Language: Punjabi

Spotlight on Indian Languages: Part V

trying to befriend the strange / waiting for time to pass / to get ourselves to come to terms with it

In our penultimate iteration of this special feature on Indian poetry, we bring you the beautifully spare yet charged verse of Gurpreet, from the northern-most region of India, translated from the Punjabi by Monika Kumar. 

The sold out house and that sparrow

In our sold out house
we are here for the last quarter of our stay

Why was this house sold
how come it was sold
it has to be explained to everyone

My wife, sister and younger brother
were packing things
and that’s how my mother is rather packing us all including herself
in a fist of courage

Father is getting the things loaded
affectionately
arranging things in a row
attentively
stretching his wisdom
to rise up to the need of the moment
that’s how he saves our heart
that’s how he saves his own heart
from the heartbreak

I give up on the clichéd reasoning
and mother’s wet eyes
father’s rambling heart
wife’s false smile
the flabbergasted face of my son
I try to console everyone including myself
no idea where I muster courage from

Bidding farewell to the sold out house
I discovered
the places, walls, doors and windows breathe too
I was reminded of the sparrow
the sparrow I wove many stories around
to narrate to my son Sukhan

It is the first time
we are living in a rented house
trying to befriend the strange
waiting for time to pass
to get ourselves to come to terms with it

Parents think of taking a dip in holy waters
to pray for clemency
I bow my head before the doorstep of Muse

And there is chirping
the sparrow
The same sparrow

Listen to the poem in Punjabi:  The_sold_out_house_and_that_sparrow

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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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Weekly Dispatches from the Frontlines of World Literature

This week's literary news from Pakistan, Slovakia, the Czech Republic, and Argentina

The Asymptote world tour this time begins in Pakistan, with an update on the Punjabi literary scene from Janani Ganesan, Assistant Managing Editor. Then, we fly north, where Julia Sherwood, Editor-at-Large in Slovakia, shares the latest publications and literary events in Slovakia and the Czech Republic. Our last stop takes us southwest to Argentina, where Assistant Editor Alexis Almeida talks poetry festivals, feminism, and politics. Welcome aboard, and enjoy the ride.

Janani Ganesan, Assistant Managing Editor, with news from Pakistan:

It’s been 250 years since one of the most famous renderings of the Punjabi tragic romance came into being—Heer by Waris Shah, which remains an influence on Punjabi literature and folk traditions. But Punjabi has suffered as a consequence of marginalization during the colonial rule (when Urdu was patronized) as well as the 1947 Partition between India and Pakistan, when (Punjabi-speaking) Sikhs were forced to leave their homeland in Pakistani Punjab (while Urdu and Muslims were expunged from India).

Amidst a growing Punjabi literary movement to correct this historical wrong, Asymptote encountered a reading club in Lahore dedicated to and named after this legendary text—the Heer Study Circle.

Ghulam Ali Sher, co-founder of the group, shares its purpose with Asymptote: “to inculcate an interest for Punjabi reading among university youth; to do away with the religiously-oriented sufistic reading of such Punjabi folktales for a more pluralistic and people-oriented interpretation; and to trace the socio-economic patterns of pre-colonial Punjab through popular historical sources, like this folktale, against the biases of mainstream historiography.”

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