subimal misra

A tribute to the anti-establishment Bengali author Subimal Misra, who handed away lately

An opportunity on-line encounter in 2005 with author Mrinal Bose led to my taking over the interpretation of the early tales of the Bengali ‘anti-establishment’ author Subimal Misra, and subsequently embarking on a long-term challenge of translating Misra’s quick fiction. I had by no means heard the creator’s title earlier than, and though I had been a voracious reader of literature in English, I hadn’t learn a single work of Bengali literature in Bangla until then. All I possessed was a detailed familiarity with the language by means of dwelling in Kolkata and having been engaged for 20 years with grassroots social and public motion in my metropolis. I had learnt to learn Bangla in elementary college, however that was rusty.

As I used to be quickly to find, Subimal Misra — who handed away on February 8 — was referred to as the anti-establishment author, who printed solely in non-commercial little magazines, and, sometimes, books on his personal. He had begun his literary journey in 1967 — the 12 months of Naxalbari. It was the ideology he most carefully recognized with, regardless that he was additionally crucial of many facets of it. Just like the creator whose voice was undermined by the unreliable narrator of his personal creation — his adolescence is as a lot shrouded in thriller as his books are troublesome to search out.

He selected to depart from standard narrative fiction, and wrote tales and novels that he known as ‘anti-stories’ and ‘anti-novels’, the place the method of writing predominates and tries to problem the reader’s preconceptions, encouraging a discursive, deeper understanding. He made the cinematic language of (Soviet movie director, screenwriter, movie editor and theorist, Sergei) Eisenstein and (French filmmaker) Jean-Luc Godard his personal, as he did (American author) William Burroughs’ cut-up technique.

He was scathingly crucial of the mores of the bourgeoisie and the bhadralok, and wrote empathetically concerning the underdog, the subaltern, and about sexual perversion. His 1969 story, “Haran Majhi’s Widow’s Corpse, or the Golden Gandhi Statue”, and his first assortment of tales, printed in 1971 with the identical title, took Bengali readers by storm. With two extra highly effective collections within the following years, he was the uncrowned prince on the planet of ‘parallel’ literature in Calcutta by the tip of the Nineteen Seventies. Within the following decade, he self-published his ‘anti-novel trilogy’, in addition to a set of essays that included a manifesto of the ‘anti-novel’.

I clearly bear in mind my early translation efforts. Misra’s ‘tales’ have been like nothing I had learn earlier than, whether or not in kind or content material. So, I seemed on the bushes and never the wooden, so to talk, and easily focussed on phrases and sentences. I even managed to render a vulgar rhyming people ditty within the story, ‘Uncle Seer’: “Twixt mom and spouse, discriminate not a whit/One bestows milk and the opposite a tit!”.

It was after I started engaged on the second Misra assortment, Wild animals prohibited, that I confronted translation challenges that I felt have been insurmountable. Misra had informed me that since he departs from the narrative kind, the emphasis is on language. I needed to repeatedly take care of the impossibility of meaningfully translating numerous tales. After I learn out my draft of the story ‘Blue Phosphorus’ to Misra, he informed me that the interpretation shouldn’t be logical however dreamy, like Lorca or Borges. He wished oblique phrases, not direct ones. He wished me to ingest Pablo Neruda and Paul Eluard. Lastly, on his recommendation, the story was dropped.

Till 2013, I used to be in a position to seek the advice of Misra on the translations of his tales. Thereafter, I used to be totally by myself. Any inquiries have been met together with his routine response of “no matter you assume acceptable”. I additionally needed to undertake a good quantity of studying so as to acquaint myself with Misra’s work. In impact, I used to be a barefoot scholar-researcher and anthologist, moreover being a translator.

Then got here the anti-novel, ‘This May Have Turn out to be Ramayan Chamar’s Story’. I undertook the primary spherical of translation with out a clue about what it meant. Understanding dawned by and by, over a number of rounds of additional work. I used to be additionally lucky to have as editor Rahul Soni, one of many best literary editors within the nation. That the interpretation went on to be critically acclaimed in India and the USA was immensely satisfying.

The fourth and last assortment of anti-stories, ‘The Earth Quakes’ (forthcoming), introduced a distinct set of challenges. One story had an impossible-to-translate title (reasonably just like the made-up phrases within the poem Jabberwocky). It had two narratives operating parallel, considered one of which was within the Bengali of Bankimchandra Chattopadhyay. As I used to be translating it, I obtained an inexpressible sense of the mighty genius of the creator, of the true nature of his literary-social-cultural endeavour — which additionally meant the demise of the translator, within the sense of the work being untranslatable.

Misra had written within the preface to ‘The Golden Gandhi Statue from America’ that readers must view his tales like stairs to be ascended, so as to comprehend the latter phases of his writing. I needed to develop in numerous methods, starting from my engagement with the Bengali language – and in addition just by studying and rereading Misra – so as to rise as much as the challenge of translating his work. And so, I’m comfortable that by means of my labours, I’ve been in a position to present readers in English with a grand Subimal Misra staircase!

(V Ramaswamy is a Kolkata-based businessman who interprets voices from the margins)

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