English and its transliteration, whereasPriya got rid of by penning them in Englishonly, and if she tried to interpret eachMalayalam word after scribing Police, nomeaningful idioms or phrases in thelanguage can be created. That's why wehave to take for granted what Priyadisclosed in the foreward to her Arundhati'stranslation that she has been rolling stonesfor a long time, and the pain and pleasureof that rolling is to be released with theone in black and white what she couldproduce, but without any prejudice.Neelabh has not produced any Translators'Note or forward to his translation as if heis prejudiced to have this acclaimed bookinto the skies of Indian National LiteraryTreasure, in <strong>Hindi</strong>.To conclude, if we could compare bothtranslations of Arundhati in IndianLanguages, one of the Aryan tongue andother of the Dravidian, we could see thetranslators are blessed with their owncreative intelligence in Malayalam and<strong>Hindi</strong> and they had a tremendous task aswell for compensating and substituting theauthor. Neelabh even took pains to explainso many foreign and culture boundcontexts, and re-create his own style in there-renderings. Priya had some hesitationto pen that she was not too much closeto the original, even though she had verymany contexts of leaving Arundhati withher bilingual interpretations tomonolingual in Malayalam. Thismasterpiece is a sea of language inventionsand interventions in The God of SmallThings. Even if, Raji Narasimhan withsufficient proofs comes to the conclusionthat Neelabh took a wrong book totranslate, when we go through the otherIndian Language translations of Arundhati,the same opinion can be repeated. Takingfor granted the translator's choice andliberty in translation, the overt and coverttranslations that we do have with aperspective to knit Indian Literaturethrough Malayalam and <strong>Hindi</strong> with thatof the Malayalam bound English author,the trios referred above, can be proud ofilluminating the Indian Culture andTradition to the World of Letters. We canalso have a view of Arundhati's own viewsof her language use to put this discourseto an end : "Language is a very reflexivething for me. I don't know the rules, soI don't know if I've broken them. As avery young child my mother gave me abook called Free Writing and we wereencouraged to write fearlessly. The firstcoherent sentence I ever wrote, which isactually in this book, was written whenI was five. It was about an Australianmissionary who taught me. Every day shewould say, 'I can see Satan in your eyes.'So, the first sentence I ever wrote was :'I hate Miss Mitten and I think her knickersare torn."fgndi •April-June 2013 :: 141
Referencesi. 'Arundhati Roy, transl. Priya A.Si,2011, "Kunju Kryangalude Odeythampuran",(Malayalam) Kottayam, D.C. Books, p. 7.ii. Raji Narasimhan, The God of SmallThings : A Wrong Book to Translate,HINDI Discourse Writing, Wardha,<strong>Mahatma</strong> <strong>Gandhi</strong> <strong>Antarrashtriya</strong> <strong>Hindi</strong><strong>Vishwavidyalaya</strong>, pp. 138-152.iii. Quoted from the book, Dhawan.R.K. (ed.), 1999, Arundhati Roy : TheNovelist Extra Ordinary, New Delhi,Prestige Books, p. 14; in Amitabh Roy,2012, p. 45.iv. Conversations with Arundhati Roy,2009. The Shape of the Beast, New Delhi,Penguin Books, p. 26.v. Quoted Amitabh Roy, 2012, TheGod of Small Things : A Novel of SocialCommitment, New Delhi, Atlantic, firstedition 2005, -p 37.vi. lbid. p. 2.vii. http://www.india50.com/arundhat.htmiArundhati Roy, 2002, The God of SmallThings, New Delhi, Penguin Books, firstpublished 1997. Neelabh, 2008, MamuliChizom Ka Devata, (<strong>Hindi</strong>) New Delhi,Rajkamal, first edition 2004. http://www.nytimes.com/books/97/05/25/reviews/970525.25truaxt.htmlVijay Kumaran, is professor of <strong>Hindi</strong> at Central University, Kerala Kasaragod: He lives inKerala.142 :: 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
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4. HI, KRISHNA!Hi, Krishna!What’r
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Malbe Ka MalikMohan RakeshJai Ratan
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'Everything else has changed but no
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feet, on a brick path near the open
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