TRANSLATING POETRY

                                                         Neela Padmanabhan

All poets are translating their imaginations and mental feelings-emotional as well as intellectual to their languages through their own characteristic form of diction or style. Just as a translator translates a poem from one language to another, every poet transforms his akam(inner world) to puram(outer world) as poem in a broader sense. To quote Jean Paris:

     “I do think that a poet is at first a translator, the translator of an unknown world to which he gives tangible form, a sensitive expression. But it is clear that if we cease to mistake the poem for the secret order it more or less translates successfully, the translator finds himself in a similar position, and becomes the co-creator of the work of art, as the artist is the co-creator of reality.”

Translation from one language to another means introducing the culture of a language to another. We know plenty of words that have minute meanings in one culture have no exact equivalent in another culture or language. Hence all the translations are imperfect in the larger sense, but it is somewhat a necessary evil, which cannot be avoided, in a pluralist society like India. The P.E.N. Manifesto on Translation (in May 1970) described the translators as “the lost children in an enchanted forest of literature” but insisted that it is through them that one gains an access to other cultures and indeed, “without the lost children we are all lost”. However, literary translation is a cultural communication bridging cultures and civilizations.

Translating poetry is always difficult and problematic. Problems in between South Indian (Dravida group) languages, North Indian and European languages are different and divergent. All Indian languages except Tamil (of course, due to age old historical, political and social reasons) have no aversion for Sanskrit, instead they have an affinity for it like English has for Greek and Hebrew. Not only scholars, but also most of the creative writers-poets in those languages are fondly using Sanskrit words without a feeling of strangeness even they don’t mind to sacrifice oral and dialects in their languages. But Tamils are opposite to this trend, even from the age of Kampan(9^th century, another version 12^th century) who recreated Valmiki’s Ramayana in to Tamil(Kampa Ramayanam, 885 AD) . Kampan changed the name of ‘ Lekshmanan ‘as ‘Ilakkuvan’, ‘Vibheeshanan’ as ‘Vipidanan’, ‘Suparnan’ as ‘Uvanan’, ‘Akalya’ as ‘Akalikai’ or Aalikai’etc. He translated even some names into pure Tamil, for eg ‘Swarna Varnan’ became ‘Chuvana Vannan’ and ‘Kanaka Meni’ ,’Yakgna Viroodhan’ became ‘Velvippakainjan’. In this context it may be noted that ancient Tamil grammar Tolkappiyam (3^rd century BC) allows such practices as “tharsamam”-means words from Sanskript used in Tamil without any change in sound and “tharpavam” means Sanskrit word with altered pronunciation current in Tamil.

So, when one comes to translate a Malayalam creative work especially poetry which is rich with Sanskrit words and idioms into Tamil he has to change that word and find out an equivalent pure word, by which poetic beauty of the piece may be affected. I shall point out an instance from the famous Malayalam poet Ayyappa Paniker’s poem Mrithu Pooja.

His Malayalam lines read:

          He mandha gaamini

          Hemantha yaamini

          Ghana syama roopini

In these lines we can enjoy the sweet poetic diction in between words: also there is a word play. First line He, mandha gaamini means Oh, slow motion beauty. Second line Hamantha yaamini means midnight girl of spring season. If translated these lines into pure Tamil without the Sanskrit letter he Tamil lines read as:

          Ye methu nadaiyaale

          Vasantha kaala kaarikaiye

wherein the poetic beauty missed a lot.

Orature(the medium of expression and communication of folk and minority cultures), dialects, urban and rural slang etc are now finding place in poetry today. The plurality of Indian languages and our cultural ecosystem begin to comprehend these poems like our country’s vast diversity of habitants and plant and animal life. Discovering the most appropriate equivalents in the target language for the new and revealing poetry being written in India by the vast underclass in the above mentioned oral tongue is a challenge while translating from the source language.

Translating poetry from the classical texts is a daunting task as the ethnicity tends to get diluted. Evoking the atmosphere is particularly difficult to bring to the target language. For overcome this, a creative collaboration between the creator and the translator should be very strong as in the case of A.K.Ramanujan who translated into English ancient Sangam classics of Tamil such as Kurunthokai; medieval devotional lyrics in Tamil and Kannada, such as the poems of Nammalvar and the writings of Virasaivites of Kannada. As S.Krishnan puts it on A.K Ramanujan, “ ‘to translate is to carry across’, and not merely from one language to another, but from one mode of thinking to another.” 

As regards the method or technicality of translating poetry there is difference of opinion whether word by word translation or simply bringing the content of the source language into the target language purely by the target language’s way of expression and standard style. Every creative writer including a poet has his own style or diction and way of expression. The craft of writing is different from poet to poet, though the content may be the same. If one simply transform fluently into another language by that target language’s standard diction and metre or rhythm of course it may be readable and appreciated as the translated poem can be read like an original work of that target language. But, a poet as a creator possesses his own diction and way of expression after a long period of efforts, experiences and experiments. How can a sincere translator neglect this unique individuality of a poet and his or her poem? Hence, to bring not only the content and dimensions of the poem, but also the individuality of that poet’s particular diction and craft from the source language to target language, word-by-word translation is preferable, according to some genuine translators cum creators.

On the whole, translation and creation cannot be compartmetalised as both are equally serious and significant. In one angle, translation is more difficult. In original writing poet has his/her freedom, ease and joy, but in translation, it is not so. Bringing the inner world of a poet to another language by translation is indeed a different kind of joy and thrill being experienced by the translator, but the translator should be more careful and faithful to the original poet since all the credit will go to the creator-the original poet and discredit to the translator usually.

Book Reviews

Haunting stories

NEELA PADMANABHAN

THIRANJEDUTHA KATHAKAL:K. P. Ramanunni; DC Books, DC Kizhakemuri Edam, Good Shepherd Street, Kottayam-686012. Rs. 120.

THE STORIES in this collection are knitted from contemporary events and issues like plastic surgery, tsunami, entrance examinations etc. But one cannot go through these stories leisurely without effort. They are consciously and intelligently narrated with a skilful special style.

Ramanunni’s keen and brilliant observations and ability to select varied themes from actual life in an aesthetic manner are well depicted in most of these 25 selected stories. One common feature in many of them is an exaggeration or an enlarged view of the bitter truths of life as well as an overemphasis in the description though they are ironical (cruel?). For example, the first story Mukha lekshanam (facial expression) describes plastic surgery conducted cleverly and skillfully on a handsome army officer to convert his handsome face to express a cruel look for frightening the enemies and for commanding his own subordinates, on the directions of higher officials by which his wife and father-in-law are also very well satisfied.

Another peculiar story is Pranaya Parvam (chapter of love). In this Bhaskar brings his sweetheart, Bhanu Priya, by car to the very beauty spots in high ranges which she had visited with her previous lover, Jose. After killing him and hiding the corpse under a rock to show her, he wants to know her version of their affair and activities there.

The ego clashes between a working wife and her husband is portrayed with a kind of sarcasm in the stories Purusha Vilaapam (male’s lamentation) and Aadi Vaasikam (tribalism). Even after completing this book the stories haunt the reader by their extraordinary plots and exceptional way of narration.

Literary masterpiece

NEELA PADMANABHAN

KAYIRU — Parts I, II and III: Translated by C.A. Balan; Sahitya Akademi, Rabindra Bhavan, 35, Ferozshah Road, New Delhi-110001. Part I: Rs. 240, Parts II and III: Rs. 200 each.

THIS NOVEL, in three volumes, is the Tamil translation of eminent Malayalam fiction writer, Thakazhi Sivasankara Pillai's, masterpiece Kayar (1978), which won him the Jnanpith Award in 1984.

The author took 20 years for completing this novel, which covers 200 years, beginning with the first survey of his native region of Kuttanad in Kerala and ending with the aftermath of the land ceiling legislation of 1959.

In this epic work he vividly handles with an effortless, spontaneous flow nearly 1000 characters in six generations. It deals with the social, political and economic changes of a historical period — pre- and post-Independence — lying inter-twined in the relations between the people and the land.

The universal drama of humanity associated with a particular region or landscape (Mullai, Marutham etc., named after a plant or flower in that region, according to Tinais of Akam poetry in the literary theory in ancient Tamil grammar work, Tolkappiam) is recounted here aesthetically with a romantic touch.

Fantasy and mythology in connection with Gandarvas, Nagas, Sarpakkavus (serpent land) of this land are used with beautiful images taken from the age-old folklore stories.

The fall of the Nair community because of matriarchy, mismanagement of Devaswom lands, laziness, inter-sub-caste rivalries and the growth of Christian and Muslim communities owing to their tireless hard work and energetic enthusiasm, severe quest for education and knowledge, and competitive spirit in achieving equality and financial security in society and class consciousness of backward class community like the Ezhavas and the Scheduled Class community like the Pulayas are portrayed through many interesting characters like Kodanthru Kuruppasan, Cheeratta Kaimal and Outha, Vattanthra Gregory, Peerukannu Surendran and others.

Also, one can feel in the chronological order the reflections of the world wars, echoes, reactions and participation in the freedom struggle under the leadership of Gandhiji and elected governments of the Congress and Communists after Independence, and the Naxalite movements. One cannot expect perfection in translating such a lengthy novel, which has many individualistic special qualities in the style and content of a particular region. However, the translator has done the job satisfactorily.

Unpalatable truths

NEELA PADMANABHAN

MANAIVIYIN MAKAN: Tamil translation of Thakazhi Sivasankara Pillai's Malayalam novel by Sura; Raamprasanth Publications, 106/4, Jani Jahan Khan Road, Royapettah, Chennai-600014. Rs. 30.

THIS IS the Tamil translation of Thakazhi's Malayalam novel written 60 years ago (1945). The title of the novel is not the true translation of the original Malayalam title `Paramarthankal' which means `truths'. `Unmaikal' an apt Tamil translation of the original may be more appropriate to focus the various dimensions in the search of the truth by the characters in this novel.

It is a peculiar story of a man who marries a pregnant woman, but the father of that child is unknown to him. Their marital life is unhappy. He is always haunted by doubts and suspicions. Even after the birth of that child — a boy and his own son and daughter — he is unable to face his wife and stepson without hatred and anger. Instead, he has affection and attachment to his own son and daughter.

As he grows up, the stepson, Prabhakaran realises that his father was somebody else. Then he is also in constant search like his stepfather to find out the truth. The conflict and clashes in between the family members aggravate when Prabha falls in love with a girl. Though her husband could not know the truth from his wife, her son achieves it. He learns the bitter truth how she was forced without her consent due to her ignorance and timidity. The truth reaches her husband when Janaki is in her deathbed. The unknown wanderer responsible for Prabha's birth appears for a short while and disappears.

Sura has succeeded to a certain extent in bringing in Tamil Thakazhi's psychological dealings of the highly dramatic moments in the novel. 

Malayalam novelettes in translation

MOHA THEE — Tamil translation of M. Mukunthan's two Malayalam novelettes by Sura: Ramaprasanth Publications, 106/4, Jani Jahankhan Road, Royapettah, Chennai-600014. Rs. 25.

THIS BOOK is a translation of Mukunthan's two novelettes, "Moha Thee" and "Raasa Leela" in Malayalam. His masterpiece "Mayyazhippuzhayude Theerangalil" (On the bank of Mayyazhi) vividly describes the political and social background of his native place Mahe, the former French colony, in the past, in a mystical way.

In "Moha Thee", he portrays the lust of Ramunni, head of the old Mithaledathu family towards the voluptuous Savithri, wife of a low caste Neelakantan. The lust begins to burn as fire in his mind when Neelakantan pledges his wife's gold waist chain to Ramunny for money to fulfil his drinking habit. Throughout this novel one can see Ramunni's blind love for Savitri through this ornament symbolically like a lunatic, despite having a beautiful wife and grown up children.

"Raasa Leela" is a different novel. It begins with the receiving of Krishnan who has lost his vision, at a city railway station by his friend Balan, after a long journey from his home village. They had both lived together in the same city in one room and worked for their livelihood before Krishnan lost his vision.

Though there is not any visible change in the narrow room with its unhygienic surroundings Balan gives an entirely different picture to his friend of all the places they visit and persons they meet now. Their visit to the flat of Leela, Krishnan's former beloved, is touching and the author's skill is evident in that scene.

The novel ends on an optimistic but with the false impression of Krishnan that at present all are well and not as in the past when he lived here with his friend.

Sura's translation brings to the Tamil readers the attractive form and content of the Malayalam originals without losing their charm andspirit.

NEELA PADMANABHAN

Neighbouring countries

NEELA PADMANABHAN

ASWASTHAMAYA AYALRAJYANGAL — Essays: M. Yunnus Kunju; Pub.by Z Library, Thiruvananthapuram-695014. Rs. 75.

THERE IS a human tendency to know about our neighbours; this may be even from the primitive days. In this book `Aswasthamaya Ayalrajyankal' which means `Disquiet (or disturbed) neighbouring countries', Yunnus Kunju sincerely attempts to know about our neighbours including Pakistan and Bangladesh, which were once part and parcel of our subcontinent and then separated after bloodshed and still in the middle of disputes.

This book throws light on the social, economical and political developments with minute details of 14 countries such as Afghanistan, Myanmar, Maldives, Saudi Arabia, Iran, Quit, U.A.E., Nepal, Bhutan, Tibet, Sri Lanka and China besides Pakistan and Bangladesh.

One can understand from these essays that those countries where a stern elected democratic government is not in power are in the middle of unrests and turmoil in the socio-political fronts to a certain extent caused by the religious fundamentalist forces.

The geographical details and historical background of all these countries highlighting their formation are also indicated aptly.

The terrorist attacks in Kashmir, Pakistan's interference in Kashmir and the internal problems of Pakistan, direct confrontation between two women leaders in Bangladesh, unending agony and fighting of Tamils in Sri Lanka, Maoists' attacks and counter attacks in Nepal, fear and worry of the common people in Maldives while talking about real democracy, Afghanistan citizens' fate of suffering always and such key problems of all the above nations are discussed impartially with a human touch in this book in a readable manner.

© Copyright 2000 - 2006 The Hindu

Novel in translation Neela Padmanabhan HARITHUVAARIL MANIYOOSAI — Tamil Translation of M. Mukundan's Malayalam Novel: Translated by Sura; Sarhu Prabha Publications, 106/4,Jani Jahan Khan Road, Royapettah, Chennai-600014. Rs. 35. THIS BOOK, which is a Tamil translation of Mukundan's Malayalam novel `Haridwaril Mani Muzhagunnu' deals with a young bachelor Rameshan Panicker who has a good job in Delhi. Although he is addicted to drugs and drink, he has an aesthetic mind with a philosophical bent. He is very fond of his mother who is living in their native village in Kerala. He visits Haridwar with his lover Suja, a Punjabi girl. The author gives details of the various temples and pilgrimage centres of the holy place as well as the mythological stories, and poems in Sanskrit. His confidence in narrating simultaneously Rameshan's vigorous hunt for drugs and drink and his dalliance with his lover against the religious background of the city results in a tale that is gripping without being sensational. Rameshan's profound emotional recollection traces his native land, affectionate mother and death of his father. One cannot forget the characterisation of Suja, who loves and nurses Rameshan and her strong will to marry him in spite of all his weaknesses. The novel ends with Rameshan's revisit to Haridwar alone without Suja. A short story `Kumaran Nayarin Maranam' unveiling the mystery behind the death of Kumaran Nair is also included in the book. Sura's translation is fluent and readable. © Copyright 2000 - 2006 The Hindu

MALAYALAM

Study on novels

NEELA PADMANABHAN

MARUTHIRA KATHU NINNAPPOL: V. Rajakrishnan; Studies on novels; D.C. Books, DC Kizhekemuri Edam, Good Shepherd Street, Kottayam-686012. Rs 120.

THOUGH PLENTY of novels are being published in all the Indian languages nowadays, comprehensive studies on these works are very rare. The book under review is one in such uncommon genre.

V. Rajakrishnan’s studies are purely neither academic nor scholarly. Instead, he approaches the novels with an aesthetic as well as an artistic mind, which is exceptional and unusual one seen in critics. Not only Malayalam novels but also Indian and western novels are taken up for study, analysis and assessment.

This book that critically and interestingly analyses the various minute factors and aspects of the literary genre of novel is divided into three parts.

Keats’s poem in his last days when he was suffering from tuberculosis inspires the author of the book to discuss seriously in two chapters the diseases and drinking habits reflected in writings.

In this regard, Joseph Roth’s “The Legend of a Holy Drinker”, Albert camus’s “The Plague”, Franz Kafka’s “The Metamorphosis”, Nikolay Gogal’s “The Nose”, Philip Roth’s “Breast”, and many other western novels are skilfully compared with the recent Malayalam novels “Asura Vithu” by M.T.Vasudevan Nair, “Pathummaayude Aadu”, by Vaikkam Muhammad Bashir and “Arimpaara” by O.V.Vijayan.

Also, many other Malayalam, Indian and western novels are meaningfully discussed under different chapters with penetrating aesthetic studies on various images, fantasy as well as different manifestations of nature. Sethu’s “Paandavapuram”, Punathil Kunjablulla’s “Marunnu’, Kaakkanadan’s “Ushnamekhala”,V.K.N.’s “Aarohanam” M.Mukundan’s “Kesavande Vilaapankal”, Tharasankar Banarjee’s “Arogyaniketan”, Boris Pasternak’s “Doctor Zhivago”, Richard Wright’s “Native Son”, Albert Camus’s “The Fall’, and Orhan Pamuk’s “Snow”, are a few among them.

On the whole, the book is indeed a welcome addition to the field of study on novels.

© Copyright 2000 - 2006 The Hindu

TAMIL

Malayalam fiction in translation

RAACHIYAMMA — Malayalam Sirukathaigal: Sura — Tr. in Tamil; Imayavan Pathippagam, 824, N.V.N. Nagar, Thirumangalam, Anna Nagar West, Chennai-600040. Rs. 55.

THIS IS a collection of stories by some of the renowned writers of Malayalam. While the stories of Thakazhi Sivasankara Pillai, Karoor Neelakanta Pillai, Vaikkam Mohammed Basheer, P. Kesava Dev, S.K.Pottekkad and Uroob represent the previous generation, stories of M.T.Vasudevan Nair, Madavi Kutti, Paul Zacharia, Unnikrishnan Puthur, M. Mukundan and Eakalaivan who are all still in the scene are also included. The stories representing the post-modern period are not included.

Karoor Neelakanta Pillai's story "Mara Bommaikal" (Wooden dolls) is outstanding for its crispness and peculiar narrative style with the use of minimum words. It has already been translated into other Indian languages including English and Tamil.

The effective Tamil translation by the famous Tamil writer Nakulan some years ago (Marappachikal) was well appreciated in literary circles. However, one more translation shows its exceptional quality.

The stories of Thakazhi ("Avan thirumbavaruvaan" He will come back), Basheer ("Pazham" Banana) and Eakalaivan ("Namakku nallathu kaadukal" Forest is good for us) cover the anguish and pains of people living below the poverty line. Uroob's "Raachiyamma", though somewhat romantic, touchingly pictures the melancholic life and silent attachment of a raw village girl of Nilagiri.

M. T.Vasudevan Nair's "Koottai Nizhal" (Shadow of fort) is about a love affair and sacrifice of the past with a historical background of northern part of India in a moving tone. Madavikutti's "Virundu" (Feast) narrates the vanity of the luxurious life of a society lady at Kolkata, as in her other stories.

Kesava Dev's "Kaaykarikkari Kaarthiyaayini" (Vegetable vendor Kaarthiyaayini) essays humorously the lighter moments of a local woman vegetable vendor. Zacharia's story "Crane shot" is different from other stories because of his narrating technique through a film director's movie camera eyes.

If in T.Padmanabhan's story Kili (Parrot) a parrot plays the main role to unwind the protagonist's mind who is admitted in a nursing home, Mukundan in his "Muttai idum yaanai" (Elephant which lays eggs) depends on fantasy to bring out the hollowness of marital relationship. On the whole, imaginative skill and sensibility make most of these stories readable. Sura's translation is satisfactory in bringing the essence and meaning of the original stories.

NEELA PADMANABHAN

© Copyright 2000 - 2005 The Hindu

TAMIL

ILAM PARUVATHU THOZHI: Tamil translation of Vaikkam Mohamed Basheer's Malayalam novel and a short story by Sura; Ramaprasanth Publications, 106/4, Jani Jagan Khan Road, Royapettah, Chennai-600014. Rs. 25.

VAIKKAM MOHAMED Basheer is not a new name to Tamil readers. Most of his eminent novels including this one (title of the Malayalam original is Baalya Kaala Sakhi) have already been translated into Tamil.

Due to various reasons the inner social life of the Indian Muslims, particularly their peculiar problems have not been dealt with realistically in local language literatures without prejudices till now. But even from the early-1950s Basheer has handled the social life and burning problems of his community artistically. The unfulfilled love affair, may we call it calf-love or sincere friendship between Suhara and Majeed, the protagonist which flowers from their early childhood is the main theme of the novel. Not only their cheerful plays and petty quarrels but also ceremonies like Suhara's ear piercing are pictured interestingly with an aesthetic awareness.

This world, strange to others, but well-known to the author is recreated here with the minute details effectively and effortlessly through meaningful colloquial words, phrases and proverbs familiar to his community. Ignoring refined ornamental literary style his diction and expressions are flourished with beautiful images and allegories quite common to the rural folk.

In the end of the novel, Majeed loses his childhood lover, father and his leg, but he faces life with a mind full of sweet memories. Even after completing the book, Basheer's simple, clear and free-flowing words loaded with the greatness of the human spirit reverberate in our consciousness like a melodic song.

It is difficult to bring Basheer's individual way of expression in another language without losing its charisma. However, Sura has tried to capture the beauty of the original in the translation to a certain extent. One may doubt whether the colloquial equivalents of Tamil Muslims would have enhanced the quality of the translation.

Neela Padmanabhan

© Copyright 2000 - 2005 The Hindu

TAMIL Malayalam novels M.T.VASUDEVANAYARIN CHIRUKATHAIKAL — Tamil translation of five Malayalam short stories of M.T.Vasudevan Nair by Sura: Saru Prabha Publications,105, Jani Jahankhan Road, Royapettah, Chennai-600014. Rs. 25. M. T. VASUDEVAN NAIR is a popular literary figure not only in Malayalam, but also in other languages including Tamil through the translations of his famous Malayalam novels like "Naalu kettu", "Asura vithu", and "Rendaam oozham". His short stories are also equally memorable because of their artistic merit. His earlier five stories including the prize-winning "Valarthu Mrugangal" have been translated into Tamil and collected in this slim volume. The plight and pitiful condition of circus artists when their physical charm and health vanishes is pictured effectively in "Valarppu Mirugangal". The false prestige and fall of the old matriarchal joint family system of the Nair community as well as the power hungry maternal uncle, who is the family head, are M.T.'s favourite subjects which have an important place in most of his novels and short stories. Three stories "One Nenaivaaka", "Oru Pirantha Naal Jnaapakam" and "Akka" are also crafted on the above background and atmosphere with M.T.'s characteristic clarity and flavour. "Maranathin Charukkal" is a different kind of story of a boy who ran away from his native village due to poverty and starvation, to a town where the middle class protagonist lives with his friends in a lodge for his job and the pathetic end of the boy by a moving goods train. On the whole, after going through these stories a tone of sadness will echo in the reader's heart like a melody, which is the individuality of M.T.'s fictional art that cannot be imitated. The translation, though the style and expression seem pedantic in some places, succeeds in bringing the essence of the source language to the target language. NEELA PADMANABHAN © Copyright 2000 - 2004 The Hindu

Voyage of self-discovery

NEELA PADMANABHAN

NAKULAN NOVELKAL — Collection of Eight Novels of Nakulan: Kaavya, 4, First Cross Street, Trustpuram, Kodambakkam, Chennai-600024. Rs. 450.

THIS BOOK is a collection of eighth novels of Nakulan, an important Tamil writer of yesteryear, starting from his first novel, `Nizhalkal' to the latest one, `Antha Manchal Nira Poonaikutty'. Nakulan is known for his uncompromising serious and valuable writings.

The publisher's note indicates that the book is one novel having eight parts or a lengthy diary in total. (Naveenan Diary-1976 is one of the novels in this collection.) Consciously or not, most of the serious writers are either searching or discovering their inner soul or self in different situations, through various characters by permutation and combination, or by trail and error method. In fact, one cannot find any similarity or continuity between the first novel and the last or last but one (Vaakkumoolam, 1992) in their structure, form or content.

The hero of these novels, Naveenan is a thinker, good conversationalist, eccentric with a sense of humour and with a penchant for reading and writing.

The novels evoke anxieties arising from complexes to men and matters, to theories on how to argue wisely, how to live in the present moment. All of them have a particular atmosphere unique to the author. They sharply demonstrate his peripatetic interests.

On the whole, Nakulan has produced a sensitive but unsparing portrait of a thoroughly unconventional world around him.

© Copyright 2000 - 2006 The Hindu

TAMIL

Suspense thriller

NILA ADHIRVUMANIGALE NANDRI — by C. Radhakrishnan: K. Natchimuthu — Tr. in Tamil; Sahitya Akademi, 35, Rabindra Bhavan, Ferozshah Road, New Delhi-110001. Rs. 250.

THIS BOOK is a translation of the award winning Malayalam novel "Spandamannikale Nanni". It was first serialised in a popular Malayalam weekly. All terrorist outfits have a common purpose viz. to capture the power at any cost. Of course, they have their own justification, philosophy, logic, psychology and even the ethics for their struggle.

In the novel Appu, an ambitious young scientist working in a research institute at a hill town joins a terrorist group of scientists that has international roots and plans to burst the major scientific research organisations including the one in which he is working. The novel opens on an alarming note with the mentioning of the explosive material kept in the underground dark room of the institute under his custody.

He waits for the signal to put on the fuse, burn the wick and quit the place. The major portion — the first half of the whole novel unravels this suspense, by introducing the characters one by one and the anecdotes about these characters using the flashback technique. Even the minute technical details about the equipment and the scientists who handle are described skilfully and accurately. In a democratic set up implementation of political decisions has a significant role, for which infighting goes on between the bureaucracy and the technocracy. Some rebels like Appu among the scientist community come forward as in this novel to free themselves from the clutches of power of not only politicians but also of self-centred scientists for which they unfortunately choose bombs and cyanide capsules.

The characters especially the female ones like Prema, Devi, Deepa and others are bold as well as intellectual. Their discussions and arguments are highly philosophical and humane, sometimes romantic. On the whole, the author weaves a terrorist story in an atmosphere of science and technology with a poetic style and contemporary social and political problems are analysed aesthetically. The translator has succeeded in capturing the tone and spirit of this novel in fluent Tamil.

NEELA PADMANABHAN

© Copyright 2000 - 2003 The Hindu

MALAYALAM Historical novel ORA PRO NOBIS — Malayalam novel: Ponjikkara Raphi; D.C. Books, DCB Complex, Good Shepherd Street, Kottayam-686001. Rs. 65. THIS IS a historical novel carefully woven on the background of Kochi in the 16th and 17th Centuries A.D. when the Portuguese dominated the western shore of India. The title is in Latin meaning, "Kindly pray for us", which is a repetition of a line of the prayer by the chorus (luthinia) addressed to Holy Mother Mary, sung by the Latin Catholics. In 1663 A.D., the Dutch defeated the Portuguese who succeeded to a certain extent in implementing their "divide and rule" policy among the local rulers in the northern part of Kerala during their reign for one and a half centuries. Though the chain of events narrated in this novel happened in 1750 A.D., the social and political scenarios of the preceding 115 years are also artistically amalgamated with minute anthropological details. The incidents after the mass migration of the Portuguese from Kochi to Goa and Portugal are pictured through the distracted mental reflections and conversations of Chinna Ambrose — a fifth generation old man whose ancestors had been brought to Kochi by Captain Achakko and his wife Isabella, successors of the Portuguese barons Aswerasu in 1635 A.D. for looking after their horses. The life stories of these Latin Catholic generations starting from the couple Michel-Monica and their children Jocki, Paaval and Ambrose are recorded in the family history by the third generation man Chinna Ambrose in Malayam-Tamil — a mixture of Malayalam and Tamil languages. Their dialect throughout the novel is also in this mixed style, which gives a special individual flavour and effect to this work. Not only are the trials and tribulations of these family members living and dead but also the misdeeds like looting of the stockyards and temples by the Portuguese for want of money, by which they earned the hatred and enmity of the people, the inefficiency and surrendering mentality of the Kochi kingdom in that period and the social condition of the people in other religious classes like the Jews, Ezhavas, Nairs and the Konkanis are well depicted in the novel. The interesting and pathetic incident narrated is the offering of the bloody sacrifice of the first generation Ambrose on January 13, 1663 A.D. at the age of 33 like the crucifixion of Jesus Christ in his 33rd year, with his full consent by the Portuguese for protecting their valuable treasure earned in this land that was buried secretly, just before their mass exodus from Kochi. It is the firm belief of Chinna Ambrose who is the grandson of Ambrose (first) that he and his grandson — the present young Vella Ambrose and others who will follow after them should not disclose the place of the hidden treasure up to the period of the seventh generation when the real owners of the treasure, the Portuguese, will come again to claim it according to a record of the family history. The novel ends with the demise of Chinna Ambrose while praying with the family members, but with a broken heart as his elder son Michel attempted to kill him a few hours ago since he did not disclose to him the place where the treasure was hidden. NEELA PADMANABHAN © Copyright 2000 - 2005 The Hindu

TAMIL

A writer's writer

NEELA PADMANABHAN

NAKULAN KATHAIKAL: Nakulan; Kaavya, 16, Second Cross Street, Trustpuram, Kodambakkam, Chennai-600024. Rs. 175.

THIS COLLECTION comprises five novelettes, 32 short stories and two stories translated from English by Nakulan (1922-2007) spanning over three decades. Nakulan is known as a writer’s writer in the serious Tamil literary circle because of his experimental writings in poetry as well as fiction. Though his writings are considered experimental, they are readable and seem simple at first reading.

On going through these stories one can find that he has never compromised with the contemporary popular literary field till his last breath. He never went after the stereotyped plots to spin his work of art. Consciously avoiding the attractive storylines, he simply and straightforwardly narrates everyday events of his own life as an outsider without any commitments or justifications with minimum words. He never wilfully segregates the narrator, Naveenan or Nakulan, in his creative world. For instance, in “Yaathirai” (journey, novelette written in 1963) the life of the protagonist Naveenan is artistically narrated with humour as well as with a shadow of melancholy. Two peculiar stories with Nakulan’s seal are “Oru Theru Sonna Kathai” (story said by the street) and “Asuwatham Endru Oru Maram” (a tree named as Asuwatham). The first story about a street and shops where coffins are for sale will haunt the reader’s mind too as the author’s. The human mind’s strange working which leads to a state of mental imbalance comes out naturally through a disquieting portrait of a man in the second story.

On the whole, though no conscious effort is made to generalise personal experiences, these stories will give a higher valuable literary experience.

© Copyright 2000 - 2008 The Hindu

MALAYALAM

Fiction anthology

NEELA PADMANABHAN

NALU PENNUNGAL: Thakazhi Sivasankarapillai; Rainbow Book Publishers, Chengannur, Kerala-689124. Rs.50.

THIS BOOK highlights eight stories of the famous Malayalam writer of yesteryear Thakazhi Sivasankarapillai all dealing with women. These stories written in the 1950s and 1960s have now come to limelight once again since Adoor Gopalakrishnan utilised his stories for his two recent films.

The first and the last stories are about spinsters in different circumstances. In the first story, Nitya Kanyaka, Kamakshi whose younger sister and brother got married remains a spinster throughout her life though she has an inner longing to get married. In the last story, Kanyaka, though Kumari is married to Narayanan she remains a spinster because he does not have any interest in her.

Chinnu Amma in the story named after her gets married but could not give birth to a child and never cares to sacrifice her chastity by surrendering herself to another man for a child.

Some of Thakazhi’s female characters are not only bold but also clever and calculative as Pankiamma in the story Pankiamma. She is married to a man who has plenty of fertile land, but she allows another man who has cash to approach her leading the two to fight resulting in imprisonment to both men.

At last when these two men return from imprisonment united they see Pankiamma, who is the rightful owner of their property and money, living with her new husband and child.

© Copyright 2000 - 2008 The Hindu

MALAYALAM Travelogue with a difference NEELA PADMANABHAN ORU AFRICAN YATRA — Travelogue: Zacharia; DC Books, DC Kizhekemuri Edam, Good Shepherd Street, Kottayam-686001. Rs. 295. THIS IS a different travelogue in which Zacharia interestingly narrates his travelling experience about the internal landscape of modern Africa with minute geographical details as well as historical background. He has selected more or less the same route that Malayalam’s earlier famous travel writer S.K.Pottekkad travelled 52 years ago. S.K Pottekkad started his travel in the colonial period — 1949 from Africa’s East coast. But Zacharia starts his journey through the route map, which is re-plotted by colonialism. The selected places and sites have vision of true journalism as well as artistic awareness. One can understand from this book the brighter face of modern Africa. Even today some may be ignorant of the fact that Africa is the nearest neighbour of Europe as Zacharia points out. From the southern promontory of Spain the coast of Morocco in Africa through the Gibraltar sea path is less than 20 km. But the distance in between the minds of people of these two continents is infinite. Zacharia went to Johannesburg and from there to Cape Town to reach the Cape of Good hope. His stay at Holy cross convent at Umtata, the birthplace of Mandela is interestingly narrated. Every careful reader will enthusiastically inspire Zacharia’s ultimate travel experiences in Congo Caves in George Town, Outs Hoorn, Gandhi-Luthuli Peace Park, Durban, Pretoria, Okavango Delta, Zimbabwe, Hwange National Park, Victoria waterfalls, Mozambique, Nairobi, Kenya, source of Nile, Cairo and many other places. He aptly quotes Pottekkad from his book to get the picture of Africa in the 1950s. © Copyright 2000 - 2008 The Hindu

TAMIL Of love and betrayal NEELA PADMANABHAN APPAVIN KAADALI — Tamil Translation of Paarappurathu's Malayalam Novel: Translated by Sura; Saaru Prabha Publications, 106/4, Jani Jahan Khan Road, Royapettah, Chennai-600014. Rs. 25. PARAPPURATHU IS one of the famous Malayalam novelists of yesteryears whose masterpieces Ara Naazhika Neram and Pani Theeratha Veedu were successfully made into movies. One can note his keen power of observation and effortless narrating power even in this short novel under review. Although Appavin Kaadhali (Lover of Father) is short, it mirrors the life of the farmers of a village in central Travancore of Kerala. Not only the major characters like Appa (Kaleekal Koon Kurup) and his Kaadali (lover-Gauri ) but also Sumathi, her husband Daamu, milkmaid Naaniyamma, Achutha Kurup and other characters are well pictured. Manikuttan alias Raghavan Nair, son of Kaleekal Kurup is a caring family man who has a loving wife and two children and financially well off. The whole story unfolds through him. Their family life was not happy and peaceful. At the same time their neighbour and relative Sumathi and her husband Daamu have a pleasant and peaceful family life though their income is poor. Manikuttan learns the lesson about happiness and prosperity from them. Parappurathu records in this novel the disintegration of one man's life after he becomes the unwilling recipient of rejection of love from his long-term mistress, though he has a wife and children. It is the outcome of betrayal leading to debts, disease, distress and finally to death. The simplicity of the narration is what makes the novel compelling. Sura's Tamil translation is satisfactory and readable. © Copyright 2000 - 2005 The Hindu TAMIL On men and matters IRANTHA KALAM PETRA UYIR — Collection of Essays by Sundara Ramaswamy: Kalachuvadu Pathippagam, 669, K.P. Road, Nagercoil-629001. Rs. 90. THIS BOOK is a collection of essays, prefaces, reviews, tributes and even letters to editors by Sundara Ramaswamy who is well-known in the field of Tamil literature. Most of the contents of this book are his responses and reactions on men and matters of current age (only exception is "Thiruvalluvar Ennum Nanpar"), particularly on literature. Na. Pitchamurthi's art tradition and humanism, Pudhumaipithan's modern approach, the author's conversation with T.M.C.Regunathan on Pudhumaipithan and his tributes to him (Regunathan) after his demise and his stray thoughts on E.M.S., C.S.Chellappa, Naa.Govindarajan (Singapore), Mu.Thalayasingam (Sri Lanka), Kumar Murthy (Canada), R. Raveendran, are a few among the essays. His views on education (introduction of a book contains his conversation with V.Vasanthi Devi, former Vice-Chancellor of Manonmaniam University), and Tamil language ("Tamil Vazhi Kalvi") also are dealt with in the essays. The author's revisit to his ancestrol home in Kottayam after a long period and the growth of D.C.Books in Kottayam during the 25 years are narrated interestingly in two essays. In one article he differs with Asokamitran on Tamil cinema and popular actors. In another piece he replies to Malan. Adoor Gopalakrishnan's new art film "Nizhal Koothu" is reviewed in one essay. His reviews of the African novel "Things Fall Apart" (1958), Tamil translation "Chithaivukal" by N.K.Mahalingam, Kannada Dalit stories, Pavannan's Tamil translation work "Puthainda Kaatru" and his translation of Thakazhi's Malayalam novel "Thottiyude Makan" (Son of the scavanger) into Tamil are thought-provoking. His view on writings for periodicals is noteworthy since he is not only a contributor but also was an editor of his own magazine. NEELA PADMANABHAN © Copyright 2000 - 2008 The Hindu MALAYALAM Gender parity NEELA PADMANABHAN PRANAYAM LAINGIKATHA ADHIKAARAM — Essays: Geetha; Pub. by Current Books, Thrissur-680001. Rs. 60. THIS BOOK contains 12 essays dealing with the contemporary problems connected with gender relations. One may be curious to know about love, sex and power or authority between men and women living today from the point of view of a representative of women who has been affected by the domination of men over women through the ages. The author tries to establish that modernisation of the relationship between man and woman will be the prime cause of social progress in the future. She repeatedly questions the age-old set up of the family system in society where the male is supreme in each and every aspect of day-to-day life. She points out that the equality being preached nowadays by the feminists is mutually dependent and interconnected with the same concept taught by Marxism. He argues logically and forcefully to fight against male domination, the necessity of common kitchen and forsaking the ancient dress code prescribed to women. Marriage and the dowry system, gender relationship in campus, male authority in language and mercy petitions of the rape culprits are few topics which are discussed in depth and in detail in this book. Though they may seem harmless at first sight, many of the common practices in our social system are mischievous, teasing and torturing to women, according to the author. One hopes that this book will lead men to rethinking and self-introspection. © Copyright 2000 - 2006 The Hindu MALAYALAM Tagore's novel NEELA PADMANABHAN KANNILE KARADU: Choker Baali (A Grain of Sand) by Rabindranath Tagore in Bengali, M. Bilina — Tr. in Malayalam; Mathrubhumi Books, Cherooty Road, Kozhikode-1. Rs. 135. IN THIS novel, Rabindranath Tagore (1861-1941) masterly pictures the wavering mind of Mahendran oscillating between his obedient and faithful wife Asha and a young widow Vinodini who is charming and an intellectual, and has other pleasing qualities to attract him as well as his intimate boyhood friend Vihari. The aesthetic surroundings and atmosphere of rural Bengal and Calcutta city in that period, and the changing seasons enhance romantic feelings in the main characters. Vihari is portrayed as an ideal character like Gora in Tagore's another maiden novel Gora. Though the novel is interestingly woven through misunderstandings and the missing of some important letters, at last after knowing the truth when Vihari expresses his willingness to marry Vinodini she prefers to worship him instead of marrying him. Even after finishing the novel, the characters, situations and its atmosphere keep reverberating in the readers' mind. M. Bilina's translation is fluent and natural, and capable of bringing the poetic beauty and diction of Tagore's original Bengali style to the target language — Malayalam. © Copyright 2000 - 2006 The Hindu   MALAYALAM Modern Tamil poetry PUTHU NANOORU — Collection of translated modern Tamil poems by various poets: Selected and translated by Atoor Ravi Varma; Current Books, Round West, Thrissur-680001. Rs. 135. TAMIL, AS a classical language, has a long literary heritage. Anthologies of poems like Aka Nanooru (400 love poems), Pura Nanooru (400 war and other poems) by different poets are valuable contribution of ancient Tamils of the Sangam age (400 B.C.— 200 A.D.). Atoor Ravi Varma, a significant Malayalam poet of today, has compiled the book under review, whose title means 400 new Tamil poems, by various contemporary Tamil poets. Though the sparks of modernity began in the 19th Century from Ramalinga Swamigal (1823-74) and Gopalakrishna Bharathiar (1786-1881), Subramania Bharathi (1882-1921) initiated the free verse movement in Tamil. Bharathi's Kaatchi (scene), Sakthi (strength), Kaatru (the wind) and a few other poems are free from the excessive emotional fervour that one normally finds in his other compositions. This book begins with Bharathi's Kaatru (in Malayalam Vaayu) and contains around 270 poems of 59 poets including 13 Sri Lankan Tamil poets. Compared with the conventional poem in traditional metre, which has a fixed arrangement of syllables for a particular form of poetical rhythm, free verse in this book avoids juggling with words consciously, though some poems are difficult to understand at first reading. Most of them are on personal feelings and experiences and no conscious effort is made to generalise them. No detailed narration, lengthy description and reporting, but there are conflicting visions, powerful imagery and dramatic moments in a flash. Over-emphasising is rare; instead there is a soft style, entirely new diction and plenty of silence or pause. Those who agree with the view that the merit of a poem depends on the experience than the meaning, preaching and message can enjoy the poems of Nakulan, C. Mony, and Vydeeswaran of yester-years and Samayavel, Jaya Bhaskaran, Kanimozhi, Rasul, Jayapalan, Salma Sukumaran and others of today. Though it is difficult to compile an anthology representing each and every literary trend and group, poems of different literary genre as well as little groups are seen included in this book, especially known and unknown poets of today. Still, one may note the omission of Pudhumaipithan, Ku. Pa. Rajagopalan, Vallikkannan and T. S. Venugopal of the yester-years and entire Vanampaadi poets of contemporary period and a few others like Brahma Rajan. Though traditional poetry with its rigid forms of prosody, style and subject matter declined during this period, quite a number of poets are also still there. Such poems are also not included in this book. However, this effort must be appreciated since after Puthukkuralkal (1962) (new voices) compiled by the late veteran Ci. Su. Chellappa no such serious attempt has been made even in Tamil to collect the different individual voices in one book like the collection under review. NEELA PADMANABHAN © Copyright 2000 - 2008 The Hindu   TAMIL Social novel SIVAPPU DEEPANGAL: Tamil translation of Madhavikkutti's a Malayalam novel and a short story by Sura; Saaru Prabha Publications, 106/4, Jani Jahan Khan Road, Royapettah, Chennai-600014. Rs. 30. THIS BOOK is a Tamil translation of Malayalam writer Madhavikutti's novel "Rugmanikkoru Paavakutti" (Rugmani has one doll) and a short story "Neelakkadal" (blue sky). Though the novel deals with the red light areas of Mumbai, the author handles the theme artistically. It unfolds the bitter truths through the eyes of a 12-year-old girl, Rugmani, who is bought from a poor woman Anasooya by exploiting her utter poverty and so the original Malayalam title is apt and appropriate. But the translator has changed it as "Sivappu Deepangal" meaning "Red lights", which cannot be justified in the strict literary sense. Though the girl, at first expresses her hatred towards the inspector, later she does not hide her affection for him when he gifts her a doll. The short story "Neelakkadal" deals with the problems of the modern middle class woman. Renuka Devi who takes to social service after getting voluntary retirement decides to visit Singapore to participate in an international conference. The story unfolds her dilemmas and mental agony to liberate herself from her middle class morality and false prejudices. Sura's translation is spontaneous in bringing the poetic style from the Malayalam original. NEELA PADMANABHAN © Copyright 2000 - 2005 The Hindu   MALAYALAM Social novel NEELA PADMANABHAN CHITTAMRUTHU: V. S. Khandekar in Marathi; Translated by Kaliath Damodaran in Malayalam; DC Books, DC Kizhakemuri Edam, Good Shepherd Street, Kottayam-686001. Rs. 85. V. S. KHANDEKAR IS a familiar name in Malayalam, Tamil and other Indian languages. This book is a Malayalam translation of Khandekar’s Marathi novel Amruthavel (1968). Differing from his earlier Gnanpith Award-winning philosophical novel Yayathi (1974), which has the background of the Mahabharatha, this is a social novel dealing with some of the bitter truths about modern men and women. In the course of the skilled weaving of the silk yarn of the inner and outer world of the individuals, Khandekar’s deep knowledge of not only India’s puranic-mythological characters like Savitri, Aswathama and his father Drona but also Shakespeare’s Hamlet, his mother and Hemingway’s Old man and sea has come out aesthetically. Though this novel is mainly centred round Nanda, her friend Vasunthara and Vasunthara’s husband Devadatta, one cannot overlook the other minor characters. The novelist analyses how society brands people as good and bad without bothering about their other sides. Unknown circumstances and reasons prompted Devadatta as well as his parents to their “so called” misdeeds are uncovered gradually as in a film or stage play. Devadatta’s highly intellectual and philosophical dairy jottings, letters and Nanda’s responses and reactions towards them lead the storyline interestingly up to the end. Kaliath Damodaran’s Malayalam translation keeps well the joy and spirit of the original Marathi. © Copyright 2000 - 2008 The Hindu MALAYALAM Swedish poetry NEELA PADMANABHAN URNGUNNAVARKKULLA KATHUKAL (Modern Swedish Poems): Tr. by Satchidanandan; D.C. Books, Kottayam-686012. Rs.100. THIS IS a Malayalam translation of a collection of Swedish poems, a first in Malayalam. In this anthology 173 poems by 21 Swedish poets have been translated with a detailed introduction about Swedish poetry and brief notes on all the poets by Satchidanandan for which he deserves appreciation. It is known he has taken pains to visit Sweden for discussing the peculiar individual nature of the poems with most of the poets in person. That is why one can experience the exceptional calmness and beauty of these poems even in this translation. Undisturbed observation, minute attention on men and matters, balanced imagination immersed in past memories and present landscapes, handling of meaningful images, moderate and cautious usage of words are common features of these poems. All but one (Werner Aspenstrom 1918-97) of these 21 poets are living, who represent four generations. Werner Aspenstrom’s poems deeply discover the glorious moments in between death and expectations. Poems of Tomas Transtromer lead the readers to a parallel world of dreams and imaginations. But Agneta Pleijel searches the inner self through her poems. Theepetta Raani (Expired Queen) leads the reader to a mystical world of mythology and legend. The title poem Urangunnavarkkulla Kathukal (Letters to sleeping persons) by Marie Lundquist is a typical poem, which gives a kind of mystifying experience and restlessness to the reader’s mind. © Copyright 2000 - 2008 The Hindu   MALAYALAM About joint families NEELA PADMANABHAN HOME: Manju Kapur in English; Translated by Jibu Jamal in Malayalam; DC Books, DC Kizhakemuri Edam, Good Shepherd Street, Kottayam-686001. Rs 165. THE JOINT family system and the complex situations that arise from it have been forcefully brought out in many novels written in different regional languages of India. This Anglo-Indian novel originally written in English is also about home and joint family. Compared to men, women — especially Indian women — are not only more conversant with the happenings in a home but they also feel quite at home with them . And Manju Kapur deals with this topic expertly as well as interestingly in this novel. The story of three generations starting with a textile businessman, Banvari lal who migrated from Lahore to Delhi at the time of Partition with his wife, two sons and a daughter and built up his home through his hard work is portrayed meticulously in this novel. The family has a natural urge to develop its business and improve its financial position. Naturally men are in the forefront, although these days women are also in the field by compulsion or for some other reason. Despite living in the ultra modern city of Delhi , womenfolk are keen on upholding the rituals and religious practices. The Malayalam version is readable and the translator has succeeded in bringing out the flavour of the original. © Copyright 2000 - 2008 The Hindu