Tag: Translation

August 15, 2018 /

There are political rights; a government is set up in the land. Democracy functions with total success. An election is held every five years. But for the people in this land there are no names. So for the nameless citizens the nameless representatives govern the land of the half-humans. Because whether to give human names to the head or to the body — no one can decide. A land such as this is very much in the news, a land much talked about.

July 1, 2018 /

Venkat Raman Singh Shyam, artist and author of the autobiographical Finding My Way (2016), found himself at the School of Oriental and African Studies in London speaking on 21 June at a seminar on “Indigenous Media, Self-Determination and Cultural Activism”. This poem came to him then as he first typed out Hindi in Roman script on his phone and sent it to his friend and accomplice S. Anand, publisher at large at the small Navayana. Anand felt impelled to find the words in English just like he did when working with Venkat on his autobiography. Venkat’s work has been exhibited worldwide, including at Sakahàn: International Indigenous Art, at the National Gallery of Canada in Ottawa, in 2013.

June 30, 2018 /

“Bhairavi was trying hard to concentrate on her Haruki Murakami novel as she kept tossing on her mahogany bed. But she was frequently getting distracted by the beautiful sharp notes of Himachali folksongs she played on her laptop just a short while ago.
At that moment, she suddenly heard a hiss hiss sound coming from the window near her. She was dazed to see an enormous python creeping through her window railings and slipping along its body towards her room. A chunk of his large smoky body glittered in the mid-day sunlight.

June 28, 2018 /

At a book reading in Kolkata, about a week after my first novel, The God of Small Things, was published, a member of the audience stood up and asked, in a tone that was distinctly hostile: “Has any writer ever written a masterpiece in an alien language? In a language other than his mother tongue?” I hadn’t claimed to have written a masterpiece (nor to be a “he”), but nevertheless I understood his anger toward a me, a writer who lived in India, wrote in English, and who had attracted an absurd amount of attention. My answer to his question made him even angrier.
“Nabokov,” I said. And he stormed out of the hall.

June 10, 2018 /

My mother is a woman with ten tongues
That is why she raves incessantly
Unmindful whether it’s day or night!
I run from home to bazaar
Muddle-headed on lanes and streets
Like an owner-less dog;
When I returned she fumed again
“Offspring of sin why don’t you die
At least other children die by swallowing poison”,
I became so angry my blood boiled,
From my heart my pulse bounced in and out.

May 14, 2018 /

Soso Tham refused to believe that a people with no evidence of a written history was without foundation or worth. He set out to compile in verse shared memories of the ancient past—ki sngi barim—presenting his people with their own mythology depicting a social and moral universe still relevant to the present day. For him the past is not a dark place but a source of Light, of Enlightenment. It may lie buried but it is not dead, and when discovered will provide the reason for its continued survival. Ki Sngi Barim U Hynñiew Trep is the lyrical result of dedicated devotion. It is an account of how Seven Clans—U Hynñiew Trep—came down to live on this earth.

February 11, 2018 /

RAIOT is pleased to publish this second extract from ‘Chandal Jibon’ (2009) by Manoranjan Byapari. ‘Chandal Jibon’ is the story of Jibon, a boy born into the hitherto ‘untouchable’ Chandal (or Namasudra) community in East Bengal, whose parents flee from East Pakistan and arrive as refugees in India. The story of the boy’s journey to adulthood – is also the story of the experience of the subaltern Bengali refugee community and of caste oppression, humiliation and violence, providing a trenchant bottom-up view of post-1947 Bengal and of Calcutta in the turbulent Naxalite era. It is an epic tale of the indomitable human will to survive.

November 25, 2017 /

‘Chandal Jibon’ (2009) by Manoranjan Byapari is the story of Jibon, a boy born into the hitherto ‘untouchable’ Chandal (or Namasudra) community in East Bengal, whose parents flee from East Pakistan and arrive as refugees in India. The story of the boy’s journey to adulthood – is also the story of the experience of the subaltern Bengali refugee community and of caste oppression, humiliation and violence, providing a trenchant bottom-up view of post-1947 Bengal and of Calcutta in the turbulent Naxalite era. It is an epic tale of the indomitable human will to survive.

June 11, 2017 /

Nothing has changed.
It’s just that there are more people,
and beside the old offences new ones have sprung –
real, make-believe, short-lived, and non-existent.
But the howl with which the body answers to them,
was, is and ever will be a cry of innocence
according to the age-old scale and pitch.

June 10, 2017 /

An extract from Assamese novelist Dhrubajyoti Bora’s novel Kalantoror Gadya (The Prose of Tempest) (1997) written in the background of the ULFA insurgency and counter insurgency operations by Indian Security Forces in the 1990’s. It deals with the arrival of AFSPA, army operations and state terrorism in the province and the changes it brought to the local landscape.

January 15, 2017 /

Rice! A mountain of cooked rice lay piled up on the cement floor. And standing by the door was Dhiren Roy, who had been sentenced to life imprisonment. Hot, steaming rice. As he inhaled the aroma, a strange transformation came over him. He began weeping convulsively. “Oh dear ones, look down from heaven, see how much rice I’m master of now! You died for want of a handful of rice, but see me now! I’m the king of rice today!”

October 23, 2016 /

Ghosh babu said dryly, “Cut it into five or six bits. You’re used to cutting meat. After that wrap the pieces in a banana leaf and get to the road, go and tie it to stones and throw it into the river. That’s all the work there is. Dharmaraj remembered the time Ghosh babu’s elder daughter got married. He had been called to cut the goats. Ten or twelve goats were tied to a post. He had instructed him likewise, “Cut it nicely into medium-size pieces. Not too small, not too large, you can take the skin, heads and everything else.” Today it occurred to him that for these people there was no difference at all between men and goats. But Dharmaraj was just an ordinary butcher. His hands and legs turned icy. Sensing Dharmaraj’s plight, Ghosh babu said, “Liquor has been brought, gulp a bottle, once you’re intoxicated you won’t have a clue about what you’re cutting. Get to work at once. The work has to be completed in two hours.