Posts filed under 'Indian Literature'

Translation Tuesday: “Periyamma’s Words” by B. Jeyamohan

I felt that manners were nothing more than knowing to say the appropriate English words at the right times.

Continuing our spotlight on Close Approximations contest winners, we present today the top entry in the fiction category, notable for being the first Asian translation to receive the top award in the history of our contest, now into its third edition. (Find the official results and citations by judges David Bellos and Sawako Nakayasu here.) From 215 fiction and 128 poetry submissions, these six best emerging translators were awarded 3,000 USD in prize money, in addition to publication in our Summer 2017 editionJudge David Bellos says: “There were several contenders for second place, but I have absolutely no doubt that the prize itself must go to the charming, wonderful, unusual story of “Periyamma’s Words” by the Tamil writer B.Jeyamohan in Suchitra Ramachandran’s translation. It is a witty and heart-warming tale illustrating the paradoxical position of translation itself, as a way of crossing boundaries and as a way of understanding what boundaries cannot be crossed.”

Come, go, stop, food, clothes, son, daughter, road, house, sky, earth, night, day—these words came rather easily to her. If I said those words in Tamil, Periyamma would reply with the corresponding English words. It was only when Periyamma jumped to say ‘cat’ before I could say poo– that I realized I was quizzing her in order. So I changed the order. But then Periyamma started saying the English words just by looking at my eyes. So I pointed at different animals and asked what they were. Periyamma said naaipoonaikozhi in Tamil and then translated them—‘dog,’ ‘cat,’ ‘hen.’ It was only after Periyamma had mastered a hundred basic words—she would say them even before I could ask—that I moved on to concepts. That was when all hell broke loose.

Periyamma was not my periy-amma, big-mother, a name usually reserved for one’s maternal aunt. But everybody in our town called her that. Her house, they called the Big House. Situated in the town centre, that bungalow was built by Periyamma’s grandfather Thiruvadiya Pillai a hundred and fifty years ago. The word about town is that when it was built, the glass for the house sailed in from Belgium, the teak came from Burma, the marble from Italy, and the iron from England. The people who came to grind limestone for its walls stayed on permanently in our town, and as a result our town acquired a Lime Street. Our carpenters also moved in during that period. Periyamma’s wedding took place in that bungalow. That was the first time a mottaar came to our town. The newlyweds were paraded about town in that Ford motor car. Periyamma was not to step foot into that car ever again.

It has been forty years since Periyamma’s husband passed away. Her only son Arumugam Pillai had been a lawyer in Madurai, and he died there. His four sons were variously placed in Chennai and Delhi and Calcutta. None of them are alive now. A daughter of the oldest grandson is a doctor in America. She is the only person who has some semblance of a relationship to Periyamma. Periyamma went on living in that town, an ancient relic in the eyes of its fourth-generation inhabitants. In the olden days their family had six thousand acres of land to their name. Over the years, it had shrunk in various ways to a hundred acres. Those hundred acres had been neatly partitioned and sold over thirty years ago. In the end, all that was left over for Periyamma was that house, two acres of land around it, a good sum in the bank, and her jewelry. But that was more than enough for her to live in state.

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Calling All Translators of Indian Literature

Asymptote celebrates the diversity and dissent within Indian writing

Only two weeks left to submit to Asymptote’s first-ever Special Feature on Contemporary Indian Language Literature in English Translation!

Since we first announced the Feature in August, we have received some very exciting work from all across the Indian map. And we can’t wait to find more voices, because in a country so large, we know there are more out there.

Take advantage of these last two weeks to revise your best translations and send them in!

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Translation Tuesday: An excerpt of Sangeeta Bandyopadhyay’s Panty

"The panty seemed to offer itself as a second presence in this solitary place. A feeling of companionship."

I entered the apartment at eleven at night, unlocking three padlocks in succession. The flat took up the entire first floor of a tall apartment building. I paused for a few moments after entering, trying to make out my surroundings in the light coming in from the passage outside. I found the switchboard near my left hand. Stepping forward, I turned on all the switches. One after the other. And not a single light came on. But I could tell that a fan had started whirring overhead. Once my eyes had adjusted to the darkness, I found myself standing at one end of a hall. The main road below me had begun to quieten down. The light from the street lamps filtered into the dark hall through large windows, creating an unfocused chiaroscuro that came to my aid. Advancing in this hazy glow, I realised that there were doors running down both sides of the hall. On a whim I turned towards an open door on the left.

The room I entered was a large bedroom, with an ensuite. This time, too, I succeeded in locating the switchboard. I swiftly flicked all the switches on. Still not a single light came on. But this time, too, the ceiling fan began to rotate. I tried to understand the layout of the room. It wasn’t empty like the hall; rather, it was crowded with furniture. I found myself standing before a mirror stretching across the wall. The reflection didn’t seem to be mine, exactly, but of another, shadowy figure. I touched my hair. Eerily, the reflection did not. I paid no attention. Setting my bag down on the floor, I returned to the hall.  READ MORE…

In Conversation with Annie Zaidi

"...it became apparent at once that women have always used writing as a form of politics and activism."

In a conversation about a younger generation of Anglophone writers in India, Annie Zaidi’s name is bound to come up. From poetry to non-fiction to drama to a novella that is both ghost story and romance, her writing continually shifts forms, landscapes, and languages. Zaidi is the editor of Unbound: 2,000 years of Indian Women’s Writing and the author of Gulab, Love Stories # 1 to 14, and Known Turf: Bantering with Bandits and Other True Tales. She is also the co-author of The Good Indian Girl. Her work has appeared in several anthologies including Eat the Sky, Drink the OceanMumbai NoirWomen Changing India, and Griffith Review 49: New Asia Now. Zaidi spoke with me about her influences, process, and literary interests in an email interview. 

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Poorna Swami: Your grandfather was a well-known Urdu writer, and you have said in the past that literature was a big part of your childhood. How has that culture of language and literature influenced your career as a writer? Although you write primarily in English, does Urdu shape your work in any way?

Annie Zaidi: Literature was a big part of my childhood, but not in the sense of literature with a capital L. My family had some literary background, and there were a lot of books around but there were no literary discussions and for many years, I did not have access to a good library. But books were seen as a good thing and we were bought books and comics from an early age. Books were my main source of entertainment and, later, my main solace. I read almost all the time and that turned me into somebody who didn’t know much except the world of words and stories. Turning to literature as a vocation was a very short step from there. READ MORE…