Posts filed under 'Pakistan'

Translation Tuesday: “Broken Dreams” by Homvati Devi

Thoughts swirl in Gafoor’s mind. Pakistan...? I wonder how it will be.

This Translation Tuesday, we deliver a provincial story by Homvati Devi, a writer celebrated in her time, but since sadly overlooked. Following the daily routine of a junk shop keeper as he bears witness to his neighbors dreams of a better life in Pakistan, Devi beautifully captures a nation’s psyche – restless and uncertain– on the precipice of change. Hear translator Tanvi Srivastava’s first impression of Broken Dreams: “I found this story particularly interesting because it is a ‘partition story’—but set miles away from the borders of newly established Pakistan. It is one of the few stories I have read of the time which grapples with the critical question of citizenship and choice.”

Gafoor runs a junk shop; he travels across the city, from home to home, gathering unwanted items. He buys and sells broken boxes, punctured canisters, torn old blankets, discarded glass vials, cracked soap dishes, used brushes, dirty bottles, and so on. He even sells old mosquito nets and raincoats. Fine-quality objects—like flower vases, vacuum flasks, and toy vehicles—often fall into his hands, either discarded by rich Hindu households, or cajoled off memsahibs.

Over the last few days, work at his shop has increased substantially and so has his income. Those migrating to Pakistan are anxious to sell off their belongings. Gafoor promises to sell their items for more than they are worth, and so they end up giving all their junk to him. Soon his shop is crowded with broken vessels, old beds, musical instruments like tablas, footballs, wooden toys, used shoes and sandals; an unimaginable array of objects—from old burqas to a set of balance scales and weights; from damaged bird cages to nickel and brass jewellery. On the day of the weekly market, Gafoor’s shop is the busiest amongst all the shops on the mile-long road; he makes the most sales.

A traveller to Pakistan asks him, ‘Tell me, miya, how are you?’

‘I am well, by the grace of god,’ Gafoor immediately responds. The reason—the Hindu families he knows trust him implicitly; they agree to whatever price he quotes. To argue with Gafoor, people soon say, is to shoot oneself in the foot.

He knows how to keep his customers happy. He thrusts two cardamom pods into a child’s hand; he unwraps the shawl from his shoulders and lays it on the ground for his customers to sit on; he takes the trouble to arrange a paan for someone else. And in this manner, he reassures those who come to sell to him: ‘Ajji, I will recover at least two rupees from the torn pieces of this mat; this broken spittoon will sell for a full two and a half rupees; and spending twenty paise worth of polish on these sandals will make them as good as new.’

Gafoor rambles on, convincing people he will sell their items for a considerable sum before they leave for Pakistan.

And over there? Over there—it is heaven on earth; they will be given the best— beautifully decorated houses with electric fans and quality furniture, a retinue of servants, shining cars, the finest jobs. Those who stand on the margins of society today will be in a position of power tomorrow, enjoying the luxuries of life, marching ahead.

Hearing such tempting tales convinces many to sell off even the items they can easily carry, like handheld mirrors, cups and plates, knives and forks, coats and quilts.

Thoughts swirl in Gafoor’s mind. Pakistan…? I wonder how it will be. And the cities where so many people are rushing off to? Leaving their homes and jobs—they aren’t stupid, are they? They are all well-educated and intelligent. They say they’ll get large houses and bungalows to live in, jobs in prominent positions. An ordinary telegraph clerk or postman today will become a collector or commissioner tomorrow in Pakistan. Those staying in slums today will get palaces to live in, those who walk barefoot today will fly in motor vehicles, and then there’s me—despite twisting the truth, I still take home a pittance. Oh, the expenses have become unbearable. And Hamida doesn’t stop nagging me—get a necklace made for me, and so on. As if we’ll need such things over there—a land where gold is available at the price of silver. Here, even after slaving for a full year, one can only afford a nose ring worth a gram of gold. We’ve heard that the Congress party will make houses for the poor here; but a house is a house. Maybe they’ll build something better than a thatched hut, perhaps covering it with tin sheets or even levelling the roof flat. But in front of the palatial bungalows over there, what is a mere house?

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Weekly Dispatches from the Front Lines of World Literature

The latest from Guatemala, Palestine, and Macedonia!

This week, our editors-at-large report on a celebration of a beloved poets, a controversial change to a major literary award, the last chance to see a powerful museum show, and more. Read on to learn more about current events in world literature!

Rubén López, Editor-at-Large, reporting from Guatemala

On January 26, the Ministry of Sports and Culture of Guatemala announced several changes regarding the National Literature Award. The award, given yearly since 1988, honors the exceptional careers of writers like Augusto Monterroso, Rodrigo Rey Rosa, Carmen Matute, Gloria Hernández, Eduardo Halfon, among others. However, the Ministry has now announced that the award will be presented every three years. Christian Calderón, Vice Minister of Culture, said that the decision is part of a “strategy to give an opportunity to develop young writers.” Gloria Hernández, who was granted the award in 2022, expressed criticism of this new policy in a local newspaper. She argues that the Ministry’s motivation for the change is only saving the monetary grant for three years and that this will not benefit local writers. She added that Guatemala should emulate Mexico’s National Literature Award, which grants a lifetime pension so that the creator can devote to writing. In her opinion, this would be more valuable to Guatemalan literature. In the same interview, Gerardo Guinea, who received the award in 2009, said that it is absurd to grant the award every three years and argues that the only effect of this change is to limit the number of laureates.

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Translation Tuesday: “Verdict” by Perveen Shakir

What to say to the ASI? / He who has outsourced the whole working of his mind / what would he know of the perfume of the soil?

Towards the last decade of her life, Shakir worked in different departments in bureaucracy, including the department of Customs and Central Excise. The natural vibrancy and inquisitiveness of her temperament was, understandably, at odds with the drudgery and apathy of mindsets prevalent in these circles. Her writings, provocative on many counts, often got her into trouble with authorities, but she remained steadfast in her poetic verve.

Her encounters with authority figures from the world of bureaucracy form the subject of some of her most interesting poems, ranging in character from light-hearted, tongue-in-cheek encounters, to verse that reads like an open indictment and battle cry.

“Verdict” is part of a selection of one hundred poems published in Defiance of the Rose (Oxford University Press, 2019). This first translation of her work with an international publisher makes her work accessible to the English-speaking world.

—Translator Naima Rashid

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(M)other Tongue: Sign Language in Translation

"I can only access conversation that is intended for me to access—and so all spoken conversation that I pick up is meaningful."

When I began to progressively lose my hearing at three years old, my mother fought for me to have access to both British Sign Language classes and speech therapy sessions, offering me a dual-language gateway. Through travel and education opportunities, I know phrases, sentences and expressions in other languages—both signed and spoken. But it is in English and BSL that I primarily express myself, code-switching when appropriate and, at times, combining the two together to speak SSE (Sign-supported English). This is sign language that follows English grammatical structure, as opposed to BSL structure. For those new to BSL, it can come as a surprise to discover that it is its own language, complete with its own rules, format and words—or rather signs—that have no direct equivalent in English.

And so, on a day-to-day basis, I communicate using my hands (signing), voice (speaking), and eyes (lip-reading), as a giver and a receiver. I enjoy the literal sound certain words make as they hold space in the air. Simultaneously, and without contradiction, I love the shape of language created by fingers, expressions and the body. People also underestimate the use of the whole body in sign language – though it is primarily through the hands that words are expressed; meaning, content and colour is amplified through other parts of the body, in particular, the face.

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Remnants of a Separation: Translating Intangibles into Tangibles

Seventy years after the largest migration in history, a visual artist is recording the objects and languages that tell stories of longing.

Seventy years ago today the British left the Subcontinent, and India and Pakistan became separate sovereign states. The Partition is often represented in terms of numbers—one million people were killed and twelve million became refugees. Visual artist Aanchal Malhotra has been making the migrants visible by recording the stories behind the objects the migrants brought to their new homes. One of the intangibles they carried were their languages. Asymptote Social Media Manager Sohini Basak sat down for a long chat with Malhotra to discuss her latest book that records these remnants. A very happy independence day to our Indian and Pakistani readers!

2017 marks not only seventy years of Independence of India and Pakistan, but also of the 1947 Partition, which saw one of the greatest migrations in human history. Close to fifteen million people were uprooted and had to migrate to or from India and the newly created nation, Pakistan.

In her book, Remnants of a Separation, artist and oral historian Aanchal Malhotra looks at the Partition narrative through the lens of the objects that the refugees brought with them as they made the journey. These objects were either the first things they could grab when they found themselves suddenly engulfed by communal riots, or things they considered essential or valuable as they prepared to settle in an unfamiliar land. Aanchal has also founded the Museum of Material Memory, “a digital repository of material culture of the Indian subcontinent, tracing family history and social ethnography through heirlooms, collectibles and objects of antiquity.”

I meet Aanchal in a café on a rainy afternoon in Delhi to talk about the languages she encountered while undertaking this curatorial project. After moving back to India from her studies abroad in 2013, Aanchal realized that in its race to be modern and in tune with the times, her generation—young, urban Indians in their twenties and thirties—often forgot to care about the items of the past. She started visiting historical sites every weekend and, from those visits and discoveries, extended the Partition project, which she started documenting on her blog. “I wanted to share the things I learned from people,” Aanchal says, when I ask her about the impulse that started it all.

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