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Arundhati Roy in Indian Languages—What Distances?Vijaya Kumaran C.P.V.fgndi •Alice Truax wrote in her literary review in NewYork Times (25May, 1997) that 'the quality of Ms. Roy's narration is so extraordinary— at once so morally strenuous and so imaginatively supple —that the reader remains enthralled all the way through to its agonizingfinish.' Roy uses a variety of English in The God of Small Thingsand she is successful to communicate to the world the culture sherepresents. The beauty of her novel lies in the use of Indian Englishand the varieties of techniques she uses. She uses that English, whichis a distorted one from the standard conventional use of wordsand sentences from regional languages in India apart from the useof subjectless sentences, faulty spellings, capital letters, use of italics,single word sentences, change of parts of speech, clustering ofadjectives, nouns and deviation from normal word order etc., inEnglish. That English is a kind of 'Manglish' (Malayalam-English)and 'Hinglish' (Hindi-English) as far as the Indians are concerned,but for the international readers she had the Oxford and Cambridgeversions too. In her forward to the Malayalam translation ofArundhati Roy, the acclaimed story writer Smt. Priya A.S. disclosedthat 'The God of Small Things' is a book which is intranslatable,and this sounds like the referred title of Raji Narasimhan in HindiDiscourse Writing. Priya took it as a challenge to pen the wholediscourse which felt her like 'a sea of sorrow.' To make more clearspecifically, 'it is the sorrow of those, who are haves and who haveall but, those marginalised.' Raji took it for granted the languageApril-June 2013 :: 133
of power of the original to be translatedfor making the effect of the original. Theopening comment of the translation criticin Hindi is that "The language of The Godof Small Things is overpowering. For thetranslator this strong, fore-groundedpresence of the parent language createsproblems." Raji, is quite convinced thatmastering the target language Hindi is notenough to create the nuances of the originalsince the content of the novel is encodedin two-three languages, by deconstructingthe traditional writing style.As the English publisher of the booktook meticulous care about the typeset,cover design and other details of the qualityand publication and the publicity the bookreceived was undoubtedly the result of awell-planned strategy, a fact so muchemphasized by her detractors, it is bindingon the translators to keep all of them intheir re-renderings. We have both Hindiand Malayalam, the Indian languagetranslations of Mrs. Roy, which had thesimilar cover designs of the original.Arundhati took freedom to arrange eachword as in English Capital letters, whichshe retained from her childhood. That issaid to be an innovation in language ofsource text. In characterizing BabyKochamma, the novelist had the sametechnique of depicting her life backwards.Regarding the calligraphy of English whatthe original text attracts and creates bestimpact on the context of rendering, is thecapitalising of the beginning of someselected words, wherever there are stressesand intonations. Non-English phraseswhich are italicized include those inMalayalam as well as the Latin "εt 'tu:bru:tε?” the Hindi & Malayalam mixedslogans 'Inquilab Zindabad! Thozhilali EktaZindabad!" (Arundhati, 66), and the Tamil'Rombo maduram'; expressions inMalayalam, such as 'Ruchi lokathindeRajavu,' and its literal translation of'Emperors of the Realm of Taste'(Arundhati, 46); (The novelist herself hadcommitted that the translation isridiculous.) To quote : 'It was a literaltranslation of Ruchilokathinde Rajavu,which sounded little less ludicrous thanEmperors of the Realm of Taste. (Ibid).Malayalam translator did some overttranslations on similar occasions and addedboth the source and target idioms andphrases, viz. in transliteration and shifting,to communicate the original (Priya, 65).Hindi translator had a recreation of theoriginal as he translated the term as —Swaad Ke Sansar Ke Samrat, (Neelabh, 60)to be faithful to the TL readers, where hecould create the alliterations by using therepeated consonants S & K in each word,and we have to forgive for making themeaning of the whole phrase in plural -viz. Ke Sansar, Ke Samrat etc.The children's extraordinary habit ofreverse reading, of words as seen reflectedin a mirror, is also given emphasis in asimilar way : "ehT serutnevdA fo eisuSlerriuqS. enO gnirps gninrom eisuSlerriuqS ekow pu. None of the translatorsin Malayalam or Hindi could becomefaithful to this craft. They would hesitateto tell that the Indian Language scripts134 :: April-June 2013fgndi •
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A Journal ofMahatma GandhiAntarrash
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LANGUAGEArundhati Roy in Indian Lan
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all is not well with the world. Ult
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After tallying the anubhavas mentio
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sustenance. If it fights shy of phi
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progression from Shringararasabhasa
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glamour and fame, I always looked a
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grandmother. Scolded for stealing t
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of his episodes and characters from
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The short story Najum (astrology) b
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India, Indianness and BuddhaDev Bos
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Buddha Dev Bose's writings on Tagor
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development of the idea of a worldl
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defies the set patterns of known li
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The Concerns of CriticismShambhunat
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On the basis of feudal thinking the
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etween the interests of different s
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silent about Hazari Prasad Diwedi.
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Imperialism. The imperialists had c
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conventional reformers to evaluatet
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expansion of knowledge emotions are
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unprincipled propaganda takes place
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drowning with shame or pride in it.
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made criticism a pure literary subj
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It is a great paradox that in an ag
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how much they are mixing with it. M
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peculiar way of protest against not
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Radha Worship in Hindi LiteratureL.
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valuable ornaments and clothes. His
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literature in general and Hindi lit
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Not only this the hunger which I go
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3. We the Janvadi PoetsWe are write
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5. A FarmerThis time paddy crophas
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isolated, lonely and stained with p
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3. A COFFIN AND A BOTTLEIn this roo
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The omnipresence of your super imag
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As I look at the black and white pr
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But when I touched the door of the
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7. LIFEThat day when I entereda mag
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2. TEA WITH DONNEGood Morning, dear
Page 81 and 82: 4. HI, KRISHNA!Hi, Krishna!What’r
Page 83 and 84: Malbe Ka MalikMohan RakeshJai Ratan
Page 85 and 86: 'Everything else has changed but no
Page 87 and 88: feet, on a brick path near the open
Page 89 and 90: ightened up on seeing Rakkha Pahalw
Page 91 and 92: 'So what happened?''Nothing happene
Page 93 and 94: Mad DelightMohan Rakesh was as much
Page 95 and 96: In continuous rhythmic movements, h
Page 97 and 98: is the silence within . . . silence
Page 99 and 100: ehind. The man remains alone once a
Page 101 and 102: stretching road ahead."And how much
Page 103 and 104: the car."Tell me what do you want?"
Page 105 and 106: "Was it necessary today itself ?" f
Page 107 and 108: laughed father “not a morsel to e
Page 109 and 110: Rites for The DepartedChandrakantaR
Page 111 and 112: gazing at the swiveling waves of th
Page 113 and 114: salutations to the Ganga : 'These p
Page 115 and 116: He won his mukti in that instant of
Page 117 and 118: a rush for a plank she suddenly see
Page 119 and 120: The Voice Which was Progeny...Tarun
Page 121 and 122: growl, blare and shouts had compell
Page 123 and 124: Broken bamboos and thatches strewed
Page 125 and 126: forest and open land. The man and w
Page 127 and 128: "But I have already taken the money
Page 129 and 130: Ramrath and Bhagirathi's fate gave
Page 131: than their son.That boy knew this m
Page 135 and 136: the time. "That raises a question i
Page 137 and 138: The novelist was translating her ow
Page 139 and 140: 13th paragraph, Arundhati used the
Page 141 and 142: Referencesi. 'Arundhati Roy, transl
Page 143 and 144: translation of literature in Englis
Page 145 and 146: Sons published it under its Traditi
Page 147 and 148: here that he forgot to smile.'"Afte
Page 149 and 150: are the opulence of royalty, strugg
Page 151 and 152: wide web (www) which has created ap
Page 153 and 154: in it move beyond Cultural Studies
Page 155 and 156: Prize. Wasn't it in the early years
Page 157 and 158: deep insight into the life and work
Page 159: 25. Ms. Kanan Jhingan, 48, Swastik
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