place a
pound coin, a pen and an idol of a god in the thaal. Some milk and yogurt too. And
pray. That I’m not sent to a desert.
http://bit.ly/30ijzI1 Scholastic India’s forthcoming release in September 2019 includes Nadya by Debasmita Dasgupta. It is an absolute must read. It is stupendously breathtaking.
As Orijit Sen affirms ‘Nadya takes us deep into the heart and mind of an adolescent girl as she negotiates her way through love, heartbreak and pain before finding renewal. The stunning artwork—with its rich landscapes, quiet but glowing colours and sensitively portrayed characters—makes the turning of each page an act of revelation. The beauty and power of graphic storytelling at its best!’
