Juan Pablo Villalobos’s novel I Don’t Expect Anyone to Believe Me has a protagonist who shares the same name as the author. It has been translated from Spanish into English by Daniel Hahn. The fictional Juan like the real Juan did has plans to move from Guadalajara in Mexico to Barcelona in Spain to pursue a doctorate in literary theory made possible with an EU grant. This is where the similarity ends ( at least we hope so!). The fictional Juan has a cousin who is of no good and hobnobs with local criminals. Practically on the eve of Juan’s departure, the criminals kill the cousin and persuade Juan to run an “errand” for them in Barcelona. He is asked to “infiltrate” the literary postgrad world in order to acquaint himself with a wealthy Catalan magnate’s daughter, Laia. The devious plan involves the Mexican cartel wishing to extort money from the wealthy man. Juan agrees to this preposterous plan. He enrols himself to study humour in Latin American literature. Meanwhile his life outside the classroom flip flops between third grade crime fiction and literary fiction. Juan on a mission encounters the dirty underbelly of society. He comes face to face with dodgy folks of all kinds, he hears gutter language, he experiences xenophobia and it is contrasted with the more genteel talk of the educated and socio-economic elite. It is an absurd situation to be in. Ripe fodder for his thesis but mindboggling to be in the heart of it while trying to ensure one’s sanity and safety of his family.
Reading I Don’t Expect Anyone to Believe Me is almost like television channel surfing pausing for a moment on a thriller and the next moment on a more sophisticated drama and then a mindless serial, each with multiple accents and settings. Only difference being here that this is a single novel with four distinct voices, crafted by one man, the Spanish writer Juan Pablo Villalobos. The four characters who offer four different perspectives on the plotline hail from different parts of society. Apparently the original novel had very distinctive kinds of Spanish attributed to these individuals. Daniel Hahn, the translator, had quite a challenging time translating the different registers of Spanish spoken into English. He has written a fascinating essay at the end of the book which recounts in detail how he achieved this feat. It is an extraordinary essay which is worth reading especially by many Indian translators who struggle to translate different dialects of a single Indian language into English. One of the toughest challenges is to carry forward the different registers of the original language into the destination language without corrupting the literary intention and craftsmanship of the author. Daniel Hahn shares some of his insights. His essay is truly brilliant!
The novel I Don’t Expect Anyone to Believe Me is a comic romp though multiple socio-economic layers of Spanish society. For the most part they are invisible to each other but it needs a Juan to meander through it, making visible much that would prefer to remain under the radar. But the mirth created by fast paced, pitch perfect novel, cannot really mask the racism and immigrant related tensions that abound. It is a novel not easily forgotten. Worth reading!
It has been published by the fabulous independent publisher based in London, And Other Stories.
Debali Mookerjea-Leonard is a Bengali translator, author, and professor of English and world literature. She lives in Virginia with her husband and plants. She has translated the late Sunil Gangopadhyay’s novel Blood. Set in Britain and America of the late 60s and early 70s, it is about a highly successful Bengali physicist Tapan who settles abroad. Despite all the successes he has garnered he is unable to put to rest the trauma he suffered as a child when his father was killed by a British officer. This occurred a little before India attained Independence. Coincidentally he meets Alice in London; she is the daughter of his father’s killer. Tapan’s world goes topsy-turvy as he tries to figure out what to do since he nurses a visceral hatred for the former colonial rulers of India. It is a peculiar situation to be in given that he has more or less decided to relocate abroad and never to return to India. It impacts his relationship with Alice too who is more than sympathetic to his feelings and is willing to let the past be bygones but it is a demon that Tapan finds hard to forget. He does go to India briefly to attend a wedding and meet his paternal grandmother — someone whom he loves dearly and who had lost two sons in the Indian Freedom Struggle. So much so that the Indian politicians are now keen to bestow upon her a monthly allowance recognising her sons’ contribution as freedom fighters. It is upon meeting his grandmother, who is past eighty and who witnessed much sorrow in her lifetime, that Tapan realises it is best to forget and forgive that which happened in the past and move on. Otherwise the past becomes an impossible burden to shed. Blood is a brilliantly translated novel that does not seem dated despite its preoccupations with the Indian Freedom struggle and a newly independent India. For all the stories and their intersections, it is evident that Blood is a modern novel which is worth resurrecting in the twenty-first century. The issues it raises regarding immigrants, familial ties, free will, social acceptance, loneliness, etc will resonate with many readers. As Debali says in the interview that “As an Indian expatriate myself, I found Sunil Gangopadhyay’s frank treatment of the subject refreshing.”
Sunil Gangopadhyay, who died in 2012, was one of Bengal’s best-loved and most-acclaimed writers. He is the author of over a hundred books, including fiction, poetry, travelogues and works for children. He won the Sahitya Akademi Award for his novel Those Days. This novel Blood was first published in 1973.
Here is a lightly edited interview conducted via email with the translator:
1 . How long did it take you to translate Blood? In the translator’s note you refer to two editions of the novel. What are the differences in the two editions?
I was on sabbatical during the spring semester of 2018 and Blood was my new project. I began working on it around the middle of January and completed the first draft in May. However, I let it sit for a year before returning to revise it.
I chose to use the second edition (1974) of Blood, rather than the first (1973), because the author made a few revisions. The alterations are minor, mostly cosmetic, and include replacing a few words in the text. These are mostly English words transliterated into Bengali: For instance, in Chapter 1, when Tapan asks Alice if she has the right glasses for serving champagne she responds, in the first edition, with “Don’t be fussy, Tapan” whereas, in the second, she says, “Don’t be funny, Tapan.” The revised second edition also corrects spelling errors and misprints.
2. The book may have been first published in 1973 but it seems a very modern text in terms of its preoccupations especially the immigrants. What were the thoughts zipping through your mind while translating the story?
To me the novel’s handling of immigrant concerns feels brutally honest. Blood refuses to romanticise the expatriate condition as exile and, instead, adopts an ironic stance towards immigrant angst, homesickness, and nostalgia. Yet, the irony is tempered with pathos in the narration’s uncovering of immigrant dilemmas. For instance, an Indian immigrant uneasy about her fluency in English chooses to stay indoors, but remains enamoured with England which she nevertheless cannot fully experience. Through the exchanges between the novel’s protagonist Tapan and his friend Dibakar, Blood also offers the realistic view that immigration is often driven by practical considerations. As an Indian expatriate myself, I found Sunil Gangopadhyay’s frank treatment of the subject refreshing.
This does not mean that western societies get a pass in the novel. Through situations both small and large the novel exposes the racist and anti-immigration views prevailing in the United Kingdom, during the 1960s. That said, Blood is also critical of racial prejudice amongst Indians. Given current debates around immigration and citizenship both in India and across the globe, the novel’s treatment of this subject remains relevant.
Connected to issues of migration and home, the novel brings to the fore complex questions about homeland and belonging, uncovering how the location of “home” has been rendered unstable through the Partition’s severing of birthplace and homeland.
3. What is the methodology you adopt while translating? For instance, some translators make rough translations at first and then edit the text. There are others who work painstakingly on every sentence before proceeding to the next passage/section. How do you work?
For me it is a mix of both. I typically plan on translating a text it in its entirety before proceeding with the revisions but this intention is usually short-lived and seldom lasts beyond the first few pages. I find it difficult to progress until the translation feels most appropriate to the context, fits the voice, and fully conveys the meaning of the original. While translating Blood I have spent entire mornings deciding between synonyms. It is like working on a jigsaw puzzle because there is only one piece/word that fits. And sometimes I have had to redraft an entire sentence (even entire paragraphs) to elegantly capture the sense of the whole!
4. What are the pros and cons a translator can expect when immersed in a project?
First, the cons, the impulse to interpret. And the pros: the joy of being able to partake in the (re-)making of something beautiful.
5. Are there any questions that you wished you could have asked Sunil Gangopadhyay while translating his novel?
Were he alive, I would have requested him to read a completed draft of my translation.
6. What prompted you to become a professional translator?
My translation-work is driven primarily by the love of the text and the desire to find it a larger audience. In the future, I hope to be able to devote more time to it.
There is also a pedagogical dimension to this. In my capacity as a teacher of world literature, I aim to expose students to the vast and rich body of vernacular writings from the Indian subcontinent, inevitably through translations. And from personal experiences in the classroom, I know that many of my students are genuinely curious about writings from around the world. Blood is a small step in that direction. It is a book I want to teach.
7. Which was the first translated book you recall reading? Did you ever realise it was a translation?
I believe the first translated book I read was one of the many “Adventures of Tintin”, The Secret of the Unicorn. But children’s books aside, the book that came to mind immediately upon reading your question is Gregory Rabassa’s translation of Gabriel García Márquez’s One Hundred Years of Solitude. It may not have been the first translated work I read, but it ranks among the most memorable ones. This is because while I knew that Marquez wrote in Spanish, Rabassa’s translation preserved the novel’s artistic qualities so meticulously that it lulled me into thinking that I was reading the original. It is a quality I aspire to bring to my work.
8. How you do assess /decide when to take on a translation project?
Not to sound self-absorbed, but my decision is based largely on how deeply the work moves me. My first translation project involved a short story by the Bengali author Jyotirmoyee Devi, entitled “Shei Chheleta” (“That Little Boy”). It depicts the predicament of a young woman who lost a family-member in the Partition riots. The author handled the subject with great sensitivity without resorting to the maudlin. The story would not leave me alone. I had to translate it because I needed to share it, and discuss it with friends and colleagues who did not read Bengali. Similarly, Gangopadhyay’s novel intrigued me when I first read it. I thought about the characters long after I had finished the book, imagined their lives beyond the novel. I knew that one day I would translate it. It hibernated within me for years because, in the meanwhile, there were Ph.D. dissertations to write and research to publish. Finally, a sabbatical gave me the gift of time, and I just had to do it.
9. How would you define a “good” translation?
Preserving the artistic, poetic, and, of course, propositional content of the original is central to my understanding of a good translation. To resort to the old cliché, it is about conveying the letter and, perhaps more importantly, the spirit of the original. The translated text, I feel, must itself be a literary work, a work imbued with the beauty of the original. Additionally, readability is fundamental. Therefore, I asked family members and friends to read the draft translation for lucidity and fluency. For this reason, I am immensely gratified by your observation about Blood that, “It has been a long time since I managed to read a translation effortlessly and not having to wonder about the original language. There is no awkwardness in the English translation”.
10. Can the art of translating be taught? If so, what are the significant landmarks one should be aware of as a translator?
It is difficult for me to say since I never received any formal training in translation-work. To me, translation is more than just an academic exercise, it is an act of love — love for the text itself, love of the language, and the love of reading. For me the best preparation was reading, and reading widely, even indiscriminately. While my love of reading was nurtured from early childhood by my mother, I had the privilege of being exposed to some of the finest works of world literature through my training in comparative literature at Jadavpur University in Calcutta and, later, in literature departments in America.
11. Do you think there is a paradox of faithfulness to the source text versus readability in the new language?
The translator walks a tightrope between the two, where tipping towards either side is perilous. A translation is, by definition, derivative, so fidelity to the original text is essential. Yet, a translation of a literary work is much more than a stringing together of words in another language. It is itself a literary work. And it is incumbent upon the translator not only to make the work accurate and readable but also literary in a way that is faithful to the literary qualities of the original.
12. What are the translated texts you uphold as the gold standard in translations? Who are the translators you admire?
Gregory Rabassa’s translation of Márquez’s One Hundred Years of Solitude; J.M. Cohen’s translation of Cervantes’ Don Quixote; and A.K. Ramanujan’s translation of Ananthamurthy’s Samskara.
More recently, Supriya Chaudhuri, Daisy Rockwell, and Arunava Sinha have produced quality translations from Indian languages.
According to the biography posted online renowned Peruvian journalist Gabriela Wiener(Lima, 1975) is author of the collections of crônicas Sexografías,Nueve Lunas, and Mozart, la iguana con priapismo y otras historias. Her work also includes the poetry collection Ejercicios para el endurecimiento del espíritu. Her latest book is Llamada perdida (2014). She writes regularly for the newspapers El Pais(Spain) and La República (Perú). She also writes for several magazines of America and Europe, such as Etiqueta Negra (Perú), Anfibia (Argentina), Il corriere della Sera (Italy), S. XXI (France), and Virginia Quarterly Review (United States). In Madrid, she worked as editor of the Spanish edition of Marie Claire. She left the magazine in 2014 to work on her first novel.
Restless Books will be publishing Sexographies in May 2018. It has been translated from the Spanish by Jennifer Adcock and Lucy Greaves. This is a form of reportage that is like none other. A collection of brutal essays written in the first person that are impossible to classify in any genre. The writing breaks all known norms. It is perhaps preferable to say that the focus of every essay determines the style of writing whether it is “infiltrating the most dangerous Peruvian prison, participating in sexual exchanges in swingers clubs, traveling the dark paths of the Bois de Boulogne in Paris in the company of transvestites and prostitutes, undergoing a complicated process of egg donation in Spain, and participating in a ritual of ayahuasca ingestion in the Amazon jungle“. A truer book blurb was never written when Sexographies is described as “an eye-opening, kamikaze journey across the contours of the human body and mind”.
Included in Sexographies is Gabriela Wiener’s profile of Isabel Allende. It is a brilliantly illuminating conversation-cum-profile of an older woman writer. Isabel Allende is almost venerated by the younger one, Gabriela Wiener, and yet they are able to understand each other as individuals, women, and writers. They meet on International Women’s Day. Gabriela Wiener notes that “Bolano called her an escribidora — a prolific and bad writer. Making fun of Isabel Allende isn’t a sign of intelligence, it’s part of Latin American literary folklore.” She goes on to observe that “The novelist, after all, is a traditional woman who was brought up to be a good girl, and who worked to free herself through literature.” Meanwhile Isabel Allende acknowledges that she has a fair amount of criticism hurled at her but she takes it in her stride as she takes her success. She realises she is often under the critical scanner for the simple fact “I sell books.” Isabel Allende’s life’s philosophy is to strike a balance between frivolity and depth; she says “Since then I haven’t stopped being feminine, sexy, and a feminist. It can be done.”
Here is an excerpt from the essay “Isabel Allende Will Keep Writing from the Hereafter”published with the permission of Restless Books. ( Publication date: May 15, 2018. Contact Nathan Rostron, Editor and Marketing Director: firstname.lastname@example.org )
Allende is an easy target for the canonizers of novels. It’s possible that not many of her critics are willing to admit that the virulence of their attacks are based on prejudice: she’s an upper- class woman who used to write a feminist column for a fashion magazine in the 1970s. At the age of forty, without any academic training, she started publishing novels, made autobiographical fiction her signature, and her books started flying off supermarket shelves. In a world where the stupidest things tend to be the most popular, sales of fifty million copies can only arouse suspicion.
But put yourself in her shoes: try having the surname Allende in Chile, going into exile, getting divorced, bringing up children, dedicating yourself to journalism, and writing novels. She was part of a generation of Latin American women who juggled all these things at once, and yet managed to triumph under the long shadow of the Boom—a movement that didn’t really contain a single woman writer, only incredibly loving wives who kept everything nice and comfortable so that their husbands could finish their books and win that Nobel Prize.
Try writing from the bottom tip of the American continent about emotions and sex instead of tunnels and labyrinths. Now try to sustain a literary career over three decades with unwavering success. Try, moreover, to produce as many well-written novels as she has. Because Isabel Allende’s books are well-written: there is a voice and an imagination. Isabel Allende builds her stories around simplicity. She occasionally succumbs to cheapness, lace, and frills, but her expression is founded on the richness of family stories, everyday comedy and drama, and the intimate knowledge of a feminine universe, as in The House of the Spirits. In Eva Luna or The Infinite Plan, being colloquial and inventive makes her prose even more personal and confessional. Her books reveal history through memory and reclaim sex so that it belongs to the home and not to poets of the body. In Paula, perhaps the best of her books, she describes a man’s suffering in the presence of his comatose daughter’s body. In it, the consciousness of being human reaches levels that Allende’s language cannot match.
We know the outcome of Allende’s adventure: few have built such a solid relationship with their readers, a relationship based on something mysterious and addictive that they find in her pages and which defies any logic outside itself. Isabel Allende isn’t Virginia Woolf, she’s not Clarice Lispector, and she’s not Alice Munro; but neither is she a bestseller à la Dan Brown with his simple-minded esoteric vision of the crime novel. And yet he isn’t criticized half as often as she is.
What’s the sell-by date of a popular writer after the publication of their last hit? At this women-only conference I’ve heard names I hadn’t heard for years: Laura Esquivel and Ángeles Mastretta, for example. And the first thing I thought was “they’re still alive?” Yesterday I saw Mastretta, the author of commercial bombshells such as Tear This Heart Out and Lovesick, gliding down the corridors of the Palacio de Bellas Artes with her dramatic cheekbones, her carefully coiffed hair, and her fragile movements, and it was like stepping back into the eighties. On Wikipedia, I discover that she’s carried on publishing books. In the last two decades of the twentieth century, the books of these three women were labeled “women’s literature,” a kind of derivation of “true literature” with sugary, sentimental additives of which Allende is the highest-profile proponent. Following its initial golden years, “women’s literature” seems to have fallen out of favor, and Allende alone has remained a bestseller. After the success of Like Water for Chocolate, Esquivel took refuge in a mansion in the outskirts of Mexico City, tried out being a member of parliament, and now facilitates workshops and publishes books in the style of 12 Steps to Happiness. Years after that enormous cocoa feast, Allende wrote her own book about sex and cocaine: Aphrodite, a book where cooking recipes lead to love (also known as the kind of book that immediately banishes you from the annals of literature with a capital L).
Gabriela Wiener Sexographies ( translated by Lucy Greaves and Jennifer Adcock) Restless Books, Brooklyn, 2018. Pb. pp.
A Stasi official observing the interrogation of the lover of an East German playwright whose loyalty to the state is questioned, in Florian Henckel von Donnersmarck’s film The Lives of Others, 2006
An extract from the New York Review of Books review by Timothy Garton Ash of Censors at Work: How States Shaped Literature by Robert Darnton” ( 23 October 2014)
I have only once met a censor on active duty. In the spring of 1989, my friends at the newly founded Polish opposition newspaper Gazeta Wyborcza let me take a cartoon up to the in-house censor at the printing house of the main Communist Party daily, on whose weary old presses Solidarity’s organ for the dismantlement of communism was now being produced. I knocked on the door, only to find a bored-looking woman in a floral dress, with a cigarette on her lip and a glass of tea at hand. She slowly scanned the cartoon and the article to which it related, as if to demonstrate that she could read, and then stamped her approval on the back of the cartoon.
My taskmistress showed few obvious signs of being an intellectual, but one of the leitmotifs of Robert Darnton’s new book is how intellectually sophisticated censors have often been. Drawing on original archival research, he offers three fine-grained, ethnographic (his word) studies of censors at work: in Bourbon France, British India, and Communist East Germany. In eighteenth-century France, the censors were not just writers manqués; many were writers themselves. They included men like F.-A. Paradis de Moncrif, a playwright, poet, and member of the Académie française. To be listed as a Censeur du Roi in the Almanach royal was a badge of honor. These royal censors initialed every page of a manuscript as they perused it, making helpful suggestions along the way, like a publisher’s editor. Their reports often read like literary reviews. One of them, M. Secousse, solicitously approved an anthology of legal texts that he himself had edited—thus giving a whole new meaning to the term “self-censorship.”
In British India, the censors—not formally so called—were scholars and gentlemen, either British members of the elite Indian Civil Service (the “heaven born”) or their learned Indian colleagues. Harinath De, a candidate for the post of imperial librarian in Calcutta in 1906,
had mastered Latin, Greek, German, French, Italian, Spanish, Sanskrit, Pali, Arabic, Persian, Urdu, Hindi, Bengali, Oriya, Marathi and Guzerati, along with some Provençal, Portuguese, Romanian, Dutch, Danish, Anglo-Saxon, Old and Middle High German, and a smattering of Hebrew, Turkish and Chinese. He got the job.
Besides being a librarian, that job involved contributing summary reviews to an extraordinary printed catalog of every book published in the Raj from 1868 onward. It included more than 200,000 titles by 1905. Although given to describing anything with erotic content, including the hanky-panky of Hindu gods, as “filthy,” these literary monitors were often highly appreciative of the works under review, especially when the authors showed some virtuosity of style and depth of scholarship.
In the summer of 1990, Darnton, the lifelong historian of books and censorship, had the thrill of finally meeting two real-life censors. In East Berlin, the capital of the soon-to-be-history German Democratic Republic, he found Frau Horn and Herr Wesener, both holders of advanced degrees in German literature, eager to explain how they had struggled to defend their writers against oppressive, narrow-minded higher-ups in the Party, including an apparent dragon woman called Ursula Ragwitz. The censors even justified the already defunct Berlin Wall on the grounds that it had preserved the GDR as a Leseland, a land of readers and reading. Darnton then plunges with gusto into the Communist Party archives, to discover “how literature was managed at the highest levels of the GDR.”
He gives instances of harsh repression from all three places and times. Thus, an eighteenth-century chapter of English PEN could have taken up the case of Marie-Madeleine Bonafon, a princess’s chambermaid, who was walled up, first in the Bastille and then in a convent, for a total of thirteen and a half years. Her crime? To have written Tanastès, a book about the king’s love life, thinly disguised as a fairy tale. In 1759, major works of the Enlightenment, including Voltaire’s poem on natural religion and Diderot’s Pensées philosophiques, were “lacerated and burned by the public hangman at the foot of the great staircase of the Parlement” in Paris.
In British India, civilized tolerance of native literature turned to oppression in the early years of the twentieth century, as Indian nationalist protests grew following the partition of Bengal. A wandering minstrel called Mukanda Lal Das was sentenced to three years’ “rigorous imprisonment” for singing his subversive “White Rat Song,” with lyrics that come out in the official British translation like this:
Do you know, Deputy Babu, now your head is under the boots of the Feringhees, that they have ruined your caste and honor and carried away your riches cleverly?
In East Germany, Walter Janka suffered five years of solitary confinement for being too much involved with György Lukacs in 1956.
Yet such outright persecution is not Darnton’s main theme. As his subtitle suggests, what really interests him is “how states shaped literature.” They have generally done so, he argues, through processes of complex negotiation. In eighteenth-century France, censors made suggestions on grounds of taste and literary form; they also ensured that no well-placed aristocrats received unwelcome attention and that compliments to the king were sufficiently euphuistic. Different levels of authorization were available, from the full royal privilege to a “tacit permission.”
In East Germany, elaborate quadrilles were danced by censors, high-level apparatchiks, editors, and, not least, writers. The celebrated novelist Christa Wolf had sufficient clout to insist that a very exceptional ellipsis in square brackets be printed at seven points in her 1983 novel Kassandra, indicating censored passages. This of course sent readers scurrying to the West German edition, which visitors smuggled into the country. Having found the offending words, they typed them up on paper slips and gave these to friends for insertion at the correct place. Among its scattering of striking illustrations, Censors at Work reproduces one such ellipsis on the East German printed page and corresponding typewritten slip.
Klaus Höpcke, the deputy minister for publishing and the book trade (a state position, and therefore subordinated to higher Party authorities), seems to have spent almost as much time in the 1980s fending off the Party leaders above him as he did curbing the writers below. He received an official Party reprimand for allowing Volker Braun’s Hinze-Kunze-Roman, the scabrous story of an apparatchik and his chauffeur, to be published, albeit in a carefully “negotiated” form. Finally, in a flash of late defiance, Deputy Minister Höpcke even supported an East German PEN resolution protesting against the arrest of one Václav Havel in Czechoslovakia in the spring of 1989.
Some celebrated writers do not emerge trailing clouds of glory from the cold-eyed files of censorship. Voltaire, that legendary champion of free speech, apparently tried to get the royal censors to suppress the works of his enemies. It was the censor-in-chief who, while he might not have agreed with what Voltaire’s enemies said, defended their right to say it.
The office of the East German Politburo member responsible for culture, Kurt Hager, “kept long lists of writers who sent in requests for visas, cars, better living conditions, and intervention to get their children into universities.” A plea by the writer Volker Braun to be allowed a subscription to the leading West German liberal weekly Die Zeit went all the way up to Hager, with a supportive letter from the deputy minister, who argued that this would provide Braun with materials for a novel satirizing capitalism. In the course of tough negotiations with senior cultural apparatchiks in the mid-1970s, Braun is even recorded as saying that Hager was “a kind of idol for him.” Can we credit him with irony? Perhaps. Writers who have never faced such pressures should not be too quick to judge. And yet one feels a distinct spasm of disgust.
Pocket Penguins are the bold next step from the world’s most recognizable publishing brand. They are the future of Penguin Classics.
On 26 May 2016 we launch with a carefully curated list of twenty titles, highlighting a mix of the famous and unjustly overlooked that celebrate the pure pleasure of reading. Colour coded to reflect their original language, Pocket Penguins contain complete texts in a compact format designed to pick up, pocket, and go.
“These books are intimate, grand, funny, widescreen, painful, visionary – and we have been put on earth to make you want to read them!”
Simon Winder, Publishing Director
A REVOLUTION IN READING
In the space of one year, over 2.2 million Little Black Classics have been sold worldwide, demonstrating a huge new appetite for reading the Classics.
A RETURN TO COLOUR AFTER DECADES OF BLACK
Since 1946, Penguin has been publishing classics in winning formulas and pushing the boundaries of cover design. Our use of oil paintings on black covers paved the way for a look that dominates classics publishing today. Now the timeless tri-band simplicity and bold colours of Pocket Penguins will show the power of leaving authors’ names and titles to speak for themselves.
On the 70th anniversary of the first Penguin Classics, Penguin’s Art Director, Jim Stoddart, has produced a new design that is both approachable and contemporary.
“The new range blossoms from black into the technicolour of Penguin’s heyday. While this is a comforting nod to past Penguin, this is very much a series of books for the modern age.”
Jim Stoddart, Art Director
THE FIRST TWENTY
THE MASTER AND MARGARITA RUSSIAN
This ribald, carnivalesque satire – featuring the Devil, true love and a gun-toting cat – was written in the darkest days of the Soviet Union and became an underground sensation.
MRS DALLOWAY ENGLISH
The lives of a woman preparing for a party and a young man suffering from shell-shock converge on one June day in 1920’s London, in Woolf’s great novel of time, memory, war and the city.
THE SECRET AGENT ENGLISH
Set in an Edwardian London underworld of terrorist bombers, spies, grotesques and fanatics, Conrad’s dark, unsettling masterpiece asks if we ever really know others, or ourselves.
THE GOOD SOLDIER SVEJK CZECH
Drunkard, malingerer, oaf and possible genius – the story of Czech soldier Svejk and his misadventures in the First World War is one of the most hilarious and subversive satires on war ever.
THE LOST ESTATE FRENCH
A novel of desperate yearning and vanished adolescence, the story of Meaulnes and his restless search for a lost, enchanted world has the atmosphere of a dream and the purity of a fairytale.
THE CALL OF CTHULHU ENGLISH
Mad, macabre tales of demonic spirits, hideous rites, ancient curses and alien entities lurking beneath the surface of rural New England, from the man who created the modern horror story.
THE BETROTHED ITALIAN
Two lovers must face tyrants, war, riots, plague and famine in this teeming panorama of seventeenth-century Italian life.
An ordinary man wakes up to find himself turned into a giant cockroach in Kafka’s masterpiece of unease and black humour.
THE NOTEBOOKS OF MALTE LAURIDS BRIGGE GERMAN
Rainer Maria Rilke
This dreamlike meditation on being young and alone in Paris is a feverish work of nerves, angst and sublime beauty from one of the twentieth century’s greatest poets.
THE HOUSE OF ULLOA SPANISH
Emilia Pardo Bazan
Set in a crumbling Spanish mansion, this gloriously comic and gothic novel follows the fortunes of an innocent young priest as he enters a world of moral decadence, sexual intrigue and corruption.
FATHERS AND SONS RUSSIAN
This humane, moving masterpiece of families, love, duels, heartache, failure and the clash between generations caused a scandal in nineteenth-century Russia with its portrayal of youthful nihilism.
OUT OF AFRICA ENGLISH
In one of the most passionate memoirs ever written, Karen Blixen recalls running a farm in Africa at the start of the twentieth century, and the love affair that changed her life.
Henry David Thoreau
One man’s account of his solitary and self-sufficient home in the New England woods, this is the original book about abandoning our ‘lives of quiet desperation’ and getting back to nature.
A PARISIAN AFFAIR FRENCH
Guy de Maupassant
Sparkling, darkly humorous tales of high society, playboys, courtesans, peasants, sex and savagery in nineteenth-century France, from the father of the short story.
THE BEAST WITHIN FRENCH
Zola’s tense, gripping psychological thriller of adultery, corruption and murder on the French railways is a graphic and violent exploration of the darkest recesses of the criminal mind.
THE COSSACKS and HADJI MURAT RUSSIAN
Two masterly Russian tales of freedom, fighting and great warriors in the majestic mountains of the Caucasus, inspired by Tolstoy’s years as a soldier living amid the Cossack people.
THE MALAY ARCHIPELAGO ENGLISH
Alfred Russel Wallace
The great Victorian scientist’s heroic adventures across South-East Asia, from Singapore to the wilds of New Guinea, encountering head-hunters, jungles, birds of paradise and new discoveries that would change the world.
THE RAINBOW ENGLISH
Following three generations of a family in rural Nottinghamshire as they struggle, fight, labour on the land and discover who they are, Lawrence’s rhapsodic, poetic and mystical work rewrote the English novel.
MY CHILDHOOD RUSSIAN
In one of the most moving, raw accounts of childhood ever written, Maxim Gorky describes, with appalling clarity and startling freshness, growing up amid poverty and brutality in Tsarist Russia.
O PIONEERS! ENGLISH
A rapturous work of savage beauty, Willa Cather’s 1913 tale of a pioneer woman who tames the wild, hostile lands of the Nebraskan prairie is also the story of what it means to be American.
For more information: Caroline Newbury, email@example.com
A whole new world of children’s stories. It is a platform that hosts stories in languages across India and beyond. So that every child can have an endless stream of stories in her mother tongue to read and enjoy. StoryWeaver is an open platform designed to be innovative and interactive. It invites both, the weaver of stories and the reader to connect and share the fascinating world of words and illustrations. This then, marks a new chapter in children’s literature and publishing. Come discover the magic of stories and the joy of reading – a cornucopia that will delight endlessly.
Medianama has a wonderful article on Pratham Books and Storyweaver. It is available at: http://www.medianama.com/2015/09/223-pratham-books-open-source/ But I am also copy-pasting the text in case it is not easily available sometimes.
Non profit trust Pratham Books has launched StoryWeaver, an open source digital platform, which features 800 stories in 24 languages (14 Indian and 12 international languages), with an image repository of over 2,000 images. These will be openly licensed and free of cost; content creators and other users will be able to read, download, translate, version-ise and print through the platform. Users will also be able to create and publish new stories, using the Creative Commons licensed content on the site.
The stories are available in Assamese, Bengali, Gujarati, Hindi, Kannada, Konkani, Malayalam, Marathi and Odiya, along with English translations to all these languages (and Tamil and Telugu, excepting Assamese and Malayalam). It lists publishers like itself, African StoryBook Initiative and World Konkani Centre. The stories can be filtered by reading levels as well. The platform provides DIY videos for creating and translating stories. ( https://storyweaver.org.in/tutorials )
Anyone can translate stories by clicking on the ‘translate’ option under the selected story, which redirects you to login via Pratham Books, Facebook or Google+ and provides a host of Indian and African languages, along with French, German and Spanish to translate to. It displays the original text for reference and once done translating it lets users put in a new title, creator details and publish. Pratham Books says that it has generated more work opportunities for illustrators through their CC work. It also states that its primary users are teachers, librarians, writers and parents.
The trust hopes that this move will not only encourage more content creation but also address the scarcity of multilingual story resources in India and multiply it. With the launch of the platform, the trust has also created a “Weave a story” campaign where it has roped in children’s books writers Anushka Ravishankar, Soumya Rajendran, Rohini Nilekani and Rukmini Banerjee to write a special story for children. StoryWeaver will invite users to translate these stories and the trust expects that 100 new versions will spawn out of the 3 original stories. The first story to be launched on the platform is Ravishankar’s “Its All the Cat’s Fault”, which is expected to get 5 derivative versions today.
Google Impact Challenge shortlist
In August 2013, Google had shortlisted 10 non-profit organisations in India as finalists for its Google Impact Challenge intended to support a technology based social project with an award of Rs 3 crores. Among these was Pratham Books which intended to develop an open source platform to create and translate 20,000 e-books in minimum 25 languages to enable 20 million book reads by 2015.
Launch of books crowdsourcing platform
In June, Pratham Books launched a crowdsourcing platform called DonateABook which let nonprofits and schools raise funding for books in order to provide them to Indian children. It connected book seekers with people who wanted to give books away. Then, there were 30 campaigns on the website, looking to raise between Rs 3,500- Rs 110,000 for multiple cities and towns in India.
The projects have been assigned for underprivileged kids, kids from government schools in villages, immigrant construction workers’ children and more, and sought books across Indian and English languages. Individuals as well as organisations who wanted to get books for the children they work with could also start campaigns on the platform. The platform sought to get 50,000 books for children by this Children’s Day, which falls on 14 November every year.
The Bangalore-based trust publishes cost effective books across Indian languages. It publishes books across genres like fiction, science, history, maths and nature among others. It claims to have published over 300 original titles in 18 languages, totalling up to 2,000 books across genres of fiction, nonfiction, and story books on science, history, mathematics and nature
No word can change the past, and no word is the right word if you say it when what it describes as the past and not the present. In the present, there are no words. Words come later, and then we use them in the same way, we can all describe things and give our opinions about is not ours, even though it never happened to us. We don’t need someone to spell out what he or she is telling us is the whole thing or only part of it, and our doubts will remain unassuaged.
( Paris p.337)
Marcos Giralt Torrente’s debut novel, Paris, won the XVII Premio Herralde de Novela prize in 1999 and the Spanish National Book Award in 2011. Fourteen years later it was translated from Spanish into English by Margaret Jull Costa and published by Hispabooks. It is about a young man who tries to recall his past and put together a narrative, for this he relies solely upon his own memory. At the same time observing acutely that “memory is a great temptation, and what could be easier than to highlight some memories at the expense of others and retrospectively draw up a synthesis adapted to what has endured rather than what actually happened?” ( p.69) He is trying to understand what happened when he was a young boy of nine and his father was whisked away by the police, release and subsequent disappearance from their life; his relationship with his mother and her’s with her sister, Aunt Delfina and the innumerable conversations he heard or was privy to. But he is most curious to know why his mother left him with Delfina and went off to Paris for eight months. He never discovered the reason or what she did there and now when he is trying to recall it is too late, his mother has dementia.
The novel meanders and explores but never gets dull. In fact the reader gets the feeling as if they are shadowing the narrator and being able to listen to all his thoughts and conversations clearly. It is an odd feeling of being in a space that is a peculiar blend of being immersed in a cinematic experience of watching the narrator talk, observe, reflect, reminisce and yet at the same time to read and absorb at leisure the events that unfold. There is nothing in the measured pace of storytelling that prepares you for the unconventional conclusion.
Paris was on the inaugural list of a new independent publishing house established in Madrid –Hispabooks. Founded in 2011 by editors, Gregorio Doval and Ana Perez Galvan, Hispabooks is a publishing house focusing on contemporary Spanish fiction in English-language translation, both in eBook and trade paperback format, targeting readers around the world who want to explore the best of today’s Spanish literature. ( www.hispabooks.com and an interview with the founders: http://bit.ly/1EnBdqc)
This is a fine book to have been published and worth reading. Hence I was a little disappointed when it did not make it to the shortlist of the Best Translated Book Award 2015 ( http://bit.ly/1EnBRnO) announced on 5 May 2015.
My monthly column, Literati, in the Hindu Literary Review was published online ( 31 May 2014) and in print ( 1 June 2014). Here is the url http://www.thehindu.com/books/literary-review/literati/article6069748.ece?textsize=small&test=2 . I am also c&p the text below.
I am reading a terrific cluster of books — Rakhshanda Jalil’s A Literary History of the Progressive Writer’s Movement in Urdu (OUP); A Rebel and her Cause: The life of Dr Rashid Jahan, (Women Unlimited); and two simultaneous publications of the English translation of Angaarey — nine stories and a play put together in Urdu by Sajjad Zahir in 1932 (Rupa Publications and Penguin Books). Angaarey includes contributions by PWM members such as Ahmed Ali, Rashid Jahan and Mahmuduzzafar. As Nadira Babbar, Sajjad Zahir’s daughter says in her introduction to the Rupa edition: “The young group of writers of Angaarey challenged not just social orthodoxy but also traditional literary narratives and techniques. In an attempt to represent the individual mind and its struggle, they ushered in the narrative technique known as the stream of consciousness which was then new to the contemporary literary scene and continues to be significant in literature even today. …they saw art as a means of social reform.” She says that her father did not consider the writing of Angaarey and the subsequent problems they faced as any kind of hardship or sacrifice; rather “it provided them with the opportunity of expressing truths simply felt and clearly articulated.” It is curious that at a time when publishers worry about the future of the industry, there are two translations of the same book from two different publishers.
Translations are a way to discover a new socio-cultural and literary landscape. Last month, the English translation of Joel Dicker’s debut novel The Harry Quebert Affair (MacLehose Press), which has created one of the biggest stirs in publishing, was released. A gripping thriller, originally in French, it has sold over two million copies in other languages. A look at some other notable translations published recently:
Mikhail Shashkin’s disturbing but very readable Maidenhair (Open Letter), translated from Russian by Marian Schwartz, about asylum-seekers in Switzerland.
Juan Pablo Villalobos’s Quesadillas (And Other Stories)translated from Spanish by Rosalind Harvey is about 1980s Mexico.
Roberto Bolano’s The Insufferable Gaucho (Picador), a collection of short stories, translated from Spanish by Chris Andrews.
There is a range of European writers to be discovered in English translation on the Seagull Books list, Indian regional language writers from Sahitya Akademi, NBT, Penguin Books India, OUP, HarperCollins, Zubaan, Hachette, Navayana, Stree Samya, and Yatra Books.
Oxford University Press’s Indian Writing programme and the Oxford Novellas series are broader in their scope including works translated from Dogri and Konkani and looking at scripts from Bhili and Tulu.
Translations allow writers of the original language to be comfortable in their own idiom, socio-political milieu without carrying the baggage of other literary discourses. Translated literature is of interest to scholars for its cultural and literary value and, as Mini Krishnan, Series Editor, Oxford Novellas, writes, “the distinctive way they carry the memories and histories of those who use them”. Making the rich content available is what takes precedence. Within this context, debates about the ethics of publishing a translation such as J.R.R. Tolkien’s 1926 prose translation of Beowulf (HarperCollins), 88 years later, seem to be largely ignored though Tolkein described it as being “hardly to my liking”.
Linguistic maps available at http://www.muturzikin.com/ show the vast number of languages that exist apart from English. In the seven states of northeast of India alone there are 42 documented languages. Reports such as http://w3techs.com/technologies/overview/content_language/ all indicate that content languages (all though with strong literary traditions) such as Hindi, Marathi, Sanskrit, Punjabi and even Irish are used by less than one per cent of websites. Google India estimates that the next 300 million users from India won’t use English. It isn’t surprising then to discover that Google announced the acquisition of Word Lens, an app which can translate a number of different languages in real time. For now users can translate between English and Portuguese, German, Italian, French, Russian, and Spanish. Indian languages may be underrepresented on the Internet but, with digital media support and the rapid acceptance of unicode, an encoding which supports Indic fonts, translations will become easier. Soon apps such as Word Lens may expand to include other languages, probably even circumventing the need of publishers to translate texts.
Seeing a child, even a teenager, ill has to be one of the most unpleasant experiences of life. Somehow the big C or cancer gets written about more than other diseases. In 2012, The Yellow World by Albert Espinosa was published and became an NYT bestseller. It charts the experiences of the young boy developing cancer and then battling the disease through much of his “young adult” life. It has been translated from Spanish into English. The first half of the book is far more readable as it documents his getting cancer, the treatment, the jokes shared with other patients, the friends who pass away etc. But this is a memoir. Quite unlike John Green’s The Fault in Our Stars, another NYT bestseller and soon to be made in a Hollywood film. This is fiction but based on meticulous research done by Green. ( An example of his knowledge is evident in this YouTube where Green discusses the costs of American healthcare: http://www.youtube.com/watch?v=qSjGouBmo0M ) The Fault in Our Stars is a story about teenagers affected by cancer. To put it simplistically it is told through the friendships Hazel makes with Augustus Waters and Isaac and the other kids at Cancer Kid Support Group. The matter-of-fact manner in which the young cancer patients manage themselves and help each other is an eye opener. John Green also manages to get the nervousness, concern, worry of the adults very well too. The tone adopted by the writer is not surprising given that he spent a long time with Esther Earl, to whom the book is dedicated to as well. Esther Earl developed cancer at a very young age. Along with the support of her family and friends like John Green. As John Green says in the introduction to Esther’s book/memoir/diary This Star Won’t Go Out that she was terminally ill with cancer but she made the treatment for it seem “very standard and casual”. For instance one day they were typing to each other when John Green realised Esther Earl was actually in the ICU with tubes coming out of her chest to drain fluid that had accumulated in her lungs.
And then there is Patrick Ness’s A Monster Calls. A powerful novel with three short stories embedded in it about a young boy who is worried about his very sick mother and is unable to utter the truth to anyone. This is a novel about loss, fear and courage. It is a story told with sensitivity, compassion and powerful storytelling. Ness wrote the novel based on an original idea by the late Siobhan Dowd ( who died of cancer), he and illustrator Jim Kay won Britain’s prestigious Carnegie Medal and Greenaway Medal in 2012, presented to the year’s best children’s literature in the UK. (Unfortunately the edition I read did not have a single illustration in it.) Recently it was announced that Ness is adapting the screenplay from his novel. The film is slated for released in 2016 and will be directed by Juan Antonio Bayona.
Every one of these books has been selling exceptionally well. The two books of fiction by John Green and Patrick Ness are being converted into films as well. Every time one reads books like these the power of literature to share, describe, comment, analyse or just present a situation is confirmed. It is as if the words on the page speak to the reader quietly, taking them into confidence and exploring a world that is otherwise frightening.