Language: Sanskrit

Trishanku―Language as Purgatory

“My adulthood is covered with the bubble-wrap of English.”

So here’s a story―Trishanku was a mythological king, the ancestor of the Hindu god Ram. When Trishanku grew old, the gods invited his soul to heaven, but he wanted to rise to paradise in his earthly body. “Impossible,” the gods shuddered. Trishanku went to the sage Vishwamitra for help. Vishwamitra conducted a great yagya for Trishanku, and with the power of his ritual, started levitating Trishanku―body and all―towards heaven. But when the gods barred the gates, Vishwamitra built an entirely new universe between heaven and earth where Trishanku dangles, upside down, for eternity.

As a bilingual writer, I often feel like Trishanku. Having grown up in a postcolonial country with the shadow of a foreign language colouring every aspect of my existence, a duplicity cleaves my life. I inhabit two languages―English and Hindi―but I’m never fully comfortable in either. It’s telling perhaps that Trishanku is also the name of a constellation that in English is known as Crux. This confusion of languages I reside in, this no woman’s land of living between tongues defines me.


Anita Gopalan on the Joys of Translation

These references are woven inside the text, sometimes explicitly, sometimes covertly. They pulsate with meaning...

Anita Gopalan, a Bangalore-based translator, received the 2016 PEN/Heim Translation Fund Grant for her translation of the Hindi novella Simsim by Geet Chaturvedi. Despite India producing a wealth of literature, Gopalan is only the second Indian to have received this grant. Over email, Poorna Swami asked Gopalan about Hindi literature and translating Chaturvedi.

Poorna Swami (PS): So you have a rather unconventional literary background, and even worked for many years in the banking sector. How did you find your way into translation? What do you enjoy most about it?

Anita Gopalan (AG): Although I don’t have a conventional literary background, I am striking out on a new path that is only natural to me. You see, when I was young I wanted to become a writer. Our house in Pilani was filled with books and I had access to all kinds of texts. At age eleven, I started on unabridged Dickens, by thirteen, it was Bonjour Tristesse and Lady Chatterley’s Lover, and I had already written a whole book of poems (in Hindi, English, and Marwari). I read my poetry out loud to all our house maids and they were the ones who lovingly listened to it. But something happened that even I can’t fathom—my last poem was about suicide, and that was that. I did not become a writer. Rather, I thrived doing math—Hilbert spaces, isomorphisms—and moved on to banking technology and had a wonderful career in that field.

Years later, I had to cut down on my hectic work schedule due to a health condition and suddenly there was a vacuum. “To believe you are magnificent. And gradually to discover that you are not magnificent. Enough labor for one human life,” Czesław Miłosz said, and that fit my condition perfectly. I again turned to writing, and Facebook became the medium for me to post my writings and music. Here, I became acquainted with the wonderful writer Geet Chaturvedi. Interestingly, his first work that I read was not poetry or fiction—the genres he is famous for—but a short essay on music. His splendid poetic prose and sharp insights were evident even in that post. I fell in love with his writings. It was his poems that enchanted me most. A couple of years ago, he suddenly asked me to translate them. I was taken aback. I hadn’t translated anything before, but at the same time I was thrilled.


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!


Weekly Dispatches from the Frontlines of World Literature

I wrote whenever anything struck me. As I started to write, I began to revive little by little, from my fingernails to my hair.

Happy Friday, readers! The Asymptote team has some exciting news: starting this week, we will be replacing our Friday literary news round-up with a more diverse and decidedly international column, brought to you by our team members around the world. We’ll have the latest and most pertinent updates on the literary scenes from various regions each week, from national trends to local events. This is your one-stop, world tour!

Starting this week in India, Poorna Swami, Editor-at-Large for India, updates us by region:

Noted Assamese poet Nalinidhar Bhattacharya passed away on September 2 in Guwahati at the age of 95. The Sahitya Akademi Award winner’s books include five poetry collections, five essay collections, and even a translation of Dr. Zhivago into Assamese.

But while the country lost a literary great, it also regained one. Tamil writer Perumal Murugan ended his self-determined literary exile on August 22. His reentry in to the literary world comes a year and a half after he publicly declared to quit writing because his book, Madhorubhagan [One-Part Woman], faced attacks from Hindu fundamentalist and caste-based groups. He had said on his Facebook page: “Perumal Murugan the writer is dead. As he is no God, he is not going to resurrect himself.”


Asymptote Podcast: Multilingual Writing

A new installment goes live!

In this episode, we crack a window into the creative impulses behind the multilingual writing in our Summer issue. There, Spanish and German, French and Arabic, Romanian, Sanskrit and Afrikaans all find their way woven in with English in poems and a story you don’t want to miss. Here, in this latest installment of the podcast, Omar Berrada and Klara du Plessis allow us a deeper understanding of how their linguistic backgrounds and travels shaped their current writing; while Greg Nissan uncovers other origins for his multilingual creations. So how does a translator go about translating a text already leaping across languages? And what does it take to write in the multilingual mode; does it create its own form, its own genre? What makes a writer feel driven and compelled to step outside the bounds of one language without leaving it entirely? To help us continue down this rabbit hole, Asymptote editor-at-large for Romania and Moldova, MARGENTO (Chris Tănăsescu), uncovers more about his process of translating Șerban Foarță’s poem “Buttérflyçion” for the Summer issue. We’ll explore radical nomadism, emotional chunks of language and more. This is the Asymptote podcast.

Podcast Editor and Host: Layla Benitez-James

Audio Editor: Mirza Puric


Plunge into the Multilingual Writing Feature from the July 2016 Issue

Readers must ask themselves whether they are entitled to a full understanding —or indeed if such a thing is ever possible.

The past two Mondays here at the Asymptote Blog, we’ve brought you highlights from the July 2016 issue, THE DIVE. This week we’re back with Ellen Jones, editor of the vibrant and provocative multilingual writing section.

The Asymptote July issue special feature on multilingual writing is the second of its kind. The more than two hundred pieces of original poetry and fiction received in response to last year’s call for submissions—many, many more than we were able to publish—opened our eyes to the wealth of new writers who are experimenting with language mixing, and persuaded us that it was necessary to run the feature again.

What I love most about this work is its variety. There are seven contributions, from writers as far afield as Peru, South Africa, and India that, between them, incorporate English, German, Spanish, French, Romanian, Sanskrit, Afrikaans, Italian, Nahuatl, and Arabic. But more importantly, they also make use of the spaces in between these languages: unique cross-lingual sound combinations and associations, and spoken varieties that are thriving but have yet to be documented. There is some poetry, some prose. Some written by well-established literary figures and some by poets who are only just finding their voices. Some pieces for readers of only English, others best left to the true polyglots among us.