Book Post 45 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.
7 Oct 2019
Book Post 45 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.
7 Oct 2019
The Women in Translation (#WiT) month is celebrated annually in August. There was a flurry of activity online with a number of gems being unearthed and discussed. It is a really fascinating time to discover new writers, new translators, new publishers etc. Whilst I enjoyed reading the various articles, interviews, profiles and even book extracts that were made available online, I realised there was a deafening silence from the Indian subcontinent.
There is a thriving literary culture that has existed in the subcontinent for an exceptionally long time in all the regional languages. Of late many of these texts are being made available in English so as to be accessed by a larger readership. Sometimes new translations are commissioned such as Daisy Rockwell’s translation of Khadija Mastur’s The Women’s Courtyard although a translation by Neelam Hussain of Simorgh Collective exists too.
Another fascinating aspect of the Indian publishing industry is that as it grows, the market grows, and so does the interest in the craft of writing. For long writers have written and published their works in various literary magazines, “women’s magazines”, newspapers etc. Of course there are now online literary spaces, discussion forums and sometimes even in the print media where writers are interviewed and their craft discussed. But interviewing writers, especially women, is an art unto itself. Women writers inevitably have to find the time to write amongst the rhythm of many other duties and commitments they need to fulfil. This was more so in the past than now when increasingly there are more and more “professional writers”. Even so, reading about the craft of writing by women writers continus to be an exciting world since irrespective of socio-economic class, many writers share the same concerns and have similar pressures. Women Unlimited, an associate of Kali for Women, has for years published interviews with women writers. Their latest publication is Lifescapes: Interviews with Contemporary Women Writers from Tamil Nadu. The Tamil publishing landscape is not an easy one to understand with many interesting threads running through it, all of which were influential upon the seventeen women writers interviewed by the editors — K. Srilata and Swarnlatha Rangarajan. While the interviews themselves are insightful, it is the structural arrangement of each entry that is fascinating for it has the mandatory biography about the author, a sample of her writing, a head note by the editors introducing the writer and why they chose her specifically to be included in the anthology and finally, the interview. Every detail adds just sufficient information creating an image of the writer that the reader definitely wants to know more about.
Ever since World Literature began to open new publishing horizons in the Anglo-American book market as well as the growth of the desi diaspora as a lucrative readership, did the spotlight on translations from regional languages into English become an attractive proposition for many firms. As a result there is a feast of offerings particularly as the multi-national publishers expand their fare. Be that as it may there are some fabulous publishers such as Women Unlimited, Zubaan, Orient Black Swan, Speaking Tiger, Permanent Black ( on occasion), Aleph Book Company, Yoda Press, Westland/Amazon and Oxford University Press that have been publishing translations for a while. It is impossible to list all but here some of the wonderful titles published recently.
The Solitary Sprout: Selected Stories of R. Chudamani ( translated from Tamil by C.T. Indra and T. Sriraman) is a fabulous collection of short stories. In fact, R. Chudamani (1931-2010) has often been considered as an early feminist among Tamil writers. The Solitary Sprout is a wonderful selection of Chudamani’s short stories with “No fury like a mother’s”, “Herself” and “Not a stepfather” standing out as very modern stories. It is hard to believe that these were written many decades ago. The sharp insight and clear ideas that the writer shares can take one’s breath away even now. For instance, “No fury like a mother’s” is about three mothers of young schoolgirls who are furious at how their daughters are ill-treated by their school teacher. The punishment meted out to the young girls by the teacher is to strip the girls publicly. The three mothers team up and pressurise the teacher to resign otherwise they threaten to mete out the same treatment to her as she did to their daughters. “Herself” is about a mother who once her children are married and settled with families of their own, discovers her trueself and becomes a music teacher as well is a voluntary worker at the Primary Health Centre in her village. Much to her visiting daughter’s dismay who had expected a month’s vacation at her parent’s home free from all responsibilities including babysitting her own son. Instead the daughter discovers she has to pitch in with household chores at her parents home and continue to look after her own son. She is deeply disappointed and upset as her memories of her mother was one who was always free and available for the family. It rattles the daughter. More so as her father supports his wife’s actions and sees no wrong. “Not a stepfather” addresses issues like widow remarriage, single parenting, stepfather etc. It is beautifully told from the perspective of the disgruntled mother of the bride who is not amused that her daugther has remarried and expects the new husband also to take care of her young son. It is complicated but within the first visit of the newly married couple to the mother’s house, the son warms up to his new father and gets the blessings of his mother-in-law too. It is a powerful story as it raises so many questions about gendered and social expectations of a woman and a man. The Solitary Sprout is worth reading, sharing and discussing in more forums. These are stories that need to be told more often.
Prolific and powerful writer K. R. Meera has a new collection of three novellas called The Angel’s Beauty Spots. As often is the case with K. R. Meera’s stories, she explores love and its various angles. Sometimes well meaning and powerful love for all intents and purposes can go horribly wrong as in the title novella. K. R. Meera’s stories have this remarkable quality of taking the wind out of the reader’s sails with the horrific and at times inexplicable sequence of events except that some bizarre form of love propelled many of the decisions taken by her characters. Somehow the team of author and translator, K. R. Meera and J. Devika, works well. It is difficult to pinpoint an exact reason but the translation reads smoothly without losing any of the cultural characteristics of sharing a story set in Kerala and written in Malayalam. It just feels perfectly satisfying to read.
The Diary of Manu Gandhi ( 1943 – 44) are the diaries written by Manubehn ( Mridula) Gandhi, who was the youngest daughter of Mahatma Gandhi’s nephew, Jaisukhlal Amritlal Gandhi and Kasumba. These diaries are preserved in the National Archives of India and for the first time are being translated and edited from Gujarati into English by Tridip Suhrud. Manu Gandhi as a young girl had been encouraged by Mahatma Gandhi to maintain a diary. Manu Gandhi was the one walking beside Mahatma Gandhi at Birla House before his would-be assassin, Nathuram Godse, pushed her aside, so as to be able to shoot his target.
Diary-keeping of Gandhi was an essential duty for all those engaged in pursuit of truth and hence obligatory for Ashramites and satyagrahis. He constantly urged the Ashram community and constructive workers to maintain one. ….A daily diary,he believed, was a mode of self-examination and self-purification; he made it an obligatory observance for all those who walked with him on the Salt march.
While The Diary of Manu Gandhi ( 1943 – 44) is of more academic and historical interest to many readers, it is accompanied by a fine commentary by Gandhian scholar Tridip Suhrud. He offers insights about maintenance of a diary, the translation process, making available critical empirical material such as these diaries which till now many knew of its existence but not many could access. It also documents the growth of a young, under-confident girl to a mature person as evident in the style of her writing, longer sentences, more time spent describing incidents rather than restricting it to scribbles as many of the early entries are. Interestingly, as Tridip Suhrud points out in his introduction, Mahatma Gandhi or Bapu as he was known, would often read and scribble his thoughts in the margins of Manu Gandhi’s diaries. Ideally though it would have been a preferable if in this volume an interview with Tridip Suhrud with a leading gender/oral history expert had been included. It would then give some critical insights in what it means to translate a young girl’s diary many decades later by a highly reputed Gandhian scholar. With due respect even the best academic scholars tend to gloss over certain gender issues that irrespective of how many times they are repeated continue to be important and need to be highilghted. At the same time it would be fascinating to see what emerges from the conversation of a Gandhian expert with a gender expert to see how much Gandhian ways of living influenced the minds and hearts of those in the Ashram or did the basic gendered ways of seeing also get scrubbed away.
Speaking of memoirs, Rosy Thomas’s He, My Beloved CJ about her life with her husband and well-known Malayalam writer and critic, C. J. Thomas. It has been translated by G. Arunima. C.J. Thomas died young. His wife wrote this memoir much later. While it is a very personal account of her courtship, her marriage and the brief time she spent with her husband during which he opposed her desire to seek employment. Apparently in the Malayalam text, Rosy Thomas often refers to her husband as moorachi ( a colloquial term for conservative). Hence within this context it is quite amazing to read an account of a life that does not necessarily romanticise the couple’s love but is able to subvert the prevalent notions of wifehood. It has descriptions of their homes, their families, their circle of friends and at times some of their discussions on art, creativity and politics. At least in the memoir she comes across at times an equal participant despite his conservative mindset on having a wife who earned a living. Be that as it may, the monotone pitch at which the memoir is written or has been translated in —it is difficult to discern the difference — does not make He, My Beloved CJ easy to read. Of course it is a seminal book and will for a long time be referred to by many scholars interested in knowing more about the literary movement in Kerala or about the legend himself, C. J. Thomas — a man who seems to have acquired mythical proportions in Kerala. How many will access it for being a woman’s witnessing of a fascinating moment in history, only time will tell. Meanwhile the translator’s note is worth reading. G. Arunima writes:
…this biography is as much about C J Thomas and their marriage, as it is about Rosy as a writer. The act of remembrance is also about fashioning her own self and subjectivity, both as a ‘loving’ subject, and as a ‘writer’ and raconteur, observing, weighing, annotating and narrating their life as a text. Rosy Thomas grew up in a literary home; her father, M P Paul, was an intrinsic part of the Progressive Writers’ Movement, the Sahitya Pravarthaka Sahakarna Sangham ( Literary Workers’ Cooperative Society) and had also set up the tutorial college that was named after him. Writers, books and a culture of reading were a central part of her life. Even though these reminiscences do not dwell too much on her own literary or political formation, it is evident that CJ’s world wasn’t alien to her. In her later life she was to become a published writer and translator in her own right; such creativity is obvious even in this text where the nuances of a remembered life are testament to her wit and literary flair.
There are many, many more titles that one can discuss such as Sharmila Seyyid’s Ummath: A Novel of Community and Conflict. It is set during the three decades of the Sri Lanka’s civil war. It is told through the lives of three women, Thawakkul, Yoga and Theivanai — one a social activist, the other a Tamil Tiger forced into joining the movement as a child, and the third a disillusioned fighter for the Eelam. The novel has been translated from Tamil by Gita Subramaniam. While it immerses one immediately into the strife torn landscape, it is also puzzling as sometimes the voices of the three main characters seem to acquire the same pitch, making it seem as if the author’s own devastating firsthand experiences of the conflict are making their presence felt throughout the narrative. It is impossible for the English readers to ever solve this puzzle but there is something that comes through in the translation and is not easy to pinpoint. While promoted as fiction, it is easy to see that Ummath with the insights it offers, nature of conversations documented and descriptions of the landscape make this novel a lived experience. This is a challenging story to read but is worth doing so as the conversations about women/gender and conflict are relatively new in public discourse and need to be share more widely.
The final book in this roundup is a translation from Bengali of Upendrakishore Ray Chowdhury’s The Children’s Ramayana by first-time translator Tilottama Shome. It is the Ramayana told with its basic story sans the many digressions and minor tales. It is the epic with many of the popular stories retold that many generations of Indians are familiar with. It does not come across as a novice’s attempt at translation. In fact as she says in her translator’s note, “I have tried to retain that delightful quirky tone and the hint of humour told with a straight face that has endeared Upendrakishore Ray Chowdhury’s works to readers for generations” seems to be true. Again it is impossible for English readers to confirm this fact or not but there is something about the zippy pace, ease of reading, a rhythm to the storytelling, making it immensely attractive to read. Perhaps Tilottama Shome being a trained singer ably assisted her in finding the rhythm to this translation. There is something to be said for a trained musical ear and discovering the cadences of a written text making the translation from one language/culture to the next a pleasurable experience!
18 September 2019
Preeto & Other Stories : The Male Gaze in Urdu is a collection of short stories edited and introduced by noted writer and translator Rakhshanda Jalil. This extract is taken from her fabulous introduction that gives a broad overview of Urdu writing. While there is a detailed portion on Urdu women writers the selected extract focuses on the reasons for Rakhshanda Jalil’s selection with a brief commentary on the male writers she chose to include in the anthology.
This extract is published with the permission of the publishers Niyogi Books.
The woman has been both subject and predicate in a great deal of writing by male writers. In poetry she has, of course, been the subject of vast amounts of romantic, even sensuous imagery. Be it muse or mother, vamp or victim, fulsome or flawed, there has been a tendency among male writers to view a woman through a binary of ‘this’ or ‘that’ and to present women as black and white characters, often either impossibly white or improbably black. Since men are not expected to be one or the other but generally taken to be a combination of contraries, such a monochromatic view inevitably results in women being reduced to objects, of being taken to be ‘things’ rather than ‘people’. That this objectification of women, and the consequent dehumanisation, effectively ‘others’ half the human population seems to escape many writers, even those ostensibly desirous of breaking stereotypes or those who see themselves as liberal, even emancipated men. Films, television and media have traditionally aided and abetted the idea that women are objects to be pursued and eventually won over like trophies or prizes. Literature has fed into the trope that women are bona fide objects of sexual fantasy, or blank canvases on which men can paint their ideals, or even empty vessels into which they can pour their pent-up feelings and emotions.
Feminist theoreticians would have us believe that there is, and has always been, a traditional heterosexual way of men looking at women, a way that presents women as essentially sexual objects for the pleasure of the male viewer. The feminist film critic Laura Mulvey, in her seminal essay ‘Visual Pleasure and Narrative Cinema’ (1975), termed this way of seeing as the ‘male gaze’. Mulvey’s theory was based on the premise that ‘an asymmetry of power between the genders is a controlling force in cinema; and that the male gaze is constructed for the pleasure of the male viewer which is deeply rooted in the ideologies and discourses of patriarchy’. Within a short span of time, the expression slipped into accepted usage and moved seamlessly across medium: from film to literature to popular culture. Today, we use the term loosely to describe ways of men seeing women and consequently presenting or representing them.
In the context of Urdu, I have always been intrigued by how men view women and, by extension, write about them. For that matter, I am equally intrigued by how women view women and the world around them. In fact, as a precursor to this present volume, I had edited a selection of writings in Urdu by women called Neither Night Nor Day (Harper Collins, 2007). I had set myself a deliberately narrow framework by looking at women writers from Pakistan as I was curious to discover how women, in an essentially patriarchal society, view the place of women in the world. I chose 13 contemporary women writers and tried to examine the image and representation of women by women.
Now, ten years later, I have attempted to do the same with male writers, except that this time I have chosen Indian writers. While I have begun with two senior writers, Rajinder Singh Bedi and Krishan Chandar, I have chosen not to go back to the early male writers such as Sajjad Hyder Yildrum, Qazi Abdul Ghaffar or even Premchand, for that matter, who wrote extensively on women. For the purpose of this study, I wanted to make a selection from modern writers. In a world where more women are joining the work force, where ever more are stepping out from their secluded and cloistered world and can be physically seen in larger numbers, I was curious to see how, then, do male writers view and consequently present or represent the women of their world.
My task was made easy by two progressives — Rajinder Singh Bedi and Krishan Chandar — who continued to be active long after the progressive writers’ movement had petered off. Nurtured by a literary movement and a body of writers that prided in looking at women as comrades-in-arms, both have written powerful female characters but both can be occasionally guilty of a sentimentalism, a tendency to idealise a woman in an attempt to appear even-handed. The first story in this collection, ‘Woman’ (‘Aurat’) by Bedi shows the writer struggling to shake off a centuries-old conditioning, one that sees a woman as a nurturer, a preserver of a life force no matter how flawed or frugal that life force might be. A father might be willing to get rid of a child that is less-than-perfect, a bit like a vet that puts diseased or broken animals to sleep, but a mother can never envisage such an idea. Added to this view is the familiar trope of unrequited love, that too for a damsel in distress, of a male viewer drawn to a woman who loves her child unconditionally. This ability to love makes everything about her so attractive: ‘I don’t know if she was beautiful in real life but in my fantasy she was extremely attractive. I really liked the way she patted her hair in place. She would flick her hair off her face, stroke them in place with her fingers, stretching her hands all the way behind her shoulders — making it so difficult for me to decide if this was a conscious habit or an involuntary action.’
Krishan Chandar’s ‘Preeto’, also the title story for this collection, has two seemingly unrelated tracks that converge in a most unexpected manner: both lead to a point where the woman is eventually perceived as beautiful and enigmatic, the depths of whose heart can never be plumbed by a man. While one track leads to a gruesome tragedy, the other leads nowhere. The parallel tracks meet at a point of sorrowful acknowledgement: ‘A woman never forgets. Those people do not know women who think she comes to your home in a palanquin, sleeps on your bed, gives you four children and in return you can snatch her dream away, such people don’t know women. A woman never forgets.’ A man may love her and pamper her but there is no knowing that she will love him in return or that she will ever fully reveal what lies buried beneath seeming normalcy.
Gulzar heralds the onset of modernity in Urdu literature. In his story, a woman may work and play the field, she may find love outside marriage, she may stray as far as her former husband but she is still tethered to the yoke of motherhood, of being answerable to a man: in this case her son, a 13-year old boy who stops being her son the moment he turns a male gaze at her. The same son who is willing to stand up for her when she is a woman wronged, a victim, turns against her when she is perceived as a woman who has committed a wrong and set foot outside the proverbial lakshman rekha or line of chastity and honour. Gulzar’s ‘Man’ (‘Mard’) reminds us how ingrained these notions of honour are and how stringently women, more than men, must subscribe to them.
Faiyyaz Rifat’s ‘Shonali’ and Ratan Singh’s ‘Wedding Night’ (‘Suhaag Raat’) are classic instances of the male gaze: one is directed by an older man at a young nubile servant and the other at a maalan (a girl who tends a garden). In this thinly-disguised moral tale, the flowers are symbols of ‘pure’ love that a girl gives her groom on her wedding night. Both stories show a preoccupation with beauty and youth, a preoccupation that is also found in Baig Ehsas’s ‘A Heavy Stone’ ‘Sang-e Giran’ and Syed Muhammad Ashraf’s ‘Awaiting the Zephyr’ (‘Baad-e Saba ka Intizar’). Deepak Budki’s ‘Driftwood’ and Hussainul Haque’s ‘The Unexpected Disaster’ (‘Naa-gahaanii’) are troubling stories: the former makes a case for women who have been victims of abuse in childhood (incest in this case) becoming wayward and wilful as adults and the latter for victims of marital abuse having every reason to find love outside a loveless marriage yet refraining from doing so out of a sense of honour and uprightness. Both stories, in a sense, dwell on the notion of moral turpitude and its opposite, a dignity that men expect from women.
Zamiruddin Ahmad’s ‘A Bit Odd’ (‘Kuchh Ajeeb Sa’) is a niggling look at the idea of dignity, a quality that is intrinsic to women in a patriarchal world view and is only enhanced by the institutions of marriage, home, religion, domesticity. Abdus Samad probes a woman’s heart, scouring the ashes for a lambent flame in ‘Ash in the Fire’ (‘Aag Mein Raakh’): a thick blanket may douse a fire but beneath the ashes something will continue to smoulder. Rahman Abbas presents us with a contrarian view: What if a woman is self-avowedly asexual? What if she is willing to be a man’s friend and companion but nothing else? Will the male gaze continue to peer and prod looking for something that does not exist? What if a woman says ‘I don’t feel any need. I’m a dry river’? The woman in Siddique Alam’s ‘The Serpent’s Well’ (titled ‘Bain’ meaning ‘lamentation’ in the original but given this title by the translator) is as ancient as the forested heartland of India, and just as darkly mysterious.
To conclude, let me rest my case with these words by Milan Kundera in The Book of Laughter and Forgetting:
‘The male glance has often been described. It is commonly said to rest coldly on a woman, measuring, weighing, evaluating, selecting her — in other words, turning her into an object… What is less commonly known is that a woman is not completely defenseless against that glance. If it turns her into an object, then she looks back at the man with the eyes of an object. It is though a hammer had suddenly grown eyes and stare up at the worker pounding a nail with it. When the worker sees the evil eye of the hammer, he loses his self-assurance and slams it on his thumb. The worker may be the hammer’s master, but the hammer still prevails. A tool knows exactly how it is meant to be handled, while the user of the tool can only have an approximate idea.’
While a woman is certainly no tool, nor should she know how to be ‘handled’, there is something to be said for returning the gaze, of looking back. Perhaps if more women were to turn a steady gaze back at the beholder, there is no knowing what the ‘seeing eye’ will see.
Preeto & Other Stories : The Male Gaze in Urdu , Edited and introduced by Rakhshanda Jalil. Thornbird, an imprint of Niyogi Books, New Delhi, 2018. Hb. Pp. 200. Rs 450
8 March 2019
The Hungryalists: The Poets Who Sparked a Revolution by Maitreyee Bhattacharjee Chowdhury is an interesting tribute to a short lived but intense literary movement in West Bengal that has left an lasting impact around the world. Their well documented relationship with the Beats poet is also analysed in The Hungryalists. This book will become one of the go-to reads on The Hungryalists precisely for the very reason that little documentation of the movement exists in English as these poets mostly wrote in Bengali. So to transcend languages and cultures requires a bridging language which is English.
The Hungryalist or the hungry generation movement was a literary movement in Bengali that was launched in 1961, by a group of young Bengali poets. It was spearheaded by the famous Hungryalist quartet — Malay Roychoudhury, Samir Roychoudhury, Shakti Chattopadhyay and Debi Roy. They had coined Hungryalism from the word ‘Hungry’ used by Geoffrey Chaucer in his poetic line “in the sowre hungry tyme”. The central theme of the movement was Oswald Spengler’s idea of History, that an ailing culture feeds on cultural elements brought from outside. These writers felt that Bengali culture had reached its zenith and was now living on alien food. . . . The movement was joined by other young poets like Utpal Kumar Basu, Binoy Majumdar, Sandipan Chattopadhyay, Basudeb Dasgupta, Falguni Roy, Tridib Mitra and many more. Their poetry spoke the displaced people and also contained huge resentment towards the government as well as profanity. … On September 2, 1964, arrest warrants were issued against 11 of the Hungry poets. The charges included obscenity in literature and subversive conspiracy against the state. The court case went on for years, which drew attention worldwide. Poets like Octavio Paz, Ernesto Cardenal and Beat poets like Allen Ginsberg visited Malay Roychoudhury. The Hungryalist movement also influenced Hindi, Marathi, Assamese, Telugu & Urdu literature. ( “The Hungryalist Movement: When People Took Their Fight Against The Government” Md Imtiaz, The Logical Indian, 29 June 2016)
With the permission of the publisher here are two short extracts from the book:
Like everywhere else, the shadow of caste hung over the burning ghats as well. There were different burning sections for different castes. The Indian poets accompanying Ginsberg were usually Brahmins. Being there and smoking up was in itself an act of defiance, which normally nobody but the tantrics indulged in. Sunil, who had brought in his dead father here not too long ago, even joked about the place. Later, Ginsberg would go on to write:
I lay in my Calcutta bed, eye fixed
On the green shutters in the wall, crude
Wood that might have been windows
in your Cottage, with a rusty nail
and a ring iron at the hand
To open on heaven. A whitewashed
Wall, the murmur of sidewalk sleepers,
the burning ghat’s sick rose flaring
like matchsticks miles away, my cough
from flu and too many cigarettes,
prophet Ramakrishna banning
the bowels and desires—
War was on everyone’s mind. Ginsberg spoke extensively on what he called the ‘era of wars’. ‘There are as many different wars as the very nature of these wars,’ he had told his fellow poets. Following the death of Stalin and the Cuban Missile Crisis, an uneven calm seemed to have descended, only to be followed by skirmishes here and there. Issues of sovereignty dominated East and West Germany; the Kurds and Iraq were at loggerheads; closer home, the Tibetans were, of course, still struggling to ward off the Chinese invasion of their lands.
Without much ado, Ginsberg, along with Orlovsky and Fakir, arrived one Sunday at the Coffee House looking for Bengali poets. The cafe was abuzz with writers, editors and journalists. Each group had a different table—some had joined two or more tables and brought together different conversations on one plate. But somehow, everyone seemed to have an inchoate understanding of the business of war and what it spelled out for them in the end.
Ginsberg’s arrival was something of a coincidence, Samir mused. Contrary to what one would think was a far-fetched reality, especially in bourgeois Calcutta, a significant number of young Indian students had around that time begun applying for undergraduate courses in American colleges and universities. Times had fundamentally changed, of course. Where once an aspiring middle-class Bengali academic might have chosen to pursue his studies at either Oxford or Cambridge or some university in the Soviet Union, the new mindset now included American universities as the next lucrative biggie to venture forth into. Typically, one would hear snide remarks and private jokes about it in inner circles—about the disloyalty apparent in such choices and more. But those with aspirational values had learnt to live with it, was Malay’s understanding.
Even amid the erratic crowd and the loud voices that drowned everything in coffee, Ginsberg commanded attention. Samir had recalled to Malay:
He approached our table, where Sunil, Shakti, Utpal and I sat, with no hesitation whatsoever. There was no awkwardness in talking to people he hadn’t ever met. None of us had seen such sahibs before, with torn clothes, cheap rubber chappals and a jhola. We were quite curious. At that time, we were not aware of how well known a poet he was back in the US. But I remember his eyes—they were kind and curious. He sat there with us, braving the most suspicious of an entire cadre of wary and sceptical Bengalis, shorn of all their niceties—they were the fiercest lot of Bengali poets—but, somehow, he had managed to disarm us all. He made us listen to him and tried to genuinely learn from us whatever it was that he’d wanted to learn, or thought we had to offer. Much later, we came to know that there had been suspicions about him being a CIA agent, an accusation he was able to disprove. In the end, we just warmed up to him, even liked him. He became one of us—a fagging, crazy, city poet with no direction or end in sight.
All around the Coffee House, there were discussions on war. Would the Chinese Army march up to Calcutta? Would the Indian soldiers hold out? During one of these discussions, Ginsberg spoke with conviction: ‘People who want peace must intervene now, before it’s too late. But, no one will, I’m afraid. Let’s have debates if you will, let’s get talking. Let the Nehrus, the Maos and the Kennedys of this world come together, sit across and talk. Who are we without a debate?’
Very early on, the Hungryalists had announced, rather brashly, their lack of faith and what they thought of god. To them religion was an utter waste of time, and they made no bones about this. In fact, in one of their bulletins, they had openly denounced god and called organized religion nonsense. Many of the Hungryalists, with their sharp knowledge of Hindu scriptures, had been challenging temple elders on the different rituals and modes of worship. This came as a shock to many, in a country where religion was very much a part of everyday life—a matter of pride and culture even. On the other hand, Ginsberg was evidently quite taken with religion in India and sought out sadhus and holy men wherever he went in the country. While this might have been because he was in search of a guru, he seemed to be fascinated, in equal measure, by the sheer variety that religion opened for him in India—from Kali worship to Buddhism. But like the Beats, the Hungryalists came together in denouncing the politics of war, which merged with their larger world view.
A tribute to the Hungryalist movement was uploaded on YouTube. It is in Bengali. Here is the film. In the comments Malay RoyChoudhury has also replied.
Maitreyee Bhattacharjee Chowdhury The Hungryalists: The Poets Who Sparked a Revolution Penguin Viking, an imprint of Penguin Random House, an imprint of Penguin Random House, India, 2018. Hb. pp. 190 Rs 599
Ankan Kazi “Open Wounds: The contested legacy of the Hungry Generation” Caravan, 1 October 2018
Juliet Reynolds “Art, the Hungryalists, and the Beats” Cafe Dissensus, 16 June 2016
Daisy Rockwell is a painter, writer and translator of Hindi and Urdu literature living in the United States. Her translations include Falling Walls, by Upendranath Ashk, Tamas, by Bhisham Sahni, and The Women’s Courtyard by Khadija Mastur. Her recent translation of The Women’s Courtyard is fascinating since it comes across as a very confident translation as if fiction about women and their domestic spaces is completely acceptable. A translation of the very same novel done nearly two decades earlier is equally competent but for want of a better word, it is far more tentative — at least reading it now. When I first read the translation of Aangan in 2003 it did not feel amiss in any manner but today comparing the two translations it is as if Daisy Rockwell’s translation of The Women’s Courtyard is imbued with a strength influenced by popular sentiments which is in favour of women particularly in the wake of the #MeToo movement. It may not have been done consciously by Daisy Rockwell but it is evident in the tenor of the text. The Women’s Courtyard is a pleasure to read.
I interviewed Daisy Rockwell via email. Here are excerpts:
1. Why did you choose to translate Aangan?
A friend had suggested I read it because of my interest in literature of that period and I was also shifting my attention to novels written by women. I was struck by the delicate, clean prose and the complex portrait Mastur painted of a young woman’s life.
2. How long did it take to translate and edit the text? I wonder how many conversations you must have had with yourself Daisy while translating the book?! Or was it just a task to be finished in time?
I don’t think frankly that anyone is usually sitting around impatiently waiting for one’s translation of a classic literary work. My deadlines are all my own. A project of that size usually takes about a year. I usually set myself a daily page quota which I don’t always meet. I had many conversations with myself about this book, and continue to do so. One of the great strengths of Mastur’s novels is that she doesn’t ever reveal everything. One is left pondering and questioning for a long time after. I still have questions that I can’t answer, and that I keep turning over in my mind. Translation issues less so than thoughts about Aliya’s interior universe and motivations.
3. While translating the text did you refer only to the original manuscript or did you constantly read other translations and commentaries on the text?
I consulted heavily with my friend Aftab Ahmed, who is also a translator, and who grew up in the same general area where the novel is set. I would check his responses with the previous translation in English when I was unsure of what was being said. Retranslation is interesting because the previous translation gives you an interlocutor. Even if you don’t agree with the choices the other translator(s) made, you learn to look at words and sentences from a different perspective if you are stuck on something confusing. Every translation is different, word for word, paragraph for paragraph, so sometimes just rearranging things jogs one’s ability to understand. Mastur’s style is not that difficult in terms of grammar, but there are historical items that are hard to find dictionary definitions for and that I had to research. Usually it has to do with terms for items of clothing or architectural details.
4. Do you feel translating works from Hindi/Urdu into English involves a translation exercise that is very different to that of any other language translation?
I think there would be parallels from translating into English from other South Asian languages. A big challenge is that the syntax is the opposite—English is what is known as a ‘right-branching language’ syntactically. Indic languages are left-branching. This is also true of Japanese. When the syntax has to be flipped it can be a challenge, because sometimes that syntactical difference can even be reflected at the paragraph level and one has to switch the order of some of the sentences in the paragraph. Indic languages also tend to have many impersonal constructions whereas English prefers active verbs and subjects. Think of ‘usko laga jaise…’ as opposed to ‘she felt as though…’. Because of this one has to continuously change voice without trampling on the original meaning.
5. Why did you translate the title “Aangan” as “The Women’s Courtyard” when the literal translation of “Aangan” is “inner courtyard”?
The translation of the title is ultimately up to the editor and the publicity team. I get to veto options I dislike, but ultimately they choose the title based on concerns that are sometimes outside of the translator’s purview. “Aangan” couldn’t be called ‘The Inner Courtyard’ because that is the title of the previous translation and they wanted to distinguish them. An ‘aangan’ is not technically just for women, but in this context, it is the domain of women. I assume they added in ‘women’s’ to invoke the importance of women’s experiences to the novel.
6. While translating Aangan did you choose to retain or leave out certain words that existed in Urdu but did not use in English? Is this a conundrum that translators often have to face — what to leave and what to retain for the sake of a clear text?
AK Ramanujan, with whom I was fortunate to take a graduate seminar on translation shortly before his death, pointed out to me that in a long novel you have the opportunity to teach the readers certain words. I take this as my maxim and add to it the notion that you cannot teach them many words, only a few, so you must make a choice as to what you are going to make the readers learn and grow accustomed to. There has been some discomfort with the fact that I translated many kinship terms into English and left only a few of the original terms. I did this because there are way more kinship terms in literature by men than in literature by women. Kinship terms are all ‘relative’ in the sense that one person’s bahu is another person’s saas is another person’s jithani is another person’s bari mausi. If all these are left in and no one has any given names it is extremely perplexing to readers who do not know the language fluently. I will often leave a word in and teach it by context but not refer to that person by myriad other kinship terms. For example the main character’s mother could be ‘Ma’, or ‘Amma’, but I am not going to give the mother all her other kinship terms because that’s too much to ask. I want the reader who knows no Hindi or Urdu to feel comfortable enough to keep reading the book. Adding a glossary of terms doesn’t really help because most people don’t sign up for a language and kinship lesson when they pick up a novel to read. Readers that do know these terms fluently tend to speak a style of English in their homes that incorporates the Hindi and Urdu kinship terms, so they think of these as a part of Indian English, but it’s not at all the case for Tamil speakers or Bangla speakers, who all have their own kinship terms that they use in English. My goal is to create a translation that can be enjoyed by people not just in India and South Asia, but all around the world. It’s a tricky business but I attempt to cater to everyone as much as I can.
My policies on what to leave in the original language are not created on behalf of readers who are fluent in these languages, but for people who are not. My Bangladeshi friends, for example, do not know what the words saas and bahu mean. We have these words in English—mother-in-law and daughter-in-law–so I translate them. An example of a word I did not translate was takht. A takht is a platform covered with a sheet where family members sit/sleep/gather/eat/make paan, and generally do everything. I decided that this was a word the readers would need to learn from context. Why? Because it occurs on almost every page, is the center of the action, and most importantly, it has no English equivalent.
7. How modern is your translation of Aangan? For instance did you feel that the times you were translating the novel in where sensitivity and a fair understanding of women’s issues exists far more than in it ever did in previous decades helped make your task “easier”?
I try to inhabit a linguistic system that is non-anachronistic when I translate the voice of a novel. I did not use #metoo-era language, I used a more formal register and kept it less modern. I think infusing the language with a contemporary sensibility would ruin the finely drawn portrayals in the original text.
8. In your brilliant afterword you refer to the first English translation of Aangan done by Neelam Hussain for Simorgh Collective and later republished by Kali for Women/ Zubaan. Why do you refer to your translation as a “retranslation” and not necessarily a “new translation”?
No particular reason—I guess I think of them as the same thing. If I say ‘retranslation’ I am nodding to the hard work done by the path-breaker. The first translation will always be the hardest one.
9. You are a professional translator who has worked on various projects but have also translated works by women writers. What has been your experience as a translator and a woman in working on texts by women writers?
I have translated this novel by Khadija Mastur as well as her later novel, Zameen (earth); my translation of Krishna Sobti’s most recent novel is soon to come out from Penguin India’s Hamish Hamilton imprint as A Gujarat Here, A Gujarat There. I am working on a translation of Geetanjali Shree’s 2018 novel Ret Samadhi (tomb of sand) and Usha Priyamvada’s 1963 novel Pachpan Kambhe Lal Divarein (fifty-pillars, red walls).
When you translate a text, you spend way more time on it than most other people ever will, sometimes including the author him or herself! I got tired of translating patriarchy, misogyny and objectification of women, which are all par for the course in men’s writing. For the past year, I have mostly stopped reading male authors at all, because the more I read and translate women, the lower goes my tolerance for the male gaze. We don’t realize how we’ve been programmed to accept objectification and silencing of women in men’s writing until we stop reading it. It has been very fulfilling translating these fine works by women and inhabiting the detailed layers of female subjectivity that they offer readers.
10. Do you think that the translation in the destination language must read smoothly and easily for the reader or should you be true to the original and incorporate in your translated text as far as possible many of the words and culturally-specific phrases used in the original text?
I think I partially answered this above, but I do not believe that a translation should be so difficult or “under-translated” that a reader puts it down out of frustration. Difficulty and cultural specificity in the original text suffuses many aspects of the writing and is not limited to certain pieces of terminology.
|11. The explosion in translated literature available worldwide now has also coincided with the rise of technological advancements in machine translation and neural networks. Thereby making immediate translations of online texts easily available to the reader/consumer. Do you think in the near future the growth in automated translation will impact translations done by humans and vice versa? How will it affect market growth for translated literature? |
To be honest, machine translation is horribly inaccurate because it misses nuance and does not understand human experience, culture or history. I do not believe that AI will ever replace human translators, at least when it comes to literature.
[ JBR: Interesting since I have come across arguments that say making texts available is the only factor that matters. Nothing else. This is where Google ‘s neural technology is breaking boundaries. But I agree with you — the human brain will continue to be the supercomputer. It’s a beauty!]
3 January 2019
Here is the entire note by the translator, Daisy Rockwell, from her recent translation of Khadija Mastur’s Aangan, translated as The Women’s Courtyard. It has been published by Penguin Random House, 2018.
The note has been excerped with the publisher’s permission.
The Women’s Courtyard has been translated before as The Inner Courtyard, by Neelam Hussain, and published by Kali for Women in 2001. Retranslation is still a rarity in the context of modern South Asian literature but the practice enriches the field of translation, offering readers different prisms through which to read a text. When I choose to retranslate a work, it is usually because I feel I have something substantially different to offer from the previous translator or translators. All the same, I draw comfort and inspiration from the work of previous translators, who may have seen things differently than I did and send me scurrying back to my dictionaries and expert friends for more information.
Khadija Mastur’s writing style is spare and elegant. Unlike many Urdu authors she does not favour heavily ornamented writing and turns of phrase full of literary allusions. I felt inspired to reproduce this clarity in English, after seeing that Hussain’s translation struggled with this quality, attempting to elevate the language to a more formal register of English than was used in Urdu. See, for example, Mastur’s description of Safdar Bhai, and the two contrasting translations, below:
Mastur: Safdar Bhai kitne vajīha magar kaisī maskīn sūrat ke the.
Rockwell: Safdar looked so handsome, but so meek.
Hussain: How tall and well built Safdar Bhai had been and yet how diffident his mien.
Not only does Hussain divide descriptive adjectives into phrases, but in the case of the second phrase, maskīn sūrat ke, she introduces a flowery and somewhat archaic-sounding descriptor, ‘how diffident his mien’.
These embroideries of the original, in which Hussain seeks to somehow augment the original text, stretch even to ordinary narrative sentences, such as the following:
Mastur: Dūr kahīñ se ghaṛiyāl ke gyārah bajāne kī āvāz ā rahī thī.
Rockwell: From somewhere far off came the sound of the bell striking eleven.
Hussain: A distant clock struck the hour. The sound of its measured strokes rolled over her. It was the eleventh hour of the night.
Here, Hussain’s rendition conveys a breathless dramatic tension that is absent from the original, which merely alerts us to the passage of time.
Hussain also occasionally inserts new ideas into the text, such as below, where she actually adds foreshadowing to the original sentence that describes Aliya worrying about her sister Tehmina Apa:
Mastur: Rāt kā qissā bār bār yād ātā aur voh anjām ke khauf se ek lafz bhī na paṛh saktī thī.
Rockwell: She kept thinking about what had occurred the night before, and was so fearful of what might happen she couldn’t read a single word.
Hussain: The inexorable end of Apa’s fated love was before her eyes and she was unable to concentrate on her work.
Mastur merely writes of Aliya’s ‘anjām kā khauf,’ her fear of the outcome, whereas Hussain announces to us that Tehmina’s ‘fated love’ is coming to an ‘inexorable end’. This embellishment on the original text both spoils the suspense of the story and romanticizes Tehmina’s love for Safdar by referring to it as a ‘fated love’.
Strangely—perhaps by accident—a pivotal passage is missing from Hussain’s translation. I can attest as a translator that it is far too easy to drop bits of a text in the course of translation. The phone rings, the dog must be let out, one’s attention is divided—and there goes a paragraph. Usually these mistakes can be rectified in editing, when one notices that something is missing or when a transition between paragraphs makes no sense. An extra set of eyes helps too. In this case, the passage in question is Jameel’s first physical assault on Aliya. Aliya has been reading about the horrors of Ghengis Khan and his army, when Jameel comes to speak with her. She tries to make him go away, or stick to the topic of her exams, when he grabs her and kisses her (or more—the text is not entirely clear on this point, but it reads clearly as sexual assault). After this she feels shaken and defiled.
Finally, language changes, cultural norms change and politics change. All great works deserve multiple translations, and English can only be enriched by multiple versions of classic South Asian texts. With this fresh translation, a new generation of readers will be introduced to The Women’s Courtyard, and perhaps a few who know some Urdu will take the plunge and try reading the book in the original.
3 January 2019
Rana Safvi’s translation from the Urdu into English of Zahir Dehlvi’s memoir Dastan-e-Ghadar: The Tale of the Mutiny was published by Penguin Random House India in 2017. Zahir’s full name was Sayyid Zahiruddin Husain, ‘Zahir’ being his poetic nom de plume. Zahir Dehlvi was in his early twenties, newly married, and living in what is now called the walled city of Delhi. He like his father was in the service of the last Mughal Emperor Bahadur Shah Zafar and they would report to work at the Red Fort. Dastan-e-Ghadar is an eyewitness’s accounts of the events that happened during the uprising of May 1857 when Indian troops employed by the British army revolted. There were many reasons for the soldiers anger but the immediate reason were that their cartridges were laced with cow and pig fat. For the Hindu soldiers, the cow is a sacred animal. For the Muslim soldiers, pigs are taboo. On 10 May 1857 the soldiers first attacked their British masters in Meerut and then marched to the city of Delhi. For decades this event under British Rule was referred to as the “Mutiny of 1857” or by many Indians as “the First War of Independence”, depending from whose perspective the events were being narrated. Now more commonly it is referred to as the “Uprising of 1857” and this is what is usually adopted by historians as well. But as Rana Safvi clarifies in her introduction that “I have used the words ‘mutiny’ and ‘rebels’ in my notes and comments, as those are the words used by Zahir.”
Dastan-e-Ghadar is meant to be a testimony to the events of 1857 and was written decades later. It is a sequence of events strung together but because it was written close to the event there are details in it that are fascinating. The chaos in the city, the confusion amongst the common people, the rumour mongering, the manner in which people fled to save themselves, the capture of the Emperor etc. All these are now well-known facts but to read the events in a contemporary account adds a different dimension to the experience of the historical event. According to historian Narayani Gupta in her review of the book in the Hindu “…it has an immediacy, and is deeply moving”. She also points out that the memoir was originally “Titled Taraz-e-Zahiri, it was called Dastan-e-Ghadar when first published in 1914. ” The book was printed posthumously from Lahore in (or about) 1914. A second edition appeared from Lahore in 1955 (an edition of which is with Irfan Habib who reviewed the book for Outlook magazine).
Yet there are liberties that the translator Rana Safvi has taken with the text which she acknowledges: “I have used my discretion to edit the text in places to keep the flow and drama of the narrative intact. ” Having said that there are some critical points about this seminal translation that are raised in the review by Irfan Habib: words like “Ghadar” and “Ghadr” have been translated inaccurately at the behest of the editors, not the translator. Later he adds:
Rana Safvi’s decision to translate the work into English is, therefore, to be welcomed. It seems a pity, however, that her rendering bears sign of some haste, so that the author’s statements in even his preface (‘Prelude’) are misunderstood. He did not indulge in “anguishing over the past and spending my time in prayer”, but “considering the past to be past and holding what had happened in the past to be just mercies from God, I let pass time in worldly ways of conduct”. He was now not induced to write because “I had [gained] access to letters and documents”, as the translation tells us, but because of the persuasions of his sincere friends and “a multitude of letters [containing such requests] having accumulated” (Urdu ed., Lahore, 1955 p. 17).
Both the academics who reviewed the English translation are of the agreement that the second half of the book where Zahir’s service in the states of Alwar, Jaipur and Tonk are possibly of greater interest than that of the events of 1857. Nevertheless Dastan-e-Ghadar is a fascinating testimony for those reading first source material about 1857 for the first time. Rana Safvi’s translation is an important contribution to Indian literature.
Following is an extract from the book published with the permission of the publishers.
The Surprise Attack
Just a few days had passed when another event took place. Half a mile from Kashmiri Darwaza, there was a yellow kothi near the ridge, where the purbias had set up a front and put up big guns and cannons. They were using them to inflict considerable damage on the British forces. They had two platoons and people to man the artillery present at all times. Everyone had to stay there for two watches.
One day, as luck would have it, the soldiers departing after day duty told their replacements to be careful, just in case the enemy attacked at night. The night guards took their places. Now let me tell you a few things about the night guard. It was these very men who had looted the bakshikhana and the bank. They were often in a state of stupor thanks to drinking bhang and eating kalakand and laddu peda during the day.
When they reached the kothi, they were alert at first, but when the night came and a cool breeze started blowing, they were unable to stay awake. They kept the guns at an angle and, spreading their dhotis, fell into deep sleep.
Drink bhang in such a manner that you empty all the stores
All your family is lying dead and you lie inebriated
These people were snoring away to glory. The spies took this news to the British. They informed them that the front was abandoned, the soldiers were all fast asleep and it was the right time to attack.
The British officers took two platoons of Gurkhas, one of Majwi and one of the British themselves, and rushed
barefoot down the ridge. They carried away the guns, captured the cannons and only then woke the sleeping soldiers, saying, ‘Get up, people of the faith, the goras are here.’
One soldier got up, rubbing his eyes. The Gurkhas shot his head off.
They started attacking with swords and sabres. There was tumult and crying from every side and the few who were not killed ran in a state of panic towards the city.
The Nasirabad Platoon, which had changed duty with these men, had found the city gates locked when they tried
to enter the city, as it wasn’t safe to leave them open at night. They were resting on the patri outside Kashmiri Darwaza when the ambushed soldiers reached them. After abusing and scolding them, the Nasirabad platoon told these fleeing soldiers to lie with them and they themselves lay down silently but with loaded guns.
Meanwhile, the British force came chasing them, hoping to enter the city behind them. They were unaware
of the Nasirabad platoon lying in wait. A volley of firing began and the soldiers manning the cannons on the
parapet of Kashmiri Darwaza and Siyah Burj also joined in when they saw the British forces. The situation can be best described as Khuda de bande le—only divine intervention could help.
It was difficult to save oneself from the volleys of fire. There were heaps of corpses all over.
The British troops retreated. They rushed back and took over the yellow kothi they had attacked earlier and turned their guns towards the city. These guns were now fired incessantly at the city. This continued for the whole night.
Cannons and artillery were being fired from both sides, but the Indians lost the front they had set up in the kothi,
which was now under British control. The British forces were also reinforced by troops from outside.
A senior British officer was killed in this battle and his corpse was left lying between the two forces. In the morning,
both sides tried to pick up the dead body. Cannons and artillery were firing from both sides with the purbias hellbent
on acquiring the valuable weapons that were on the dead officer.
The dead body was lying a short distance before the Kashmiri Darwaza. The two sides fought a day and a half for
the officer’s corpse. It was a matter of prestige for both of them.
The guns fired day and night and thousands of people were killed.
At last, as the sun set, one purbia reached the body by rolling on the ground. He tied one end of his turban to the
dead body and slowly pulled it behind him. He and his fellows took the officer’s pistols and sword, and, after stripping the body of valuables, left it there.
In the morning, the British saw that the body had disappeared. The battle was stopped.
The purbia brought the weapons taken from the officer and showed them to everyone in the Qila. He brought it to the house of the royal steward. He showed them to Ahsanullah Khan and told him they had fought over these weapons for two days.
I saw the weapons with my own eyes. The pair of pistols was good but the sword was invaluable. There was golden
carving on its hilt and the scabbard was black. Its colour was like the neck of a peacock, with something written on it in gold.
( Extract from pgs. 119-122)
Zahir Dehlvi Dastan-e-Ghadar: The Tale of the Mutiny ( translated from the Urdu by Rana Safvi ) Penguin Books, an imprint of Penguin Random House India, Gurgaon, India. 2017. Hb. pp. 340 Rs 599
The distinguished Kannada writer and public intellectual U. R. Ananthamurthy ( 1932-2014) dictated his “memoir”, rather memories to Ja Na Tejashri, Kannada poet and professor, in the last few months of his life. He was extremely ill and was being dialysed regularly. The notes were structured in U. R. Ananthamurthy’s lifetime under his guidance. Initially his preference had been for a conversational and informal approach. When he saw the first few trasnscribed pages, he found the style difficult to read and called for a more formal approach. Eventually, Tejashri helped him find a balance he was comfortable with: she recorded him, scribbled notes, touched up her trasnscriptions, and rearranged the episodes in chronological order. Ananthamurthy was keen to see this work translated in English. It only happened a year and a half after he passed away when at the behest of his son-in-law and novelist Vivek Shanbhag who requested S. R. Ramakrishna to translate the 450-page book Suragi. Shanbhag was merely reiterating the request Ananthamurthy had asked of Ramakrishna.
U. R. Ananthamurthy was honoured with the Jnanpith Award in 1994 adn Padma Bhushan in 1998, and was one of the finalists of the Man Booker International Prize in 2013.
Suragi has now been published by Oxford University Press India. The memoir is so named after the flower Ananthamurthy loved which gives out more fragrance as it fades. This is an incredible book recounting his life as a writer and a public intellectual through India and England. It is an exceptionally absorbing read given how he acutely witnesses, observes and reflects often upon the role of a writer, particularly that of an Indian writer, in society. There are many parts of this book that are worth reflecting upon given their relevance even today. The section on “the Indian writer’s dilemmas” is particularly powerful. For instance while commenting upon the role of writers during the Emergency his statements assume wider ramifications, echoing into modern India, decades later:
India’s biggest problem is hypocrisy. Intellectual hypocirsy has taken root deeper than we imagine. …A mind that hesitates to what must be said becomes corrupt. …The spirit of the times is such that we have compromised with everything. Nothing troubles us. We feel no psychological torment. …We are not troubled as we should be. The reason is that our spirit is feeble. There is no connection between our convictions, our actions, and our truths. …That is why speech is devalued.
Ananthamurthy’s confidently outspoken voice is to be treasured and is deeply missed. Take for instance the following extract “Moment Transcending Time and Space” which is being reproduced here with the explicit permission of the publishers, Oxford University Press India.
Moment Transcending Time and Space
On the rare occasions we go beyond time and space, we see truths not just from the past but also those relevant to the present. I experienced this one night in Nepal. In 1996, some Indian writers spent three days with writers from Pakistan, Bangladesh, Nepal, and Sri Lanka. A Himalayan range loomed behind the resort where we were staying. The snow-clad mountains could be seen from the lounge and also from our rooms. It was an informal meeting, with no agenda, where the idea was to sit and chat and share our thoughts and feelings. This was after the demolition of the Babri Masjid. The anxiety of whether our nations could rise above communal hatred had brought us all together.
Siddhartha, a friend from Bengaluru, had organized this conclave. He has set up an ashram called Firefl ies in Bengaluru. Born a Christian, Siddhartha was drawn to Buddhism. He blends thought with action. Another writer at the conclave was my dear departed friend D.R. Nagaraj (1954–1998). He was drawn to two extremes—the Buddhist vision of emptiness that rejects even the idea of the soul, and the Nietzschean assertion of the intellect against the Christian concept of sin.
I will only name one participant who had come from elsewhere: Urdu writer Intizar Hussain (1923–2016). Each writer spoke openly about the truths of their experience, without trying to justify themselves. They spoke of things they couldn’t speak about in their countries. Women writers had come from Pakistan and Bangladesh, and I feel I should only convey what they expressed, keeping them anonymous.
Among the writers from Bangladesh was a Hindu. We gathered he was a big poet there. He was fidgeting with a palmtop he had bought in the Nepal black market. It was a device on which one could take notes. He was trying to fi gure out how it worked, and muttering in frustration when he couldn’t. He said the moment the Babri Masjid was demolished, several Kali temples in Dhaka had been brought down. ‘Why don’t any of you speak about it? I am no Kali devotee but I don’t like the hypocrisy of your secular position.’ No one argued with him. The other Bangla writers said he was speaking from the heart. Everyone was keen to break the vicious cycle of blaming the other to justify one’s own actions. Having said his bit, the Hindu writer from Bangladesh shared in our anxieties.
It has become a politically correct ritual for us to talk about Muslim violence when we want to condemn Hindu violence, and Hindu violence when we want to condemn Muslim violence. We respond with cleverness when we lose the ability to see the victims as humans like us. The objective of this meeting, with both Hindus and Muslims, was to rid ourselves of such self-justification. I share a conversation that suggests we were successful.
We were lounging around comfortably, resting on mats and lolling on cushions. A middle-aged woman writer from Bangladesh began her tale softly, with her friendly, smiling eyes closed. She was the only woman writer wearing a sari. Her luxuriant, uncombed hair cascaded on her breasts. Perhaps she was secure in the confi dence that all of us were looking at her with compassion.
When she began, she addressed everyone. As she progressed, she seemed to be directing her words to the male writers from Pakistan. Towards the end, her voice became tremulous. She was an ordinary woman speaking about the war Pakistan had fought with her country, then called East Pakistan. Her husband had been a professor at Dhaka University. He had campaigned for Bengali as a second official language. One day he routinely left for the university and didn’t return. The evening turned to night. A day passed, then two. Their two children didn’t go to school. They
stayed at home, awaiting his return. They couldn’t venture out— Pakistani soldiers were everywhere, brandishing their guns.
After two days she went to the university with other women looking for their husbands. What did they fi nd? A heap of corpses. They had to sift through the heap to fi nd their respective husbands. The writer must have told this story several times. But it was perhaps for the fi rst time she was telling it in the presence of writers from Pakistan, whose soldiers had killed her husband. I was sitting beside Intizar Hussain’s. Like his friend Bhutto, he had stood by Jinnah, believing a separate country was necessary to practise and promote Islam without let or hindrance. He had
migrated from his native place to become a Pakistani. He was a big writer in Urdu, and earned a living from writing for the Dawn. The Bangladeshi writer said, ‘Tell me, where is Islam in all this? What is the use of what the Quran says? My husband was a Muslim too but they killed him in the name of Islam. Can you imagine what I went through as I searched for him among hundreds of corpses?’
The sharp-nosed Intizar Hussain had placed his hands on his lap, in a meditative pose, and was listening to her. When the Bangladeshi writer concluded, a young woman writer from Pakistan began to sob uncontrollably. Intizar Hussain slowly raised his head. His eyes were moist, and tears rolled down his cheeks. ‘On behalf of my country I apologize to you,’ he said in English. ‘What can I say but that we are all unwittingly implicated in the murder of your husband?’ He looked at the other Pakistani writers for approval. The three women writers bowed their heads,
endorsing his words with tears.
This is an incident I will never forget. The human is dwarfed by the idea of the nation state. He loses his sense of right and wrong, and becomes a nationalist. In the Second World War, such nationalism made monsters of the Japanese and the Germans. Even ordinary folks turn blind. The atom bomb dropped by the Americans on Hiroshima and Nagasaki destroyed everything. Communist nations can justify their crimes using the words of Marx. Muslim nations can justify their crimes using the Prophet. It is equally true that Christian nations can use the Bible to justify
their actions. Those hiding behind nationalism wreak a lot of damage before we wake up and criticize them.
To escape the mass hysteria of nationalism, we must always fearlessly keep extending a hand of friendship to other humane thinkers. I recall an incident. When we met in Berlin, I mooted with Intizar Hussain the idea of our Sahitya Akademi publishing an anthology of Pakistani literature to mark the fi ftieth anniversary of our two countries attaining Independence. Like India, Pakistan has a diversity of languages: Punjabi, Sindhi, and others. I wrote to
Intizar Hussain asking if he could edit an anthology of stories from all such languages in Urdu translation.
At the Sahitya Akademi’s executive committee meeting, some friends expressed their reservations. How could we publish a story that might speak against India? I said, ‘Intizar is a sensitive writer. He will never choose anything that promotes hatred. Leave it to me. I will take the risk.’ As the book was being finalized for publication, we faced another problem. How do we pay the writers? The two nations had no agreement to make payments possible. I
explained this to Intizar, who then spoke to the contributors to the anthology. We got letters from them, with some saying they were honoured the Sahitya Akademi, which gets grants from the Indian government, was publishing them. Just send us some copies. We don’t expect any money. Our country didn’t have the vision that Nehru did. We don’t have an independent academy, they wrote. When I met Intizar at a SAARC literary conference in Delhi, he said, ‘We have no other book in Urdu with writing from other Pakistani languages. The anthology you published is now a
textbook in our colleges.’
U. R. Anathamurthy Suragi ( Transcribed and compiled by Ja Na Tejashri. Translated from Kannada by S. R. Ramakrishna ) Oxford University Press, New Delhi, 2018. Pb, pp.380 Rs.650
16 February 2018
Please tell me more newly launched Indian Language Publishing programme? Who is the target audience — academics or general readers? How many titles / year will you consider publishing?
The Indian Languages Publishing Programme was initiated with OUP’s desire to expand its product offerings to an audience whose primary language is not English. OUP’s existence in India as an established academic press spans more than 100 years. In this long span of its existence it has published a pool of formidable authors and widely acclaimed academic and knowledge-based resources. Our only limitation in a diverse country such as ourselves was language –– though we have been doing the dictionaries and in other Indian languages. In a glocalized world however, limiting ourselves is not an option. As readers change, so should publishers. The increasing demand for resources in Indian languages is not so new; the changing economic and socio-political climate has long been the harbinger of this change. Today we are only heeding its call by beginning publications in these languages. In the first phase of the programme, we have shortlisted two major Indian languages Hindi and Bengali, and a basket of our classics for translation into Hindi and Bengali. We aim to hit the market with 12 such titles by January of 2018. Our target is around 15-20 titles per year to begin with.
Does this imply it is a separate editorial team? Will you have in-house translators? Over time will the list expand to include contemporary stories from regional languages?
We currently do not have any extra resource helping us with the programme. We plan to have new editorial members for both the languages, they will be on board by next year, depending on how well the programme takes off. We do not plan to have in-house translators. We are only working with freelancers and individuals and plan to do so in the future. We might collaborate with other publishers to help seek translators and develop the translation programme further. We have no plans of expanding into fiction at the moment. We are sticking to non-fiction, academic, and general interest titles.
The first phase is of course translation heavy as we begin to establish ourselves in the market, however, there are new acquisitions currently underway for the coming years. As the programme develops, a healthy mix of translations and new books in Indian languages will be made available in both print and digital formats. While beginning with these two languages were accessible, given our resources, our long-term plan is to venture into new Indian languages such as Tamil, Telugu, Marathi etc. For now we are taking one step at a time to build this programme with the mature languages. When the time comes to include new languages, we will do so.
Our core audience remain the same as our English language books, mostly students, teachers, scholars, researchers, civil society activists, think tanks, as well as general readers. While researching the market for Hindi and Bengali books, we realized that reading habits differ from one to the other. While the Hindi heartland is more inclined towards reading books that are lucidly written around a given issue, free from academic jargon, Bengali readers are more accustomed to reading academic titles spanning multiple disciplines.
Our publication lists will be tailor made to suit its respective audience. To customise specific language lists we will select titles for each market on the basis of the theme of the book, its appeal to readers in the respective language, style of translation, etc. Also, as our books start selling from next calendar year, we will begin accumulating and analyzing appropriate sales data. This data will help us understand what we are doing right and what not – in some ways at least. We will accordingly make decisions on the titles we are doing for each group.
However, we are always ready to experiment and jazz things up a little if the need be. It is in the themes, topics, subjects etc. of the books we will publish and the forms with which we will experiment.
What is the focus of the Oxford Global Languages project and how long has it been running?
The Oxford Global Languages (OGL) project aims to build lexical resources for 100 of the world’s languages and make them available online. The OGL programme targets learners of all age groups. In short, it is a digital dictionary of diverse languages. OGL is part of OUP’s core publication programme – the programme aims to build lexical resources for 100 of the world’s languages and make them available wildly, digitally. It includes curating large quantities of quality lexical information for a wide range of languages in a single, linked repository for use by speakers, learners, and developers. This project began in 2014 and launched its first two language sites, isiZulu and Northern Sotho, in 2015, followed by Malay, Urdu, Setswana, Indonesian, Romanian, Latvian, Hindi, and Swahili. Many more will be added over the next few years.
How are these two programmes linked as well as maintain their distinct identities?
The global languages programme is aimed at building large lexical repositories for diverse language speakers across the world. Our programme will feed into this programme by helping coin new terms and as well as borrow terms from the resources that would have already been developed and stored in these repositories by experts in different languages. The two programmes thus seamlessly merge into each other as they together help develop a given language. We expect that these two projects would also help multiple stakeholders, for instance, translators, new authors, students, researchers, speakers, etc. in constantly enriching their reading and writing skills.
The new terms will be initially in Hindi and Bengali (such as say post-modern, ecology etc. ) that are being coined by translators or new authors, over time with frequent use, will get incorporated in dictionaries such as OGL as well as borrow terms from the resources. Similarly, terms that will be developed by OGL could be borrowed by translators or new authors in their works.
OUP India for many years ran a very successful translations programme that published regional language authors in to English such as Karukku and then the monographs (?). How will this newly launched programme be any different? What are the learnings from the previous programme which are going to be incorporated into this new launch?
The existing translations programme from Indian Languages to English was aimed at enriching the English speaking and reading world with the diversity in our regional literature. This programme translates works of fiction and non-fiction from diverse languages to English and it has been immensely successful in creatively rethinking our societies through exceptional works of regional and folk literature. We will not create any new imprint, all books in all languages will be included under the Oxford banner.
The Indian languages publishing programme does not aim to publish fiction or poetry at all. It will only publish non-fiction/academic works both in translation and new works in Indian languages. Our core and traditional strength has been — academic, nonfiction and general reads titles, also a bit of translations into English. This is a mandate that we follow in every part of the Press, globally – and we do not see any change during the immediate future. We will definitely do books on Film studies, yet again only non-fiction titles.
The take away from the earlier programme is that translations are always tricky business. Translations of academic titles are tricky for multiple reasons, including:
It is true that some things are always lost in translation, there is no way around it. We are trying to compensate this loss by rigorously reviewing our manuscripts by external peer reviewers —- scholars, academics, researchers, journalists, translators, who are well versed in English and Hindi or English and Bengali, with background knowledge in the disciplines of the books they are reviewing.
Such reviews are helping us develop the language further, making it lucid, readable, and accessible. Similarly, for the new books that we plan to publish under the Indian languages programme will be reviewed for their academic authenticity, clarity in expressions etc.
How many languages are you launching it in? What is to be the focus — academic, trade and children or is will OUP stick to the niche area of academic titles?
As already mentioned earlier, we are beginning with two languages, Hindi and Bengali. The focus will be serious non-fiction and academic. We are breaking the boundaries of our usual core competencies and planning to attract readers that fall outside it as well.
As an academic publisher whose business model relies considerably upon peer review, will such a rigorous process also be instituted for this project?
Yes of course, we plan to stick to our professionalism and ethical way of doing business. Language no bar. Quality is our top most priority and from our experiences in the English language programme, we understand and appreciate the value of peer reviews. The time and effort that goes into developing each manuscript in such a way is worthwhile.
How will OUP India create a demand for these titles as you are venturing into a territory that is not easily identified by readers and institutions with OUP’s mandate?
OUP as an academic press and publisher of quality knowledge resources is well identified by students, researchers, scholars, teachers across the length and the breadth of the country. Not only our academic books but our school and higher education books are frequently refereed to and stand out in quality from the rest. To say the least, we are a household name in the country. Also, we already cater to a group of readers whose primary language is not English by publishing classic texts such as those by Romila Thapar, Irfan Habib, Veena Das, Austin Granville, Sabyasachi Bhattacharya, Ramachandra Guha to name a few, which are used by students and teachers and readers across disciplines. Indian language editions of these rare classics are not easily available and students end up either reading from summary notes made by teachers or poorly done translations. Therefore an audience for our books already exists, we only need fill the gap by doing what we do best, publish quality content.
Our plans for attracting new readers have also already been discussed above. There does not exist much resources, academic and otherwise in Indian languages, as publishers we should be encouraging new authors to read and write in their native languages. We hope that our enthusiasm for this programme will also enthuse our stakeholders, mostly readers, writers, thinkers, learners, distributors. Our aim through this programme is to create new and diverse public spheres and reach out to as many readers as possible in its wake.
Will these books only be offered in print or will there also be a digital version available too?
Digital versions of our books will also be made available along with print versions and we are ensuring that we are able to launch the two simultaneously – to start with in Hindi.
If you are making classical texts from the regional languages available in English will OUP India also encourage translations from its English list into the local languages? If so, how will these projects be funded or will also these be fostered by OUP?
Our programme involves translating English titles into Hindi and Bengali within the programme. We also have plans to translate from Hindi and Bengali to English thereby ensuring that there exists a free flow of thoughts and knowledge between languages. We also hope that as we establish this translation programme, we are able to encourage close associations with groups of individual experts, institutions, and organization to develop a network of people enriched in the art of translation, such that our native languages are not lost to oblivion. We aspire to give diverse languages a new lease of life in the long-term.
Will you explore co-publishing arrangements with local publishers to drive this programme?
We are open to ideas and appropriate opportunities – that fit our quality aspirations, as well as the mission of the Press.
To maintain a quality and a standard in the translations will OUP consider empanelling translators whose skills will be upgraded regularly or will you commission work depending on the nature of every book?
We empanel translators based on their subject and language competencies and these are constantly developed in the process of translation itself with the help of continuous reviews.
What are your expectations of this project? How will you measure the success of this new project?
We expect this project to enrich readers, writers, speakers, and learners of diverse languages in our country. We also hope for it to become as successful as our English language publication and to be recognized as formidable publishers of quality books across languages and disciplines. The long-term plan is to grow and develop in these languages simultaneously with our own growth as a truly global and diverse publisher. We believe that success for such programmes can be measured in the publishing world by the kind of impact we have on our users and readers. If we inspire new and existing readership and help grow interest in good and quality content, we think we will have succeeded.
24 Oct 2017
Amrita Narayanan has edited Parrots of Desire: 3,000 Years of Indian Erotica , an anthology consisting of extracts from literature published in India over centuries. There are pieces from Rig Veda; the Tamil Sangam poets; Bhakti poets Antal and Mahadeviyakka, who describe women’s fantasies of men (whether human or godly); short stories by Kamala Das that have been out of print for decades; excerpts from the work of contemporary writers like Mridula Garg, Ginu Kamani, Tarun Tejpal, Deepti Kapoor, Sudhir Kakar et al. It is not as comprehensive in its survey as say the two volumes of Women Writing in India were and thus falls short of one’s expectations. Having said that Parrots of Desire is a start maybe to be added to later in a revised edition?
Here is an extract from the opening pages of the well-written introduction published with permission. This section is “Erotic in the Indian Imagination”.
To read centuries of voices writing on the erotic is to become keenly aware of a deep argument that exists in the geography of the subcontinent, an argument between literary romantics—who embrace the erotic for the gloss it adds to life—and religious traditionalists—who caution against the erotic, for its disorderly nature and potential to cause chaos. While romantic and traditionalist voices are unanimous in their belief that the erotic holds an extraordinary power and attraction for human beings, each does something very different with that belief. Romantics are erotically positive: they believe life is made worthwhile by its erotic aspects, that the best life is one in which our understanding and awareness of the erotic are maximally enhanced. Traditionalists, on the other hand, are erotically anxious: they believe that a worthwhile life is one in which the four goals of life are in balance; they do not favour the promotion of the erotic, worrying that if not tightly controlled, the erotic could undermine the other three goals of life. Aficionados of the romantic project used the arts as a vehicle of articulation; their literature, music, drama, even grammar, was thought to be imbued with the erotic and capable of enhancing our understanding of the erotic. Traditionalists used both religious writing and the social contract to articulate the dangers of the erotic, believing that the erotic must be kept on the sidelines, aside from its necessary use as a vehicle for reproduction. Romantics believe that coupling is a central life force, and they appreciate the energy that comes from all couplings, whether man-woman, woman-woman, men who identify as women (and are fantasizing about male gods), or (wo)men with God. Traditionalists believe in the notion of an ‘ideal couple’: heterosexually and monogamously married, with children and extended family in the foreground and a willingness and ability to keep the erotic in the background.
To further understand the argument between traditionalists and romantics, consider a brief history of the time that traditionalism and romanticism have held sway. The purview of this anthology begins about 1000 BCE in ancient India. For the first 800 years or so of this time period, that is, beginning with the Vedas, traditionalist sentiments prevail. During this time, the destabilizing dangers of the erotic are far better articulated in the literature than are its pleasures. From the Vedas onwards, traditionalist literature, which is largely in the form of religious texts, is squarely articulate on the need to manage the destablizing potential of the erotic. Beginning in 200 BCE, however, and continuing for several centuries, literary voices sang the glories of the erotic and their dedication to it—in Tamil, Sanskrit, and Maharashtrian Prakrit. From the second to the sixth century, an Indian literary-erotic-nature idiom was spelt out from Tamil Nadu to Maharashtra and up to Madhya Pradesh. Here the poets embraced the erotic along with its problems, accepting that though the erotic often brought anger, grief and shame, it was still worth embracing for its pleasures. During this medieval period emerged the Tamil Sangam poets and the Maharashtrian Prakrit Gatha Saptasati, the prose and poetry of Kalidasa and Bhartrihari, as well as the Kama Sutra itself. After this golden age of the Romantics, puritanism once again holds sway and the next major erotic work—at least the one that has survived—is the collection of romantic poems known as the Amarusataka, written in Sanskrit in the seventh or eighth century and attributed to King Amaru of Kashmir. From the eighth century onwards there is again a long period in which very few important works have survived, the next set being from the Bhakti poets who compose discontinuously from the ninth to the fifteenth centuries in praise of erotic love with God himself. The fact that Bhakti poets praise erotic love only in language that involves a deity suggests that this was considered the most elegant and refined expression of romanticism at that time. Alternatively, perhaps, the social climate—which by this time included both Hindu and Muslim puritans—did not support an articulation of a more explicit person-to-person erotic love. The taboos on self-expression of erotic love might have impinged particularly on women poets and the re-direction of this love to the divine might have spared them the censorship that might have otherwise been forthcoming. Another way of thinking about it is that, dispirited with the limitations of romantic love between humans, some of these poets were able to find a more elevated idiom with the gods.
Following the Bhakti period, the proliferation of the Urdu language and the culture of refinement associated with Islamic courtly love played an important pro-romantic influence; but as the Hindu and Muslim puritans were joined by the British puritans in the seventeenth century, one has the sense that romanticism was very much in the dark ages. Nevertheless, important works continued to emerge in a more scattered fashion. Amongst these individual works are those written by courtesans, such as the Telugu Radhika Santawanam (The Appeasement of Radhika) by Muddupalani, in the eighteenth century. Another is the erotic proponent of the Lucknow school of poetry, Qalandar Bakhsh Jur’at, known for his bawdy yet spiritual imaginings of women in sexual union. As the reader advances towards and past the twentieth century, individual writers offer an exploration of contemporary erotic problems alternating with the past. Contemporary Indian writers who match and build on the efforts of their ancestors write in, among other languages, English, Tamil and Malayalam, and continue to shed profound light on the erotic. In this anthology the contemporary writers I have chosen include those who have made a searing commentary on the relationship between kama and society: Perumal Murugan, Kamala Das; those whose reverential treatment of the erotic couple recalls the glorious medieval period: Pritish Nandy, K. Satchidanandan, Tarun Tejpal; writers like Manto and Ambai whose erotic-nostalgic writings make us feel lustful and tender at once; modern Bhakti poets like Arundhathi Subramaniam and Kala Krishnan Ramesh; and those who have treated in great depth the extraordinary conflicts that the erotic poses for an individual life: here found in the works of Mridula Garg, Deepti Kapoor and Ginu Kamani
I chose the word traditionalist and not puritan because of the historical origins of puritanism that are not pertinent to India. However I thought it worth mentioning that the traditionalist argument is close in nature to the puritan argument. Here puritan is used in the sense of against pleasure, see for example, H. L. Mencken, who sardonically defined Puritanism as ‘the haunting fear that someone, somewhere may be happy’.
The four aims of life (purusharthas): artha (wealth), kama (desire), dharma (duty) and moksha (salvation from the cycle of life and death).
Amrita Narayanan ( ed.) Parrots of Desire: 3,000 Years of Indian Erotica Aleph Book Company, New Delhi, 2017. Hb. pp. 304
8 Sept 2017