Tag Archives: French

Shweta Taneja’s dystopian story published in Kitaab’s The Best Asian Speculative Fiction a pre-finalist in major French Award 

By Mitali Chakravarty

Shweta Taneja’s story named as pre-finalist in French Grand Prix de l’Imaginaire

The Best Asian Speculative Fiction (2018) is like a rebellious shout to change the world with its threat of futuristic dark stories. Many award-winning and well-known writers like Kiran Manral, Vrinda Baliga, Rochelle Potkar, Park- Chan Soon, Tunku Halim and Eldar Sattarov, have contributed to the anthology. The stories have covered different areas of the genre called speculative which the editor, Rajat Chaudhuri, an established voice in this field, calls, “our adorable, shape-shifting, slippery creature”. 

Zafar Anjum, the series editor of the Best Asian series and publisher, explained how the Speculative fiction anthology  came about and the editor was chosen: “It was an idea suggested by one of our authors, Anuradha Kumar, and when we got in touch with Rajat to work on an anthology of speculative fiction, he readily agreed. Rajat had done reviews for us before and we always admired his writing, so it was a natural choice.”

Chaudhuri picked Shweta Taneja’s story, ‘The Daughter That Bleeds’, for the Editor’s Choice Award. And now, it has been picked as a pre-finalist in the prestigious French Grand Prix de l’Imaginaire. This French award was first given in 1974 for science fiction and later stretched to the emerging genre of speculative. Winners include Ursula Le Guin (2008), Ken Liu (2016) and Carolyn Ives Gilman (2019). The French Ambassador to India, Emmanuel Lenain, has tweeted about this, tagging Kitaab and Chaudhuri.

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Grand Prix De L'Imaginare

Chaudhuri has remarked that Taneja’s story fits into Margaret Atwood’s formulation of this genre. In his introduction he tells us, “Atwood’s test for the speculative is on the touchstone of possibility … Marking a clear break from some of the improbabilities of science fiction, her formulation stresses on this aspect of possibility as the sine qua non of the speculative.” Shweta’s story is “about a market for fertile women who have become rare in a post-apocalyptic India”.  Read more

Urdu Novel Accepts the Challenges of the Era in Paris: Rahman Abbas  

 Recently, Sahitya Akademi Award winner for Urdu, Rahman Abbas, journeyed to the Institut National Des Langues et Civilasations Oriesntales (INALCO) in Paris to deliver a lecture. Translated Urdu novels are gaining in popularity and getting translated into multiple European languages, like German and French, he surmised. Novels in Urdu evolved around the 1940s-1950s with writers like Intezar Hussain and  Quartulain Haidar and books like Do gaz Zameen by Abdus Samad and Makaan by Paigam Afaqui. Makaan  is said to have been a major influence even on novelist Vikram Seth. 

Farhan Ahmad, Urdu lecturer, INALCO, Paris tells us about the talk given by Rahman Abbas in France.

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Sahitya Akademi Award winner Rahman Abbas with Academics in France

 

On 5 November 2019, INALCO, invited Sahitya Akademi Awardee, Urdu Novelist Rahman Abbas, to deliver a lecture on the topic “The Contemporary Indian Urdu Novels” in France. 

 The co-director of the department of South Asia and Himalaya studies and research scholar, Shahzaman Haque, introduced Abbas to faculty members and the students and said that Rahman Abbas was one of the major contemporary Urdu novelists of India. He thanked his department and his laboratory PLIDAM (Pluralité des langues et des identités) for financing the travel and accommodation of the Urdu author. 

He said that Rahman Abbas’s novel Rohzin had already been translated into German and would soon be available  in English, French and Hindi too. There is a growing demand for translation of Rohzin and other novels of Rahman Abbas in France. Rahman is known for his unique style of narration and his dealing with human sensibilities. Read more

How K. Madavane’s ‘A Paper Boat on The Ganges’ is an Indian Aristotelian short story

By Farah Ahamed

The aim of tragedy, according to Aristotle is to bring about a ‘catharsis’; to arouse in the spectators’ pity and fear and to purge them off these emotions so that they left the theatre with an understanding of the ways of gods and men. The audience witnessing the changes in the fortunes of the protagonist creates the catharsis. He wrote:

“Tragedy is an imitation, not of men, but of action and life, of happiness and misery.”

IMG_0810To Die in Benares*, (2018) translated from the French by Blake Smith, is a collection of seven stories, which have this cathartic effect.  I will illustrate this by analysing the first story “A Paper Boat in the Ganges”, which centres on the life of Fougerre who has to confront Aristotlean obstacles in his life; colonialism, mythological gods, and fate. Set in Pondicherry at a time when it was still under French occupation, the story covers almost fifty years and presents a compressed montage of brisk, vivid scenes each with intense gesture and detail.It opens with these weighty lines:

“India is probably the only country where fate’s grip on the lives of individuals is so easily accepted. Life isn’t fair. People say it a lot. People hear it said still more often.”

The introduction sets the sombre mood for fate to hijack the character’s life with the ‘epic proportions of the cruel Gods of ancient Greece’. We find the two protagonists — Manu and his Tamil friend, Fougerre — in the sixth grade at a school managed by the French Government. The school is attended by French, and Indian students whose fathers are retired French soldiers or French functionaries, who have a strong attachment to French culture and some Tamilian students like the narrator, Manu, and Fougerre who are less so.

Fougerre, in particular, is an “outsider”. He is a dark-skinned Tamilian, which his white French classmates associate with their servant classes. A reticent and timid boy from a more modest background than his white French classmates, Fougerre is hardworking, bright and meticulous. His white peers copy his perfect homework, and resent “his remarkable brilliance”, because he reminds them of their servants. Manu, in particular, is jealous of Fougerre’s artistic skills. Read more

 Short Story: The Disclosure  

By Rashid Askari

The rusty old bus skidded to a halt with a screech of brakes. The engine stopped with an ear-splitting sound. Exhaust fumes were winding into dark clouds. It was a routine picture. There was, however, plenty of room for controversy as to whether it could be called a bus. It was little bigger than a minibus and much smaller than an ordinary one. It looked like a tin-can with a turtle neck. People would call it murir tin. This grotesque shape was made by a local carpenter-cum- bus mechanic who went by the name of Dilu Mistry. Rumour had it that he was capable of making a jet engine only out of the motor accessories. However, the proof of the pudding was never in the eating in Dilu Mistry’s case. If ever asked, clever Dilu would wear a mysterious smile on his face that left a cryptic message that his hidden worth was one of the unsolved mysteries of the locality.  Dilu Mistry’s name was so strikingly inscribed on the turtle-neck’s body that it would tickle your fancy on sight. But the optical attraction would fly out of the windows after you had squeezed into it through the narrow door. Jam-packed with passengers the motor turtle used to move so sluggishly that it would take the whole day to cover the distance of about fifty miles between Rangpur and Gaibandha suffering at least a couple of engine failures. It might have amused people to call it a buffalo-cart, but they were left with no second choice.

Haripada would travel between his home in Mithapukur and workplace in Rangpur once a week. Every Thursday he would come home in the evening, stay one day and two nights and the next Saturday go back to his workplace. He was a lecturer in English at a non-government college on the outskirts of Rangpur town. He joined the college immediately after he had completed his Master’s from Dhaka University. He could have got a much better job in Dhaka, but he missed it for no fault of his own. Dhaka on and after 25thMarch (1971) was blazing. The horrific Operation Searchlight was stalking through the city. Mujib had declared independence of Bangladesh and been taken prisoner. The marauding Pakistani armed forces had overrun the capital and unleashed a reign of terror upon the defenceless people. A mighty eagle swooped on the innocent chicks.

When the buffalo cart driver with a stubbly beard braked hard, the passengers dozing fitfully woke up with a start. But Haripada was not one of them. Nor was he wide awake. Seated by a window he was brooding over his life. How things had been out of joint over a few days! The son of Kalipada Master and the grandson of Bishnupada Master had to be Haripada Master. People would call him Professor. Lecturers of non-government colleges were professors in the eye of the common people. But Haripada was not happy with his position. He was not willing to take up his ancestral profession. He had rather a mind to serve in the civil service and had the ability too. But a violent storm from the western sky had dashed all his dreams.

“Get off the bus. You, the bloody Bengali. Get cracking.” A throaty voice boomed like a rumble of thunder. Read more

Country of Focus: Korea

(From the South China Morning Post. Link to the complete article given below)

A Korean woman struggles in 19th century France in Man Asian Literary Prize winner’s latest book, The Court Dancer

The Court Dancer, the latest novel by Man Asian Literary Prize winner Shin Kyung-sook, is likely to be read in several different ways. The first, and in some ways the most commercial, is as East-West romantic period fiction in the tradition of, say, Alessandro Baricco’s Silk or any number of English-language examples.

In the late 1880s, at a time of growing international threat to the Joseon dynasty, Yi Jin, a court lady, confidante to the queen and accomplished dancer, attracts the eye of the newly arrived French legate Victor Collin de Plancy, just as the queen starts to worry that Jin’s beauty might also catch the eye of the King. Jin has, fortunately or coincidentally, been taught French by a French missionary.

Victor is smitten and, contrary to both tradition and protocol, asks for her to visit the Legation, where she has her first encounter with both Berlioz and champagne: “Jin took a sip of champagne and closed her eyes. It spread in her mouth a fragrance as sweet as the music floating in her ears.”

More substantially, Jin finds herself attracted to Victor’s library.

Victor soon asks for her hand – Jin’s own feelings are ambiguous and remain so, but has little choice in the end – and he is permitted to take her back to France. There, her beauty and fluency in French create a sensation; she impresses real-life author Guy de Maupassant when she reads his work at a gathering at the fashionable Le Bon Marché, and helps translate some of the first Korean literature into French. But she’s a fish out of water, and Victor takes her back to Korea, where she finds she no longer fits either.

Read more at the South China Morning Post link here

Selling rights into China: Interview with literary agent Jackie Huang

Established in 2002, Andrew Nurnberg Associates China is a go-to agency for a many looking to sell rights into the Chinese market. And on February 5 and 6, when Frankfurter Buchmesse stages its two-day Frankfurt Publishers Training Program at the Taipei International Book Exhibition, literary agent Jackie Huang will be a key speaker.

Focused on the rising rate of rights sales to Chinese publishing houses in the past few years, Huang’s talk is one of the most anticipated of the event, which is being led by Frankfurt international business development director Katharina Ewald.

In advance of her address, “Ways Into the Chinese Market,” Publishing Perspectives has had a chance to explore several issues and trends with Huang, who directs Andrew Nurnberg’s Beijing office. We open our exchange by asking about the scale of rights activity the agency is seeing now in its Chinese operations. And we have a chance to show you here some of the key titles the agency has sold recently.

Publishing Perspectives: Can you give us an idea of the pace of rights activity you’re seeing in the Beijing office today?

Jackie Huang: We mainly represent clients from Europe and North America, selling translation rights to Chinese publishers covering adult fiction, nonfiction, and children’s books.

On average, we’re selling rights to more than 1,000 titles per year.

Chinese editors generally have preferred buying rights in nonfiction, especially in history, psychology, popular culture and popular science, parenting, and self-help. But since last year, translated fiction has been having more and more rights attention from Chinese editors, especially for science fiction novels and inspiring coming-of-age stories.

Read More

How English soaks up words from other languages

By Martin Rubin

MAY WE BORROW YOUR LANGUAGE: HOW ENGLISH HAS STOLEN, PURLOINED, SNAFFLED, PILFERED, APPROPRIATED AND LOOTED WORDS FROM ALL CORNERS OF THE WORLD

By Philip Gooden

Head of Zeus/IPG, $24.95, 359 pages

For many people across the world, the dominant role of English has been a problem. Back in the 1960s, President Charles de Gaulle was so concerned that French was being contaminated by such an infusion from across the Channel, that he fought a largely unsuccessful rear-guard action against what was known as “Franglais.” If words like “le weekend” or sound-alikes like “rosbif” instead of the correct French words “boeuf roti” were unstoppable, the words engendered by the American computer-related technologies of the late-20th and early-21st century only made for a truly global tidal wave. Yet even here, there is cross-pollination rather than one-way traffic. Consider the French word menu, long a staple in English food terminology, which now has a whole new connotation.

Rather than focus on the back-and-forth dynamic between languages, British author Philip Gooden has chosen to concentrate on the English language as a sponge that soaks up foreign words from many languages, a list of which he usefully provides. His book is organized charmingly as well as practically, providing in chronological order a multitude of foreign words purloined and then firmly ensconced in our language. His justification for this is characteristically humorous as well learned:

” ‘Good artists copy; great artists steal,’ Picasso said or is supposed to have said. English is a great language by any reckoning, and so it must also be reckoned as more of a thief than a copier yet to steal words from a language does not deprive that language of its own words; rather it is to share the original expressions more widely, in the process often giving them a different spelling, another shape and perhaps a meaning that has strayed some distance from the one in the source. English is adept at this. The language is a great borrower, a practiced thief.” Read more

Source: Washington Times

Foreign language books big crowd-pullers at book fair in Delhi

With over 20 countries participating in the ongoing New Delhi World Book Fair, foreign publishers are offering a diverse collection of books, but it is the language learning guides that are attracting heavy footfall.

Available for several foreign languages like French, German, and Persian among others, the books cater to all levels of learning – from picture books for beginners to novels for veterans.

According to Ishjot, who is managing the stall for German Book Office, majority of their customers comprise of parents who want their children to start learning German from an early age.

Books on illustrations and short stories for beginners, priced at nominal prices, are selling like hot cakes, she said.

“People are buying picture books and story books in large numbers, since they cost hardly Rs 150 each. So, parents who want their children to learn the language are readily buying the books. Those who are already learning German, are asking for more detailed books on the language’s grammar,” she says.

Books at the stall also include a collection of classics by famous German author Daniel Kehlmann, along with English translations of popular German literature. Read more

Source: Business Standard 

Who is the biggest publisher of foreign literature in the U.S.?

It’s not Random House, and it’s not a specialized indie outfit like Europa Editions or New Directions. It’s Amazon.com. Last year, the company’s translation imprint, AmazonCrossing, brought out 44 new English translations from a diverse slate of literature, including Icelandic, Turkish and Korean. That’s more translated titles than any other American publisher, according to data from Three Percent, a literary translation blog at the University of Rochester. Read more

French author becomes an Urdu novelist after coming to Pakistan

Frenchman Julien Columeau reading in Urdu at a bookstore in Lahore. PHOTO: AFP

Frenchman Julien Columeau came to Pakistan at the age of 30 as a humanitarian worker – but a knack for languages and love for books have made him one of the country’s most innovative Urdu novelists.

Writing mainly historical fiction with a prose described as vivid and forceful, critics say that Columeau, now 41, has injected fresh life into the literary scene.

His works have featured at the country’s most prominent literature festivals with three novels published and more in the pipeline. Read more