Posts featuring Perumal Murugan

Weekly Dispatches From the Front Lines of World Literature

News from India and Central America!

The future is in translation! Catch up on global literary news as our editors report on major international award winners, breakthrough publications, and exhibitions fusing poetry with visual art.

Areeb Ahmad, Editor-at-Large, reporting from India

On April 9, Madhu Sriwastav was announced as the winner of the 2023 Muse India’s GSP Rao Translation Award for her work on Post Box 203 Nala Sopara by Chitra Mudgal, translated from the Hindi. Three other translators on the shortlist also received the jury’s commendation: Priyamvada R for her translation of Jeyamohan’s Stories of the True from the Tamil; Sridhar M and Alladi Uma for their translation of Telugu: The Best Stories of Our Times, edited by Volga; as well as Ratan Kumar Chattopadhyay for his translation of Manik Bandyopadhyay’s The Puppet’s Tale from the Bengali.

In other book prize news, the jury of the 2024 JCB Prize for Indian Literature was recently announced. Chaired by writer and translator Jerry Pinto, the other members include art historian and curator Deepthi Sasidharan; filmmaker and writer Shaunak Sen; scholar and translator Tridip Suhrud; and the artist Aqui Thami. The prize is currently open for entries, with the shortlist, the longlist, and the winner announced in September, October, and November respectively. Since the prize began in 2018, five out of six winners have been books in translation, with three out of those five being originally written in Malayalam. READ MORE…

Weekly Dispatches From the Front Lines of World Literature

The latest from China, India, and Palestine.

New arrivals of a Sinophone Proust, a celebration of Lucknow and Urdu culture, and a new solidarity campaign to share Palestinian literature. Our editors are bringing you the latest literary news from on the ground, and there’s plenty to discover.

Xiao Yue Shan, Blog Editor, reporting for China 

“Life is too short, and Proust is too long.” This snarky remark by (maybe) Anatole France has long hovered over the labours of translators worldwide, as much a challenge as it is an implicit acquiescence to just how difficult and time-consuming the text is. As multiple as his English appearances, Proust in Chinese also comes to us through a plethora of voices. There exists at present only one complete collection of À la recherche du temps perdu《追忆似水年华》in the Chinese language, published in 1989 through a concerted effort by Yilin Publishing House and a total of fifteen translators (who called themselves the “Suicidal Translators Squad”). This is the only version that has accompanied readers for over thirty years—with plenty of updates, corrections, and criticisms along the way—though the possibility of alternative editions always beckoned temptingly from the beyond; critics are always quick to note (not entirely without resentment) that in neighbouring Japan and South Korea, five or six full translations of this masterwork has been made available to the public.

Short as it may be, life presents plenty of distractions and exits for the overwhelmed translator. Luo Xinzhang exhausted himself after 50,000 characters. Xu Jun made it until halfway through the fourth volume before giving up at an impressive 230,000 characters, having expended eight hours a day for over two years (and also suffering from depression). Xu Hejin passed away. Zhou Kexi plead a lack of physical stamina, saying that he was drained by the text’s beauty. Many of them, along with readers, expressed tremendous regret that there would not be a single unified representation of Proust in the Chinese language, fluid in style, levelling up to the original, rooted in a single, persistent mind.

Then in 2020, something changed. The Dafang offshoot of CITIC Publishing Group suddenly announced the “Proust Project”, involving a plan to newly translate À la recherche du temps perdu with a single translator at the helm, based on Gallimard’s revised and annotated 1987 edition. The individual selected for the job was Kong Qian, a professor of French at Nanjing Normal University, who had been named Best New Translator at the 11th Fu Lei Translation Awards for her work on Kaouther Adimi’s Our Wealth. Kong has since been given ten years to complete the task—one that is, for any literary translator, a dream. It is the opportunity to occupy a permanent estate in world literature, a claim to a text that has embedded itself in both the literati and the public consciousness of China, even amidst the hurried days. (The book is so famous in China that directors will use it as a prop, in order to directly communicate a character’s highbrow tastes or worldly intellect.) READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest in literary news from India, Sweden, Spain, and Denmark.

This week, our editors bring news of commendations, intercultural exchanges, and champions of free speech that highlight the need for bold voices and acts of solidarity. 

Zohra Salih, Editor-at-Large, reporting from India

Winter is here—not just in the air outside, but within our hearts. One finds it hard to write about literature and culture with genuine excitement in times like these, when Gaza, already deeply wounded, is bleeding again with little hope in sight. It feels anachronistic to mention the many literary festivals and prizes that are scheduled for this winter, as if one is inhabiting two distinct worlds: one with cause for celebration, another for mourning. At the very least, it seems right to acknowledge this disparity, and to consider the very real responsibility of all literary enthusiasts in bridging this divide, in keeping our eyes and ears open, and in being willing to allow for other truths and realities to be translated as part of our own.

On that note, the JCB Prize for Literature has announced its longlist for 2023, featuring four works in translation. Simsim by Geet Chaturvedi, translated by Anita Gopalan, and I Named My Sister Silence by Manoj Rupda, translated by Hansda Sowvendra Shekhar (who was himself longlisted for the prize previously), are both written originally in Hindi; The Nemesis, Manoranjan Byapari’s latest work, is translated from Bengali by V Ramaswamy, and it is also worth noting that this is the third time that the fiery writer has been featured on the longlist.

Perumal Murugan’s Fire Bird is also on the longlist, and was translated from the original Tamil into English by Janani Kannan. A professor of Tamil literature, Murugan’s works have garnered critical acclaim through translations, including Madhorubhagan (One Part Woman), his best-known work, which won the prestigious ILF Samanvay Bhasha Samman in 2015, and caused massive uproar amidst conservatives because of its bold and feminist themes—leading to the author briefly declaring that he was ‘dead’ and retired from writing until the Madras high court judgment unequivocally upheld his artistic freedom. Murugan’s profound and incisive explorations of caste and its entanglement in every rubric of Indian society have also rightly led to his book, Pyre, being longlisted for the International Booker Prize this year, as well as his receiving a Lifetime Achievement Award at the seventh edition of the Ooty Literary Festival, which wrapped up this October. READ MORE…

Weekly Dispatches from the Frontlines of World Literature

Literary news from Sweden, Romania, and India!

In this week’s updates on world literature, our Editors-at-Large bring you updates on literary awards and interdisciplinary festivals! From applied computer science for literature to books for Dalit History Month, read on to find out more!

Eva Wissting, Editor-at-Large, reporting from Sweden

Earlier this month, Norwegian novelist Vigdis Hjorth was announced the recipient of the inaugural Sara Danius Foundation Prize. Vigdis Hjorth is one of Norway’s most prominent writers, with over twenty novels and several young adult books published over the last forty years. English-language readers know her from titles like Is Mother Dead (2022) and Will and Testament (2019), both available in translation by Charlotte Barslund. Is Mother Dead was longlisted for the International Booker Prize, and Will and Testament was longlisted for the 2019 National Book Award in the USA for best translated novel. The Danius Foundation emphasized Vigdis Hjorth’s “groundbreaking and magnificent narrative that disrupts the order with style and clarity” in explaining their motivation for awarding Hjorth the Sara Danius Foundation Prize. The award consists of SEK 50,000 and an artwork depicting Sara Danius, painted by Stina Wirsén. Sara Danius was a Swedish scholar of literature and aesthetics, a literary critic and an essayist, and the first female permanent secretary of the Swedish Academy. After her passing in 2019, her family created the Sara Danius Foundation, with the purpose of supporting female pioneers in literature, humanities research, criticism, essay writing, journalism, and artistic activities. This year’s award ceremony will take place at the Sven-Harry Art Museum in Stockholm on May 3. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

New translations and upheavals in publishing from India, Central America, and Palestine!

Around the globe, February has seen upheavals in Indian publishing, the release of new translations of Central American literature, and the loss of a giant in Palestinian letters. Read on to find out more! 

Suhasini Patni, Editor-at-Large, reporting from India

The Indian publishing industry was taken by storm on February 1, when Amazon India announced that it was shutting down Westland Books, home to some of the fiercest writing from the country. The details of how it will affect the backlog of books, whether they will remain available or be taken out of circulation, are still unclear. Westland is one of the largest English-language trade publishers in India, with an imprint called Context that publishes literary fiction and another called Eka that publishes translations. They have consistently released daring titles, such as The Price of the Modi Years by Aaker Patel and Modi’s India by Christophe Jaffrelot.

The Mint Lounge, one of the first publications to break the news, wrote: “The editors of Westland were informed about the impending closure only earlier today, a member of the staff at the publishing house said, requesting anonymity.” After hearing the devastating news, many have posted on social media to appeal to readers to buy books before they run out. The Bookshop, an independent bookstore in New Delhi, wrote: “For a company to acquire an independent, local publisher of books that will in future certainly prove to be foundational texts of Indian literature, and then to arbitrarily shut it with no forewarning is a highly reprehensible act that the entire community of booksellers condemns.”

Westland recently published best-selling Malayalam author KR Meera’s latest novel Qabar, translated by Nisha Susan. A short novella of magical realism, the book is a riff on the Babri Masjid case. It explores increased communalism in India and ultimately magnifies the tensions that lead to lynching, mob-making, and dehumanization.

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Weekly Dispatches from the Front Lines of World Literature

The latest news from India and Hong Kong!

This week, we bring you news from India and Hong Kong! In India, Suhasini Patni reports on recent controversies in the treatment of translators, while in Hong Kong, Charlie Ng highlights the opening of a politically charged museum for visual culture and the release of a new cross-genre poetry collection. Read on to find out more!  

Suhasini Patni, Editor-at-Large, reporting from India

Translated literature has been enjoying a boom in India ever since the launch of the JCB Literary Prize. This year, the winning novel is Delhi: A Soliloquy, written by M. Mukundan and translated from Malayalam by Fathima E.V. and Nandakumar K. Although the JCB Prize is committed to honoring translated literature, many noted that the translators were not called onstage to receive the award with the author. Fathima E.V. tweeted: “Frankly, I expected to be called onstage, in keeping with the JCB foundation’s stated commitment towards translated literature. It would have been fitting finale for a graciously organised function in which all the authors and translators were well taken care of throughout.” This incident feeds into the larger question of how translators are treated globally and recent demands for fairer wages and due recognition.

Sanjoy Roy, of Teamwork, the company that organizes the Jaipur Literature Festival across the world, also noted: “Translations earlier were not necessarily good ones, they’re excellent now. The JCB Prize has brought that out,” when discussing the festival for 2022. The festival will return to the city in a hybrid mode, with online and in-person events, and the venue will change from Diggi Palace to Hotel Clarks Amer.

Certainly, translations have gained wider popularity in India during recent years. One of the most anticipated novels of the year was Resolve by Tamil writer Perumal Murugan. Translated by Aniruddhan Vasudevan, Resolve is about how marriage is turned into a social contract. Marimuthu, the protagonist, is on the quest to look for a wife. But he constantly must reevaluate his marital prospects when faced with rejections. The novel explores the challenges in a society afflicted by patriarchy and caste.

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Weekly Dispatches from the Front Lines of World Literature

This week, news of trans literature in Argentina, an inaugural book fair in Patagonia, and awards season in India.

Our editors report on literature’s integral role in political resistance and in supporting underrepresented voices, as feminist and trans theory workshops are organized in Buenos Aires and fuegino literature is promoted in Patagonia. In India, our reporter leads us through the awards season successes, celebrating many translated titles.

Allison Braden, Editor-at-Large, reporting from Argentina

Last month, a primary election that predicted a decisive win for the opposition in Argentina’s upcoming presidential elections sent the economy into convulsions, and the peso’s precipitous drop in value made headlines around the world. Amid the debate around the country’s future, the candidates have been conspicuously quiet on an issue important to many Argentine women: abortion, which remains illegal in most cases. But where the politicians are silent, Argentina’s women are not. Anfibia, a digital magazine of literary journalism launched by the Universidad Nacional de San Martín, is offering a workshop to challenge dominant ways of knowing and to provide women with tools to narrate experiences of violence. Also in this year’s lineup is a four-part workshop and practicum on trans theory, which seeks to answer whether it’s possible to develop a collaborative theory of the trans experience to guide, not only personal creativity, but also policy. Trans literature has won acclaim in Argentina recently. Rising literary star and trans writer Camila Sosa Villada, for example, unites literature and performance. According to a recent profile, “Camila is poetry onstage and puts her body on paper” (my translation). Her book Las malas was showcased at this year’s Feria del Libro in Buenos Aires, the largest book fair in Latin America. READ MORE…

Dispatch from Diggi Palace: The Politics of International Publishing

But as the Dalit writers discuss their literature and politics, turbaned working class men serve rotis.

“Voice of Rajasthan,” exclaims Zee News, a right-wing national news channel and the official sponsor of the Jaipur Literature Festival (JLF), over and over again from big, bright roadside billboards. As I ride from the Jaipur airport to Diggi Palace, I am reminded of the commercial scale of this event. Formerly a royal palace, the venue now services a different kind of royalty as a heritage hotel and the site of the tenth JLF in the capital city of Rajasthan. Paradoxically, it is this corporate sponsor, which recently made headlines for telecasting fake news, that enables the participation of a panel of Rajasthani Dalit writers, among other lesser known writers such as Kashmiri poet Naseem Shafaie, Rajasthani writer and critic Geeta Samaur, and Odia translator Jatindra K Nayak. It also renders JLF the world’s largest free event of its kind, according to the official website. But as the Dalit writers discuss their literature and politics, turbaned working class men (Rajasthan is notorious for its discrimination against women) unaware of such a panel, serve rotis, providing the silk-clad speakers and delegates with an “authentic” and exotic Rajasthani-Indian experience. These servers aren’t invited to attend the panel on “Cultural Appropriation” either. I eat rotis off their tongs all five days. In a hurry to catch a beloved writer or a publisher “contact” at the lunch table and pushed by the impatient hungry guests, I don’t stop to ask what the turbaned roti-makers think of all this. I collude as well, to appropriate their stories and voices.

Jaipur BookMark (JBM) is a B2B event that focuses solely on translation. In this glitzy literature festival, translation finds a spot for the third-year running and Asymptote Editor-at-Large for India, Poorna Swami, and I, are at JBM to represent the journal. The B2B format asks that the speakers pay for their travel and accommodation, as opposed to the main JLF event. We camp with a generous family friend in the suburbs, but are still of a class that can afford flight tickets. Feminist publisher Urvashi Butalia of Zubaan Books would later rue this lack of funds in one of the panels, but not without asserting that some voices simply must be recorded and made available to the wider audience, even if it means waiting a long while before some of these books see the dingy light of a printing press.

Far from the madding crowd dressed in their winter festival best, right at the entrance to Diggi palace but unnoticeable, and covered by at least three security guards at all times, is the JBM venue. On a quaint terrace, it’s exclusive to invitees—translators, publishers, and writers. As one eager member of the audience fights to be let in, the Festival Producer Sanjoy Roy, who happens to be passing by, waves her in with a welcoming hand. The tame audience, hovering between ten and thirty, reveals that not many others have come upon such serendipitous generosity. The recurring few participate in enriching discussions over five days—on the politics of translation; the difficulty and the joy of it; and the omniscient complaint of abysmal funds and supporters, despite the obvious necessity for literary translations in an ever divided world.

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