Thursday, August 31, 2023

A new anthology brings 30 short stories from the Punjabi language in translation - Scroll.in - Translation

From “I Am Not Ghaznavi” by Gurbachan Singh Bhullar, translated from the Punjabi by Paramjit Singh Ramana.


To meet Jassi after so many years was like crossing the protective boundary I had drawn around myself.

There is no special reason why I had not seen her for so many years, nor had I taken any firm vow about it. I had just decided, a casual decision taken almost unconsciously. To be clear, I never felt like she was cut off from me. She has always been close to me in a unique manner. Physically away but very much still a part of my thoughts.

I can’t even imagine that I could consider my relationship with Jassi an insignificant incident or a finished chapter of the book of my life and turn the page and move on. Rather, in sharp contrast, whenever I remember her, I unconsciously start humming lines from a film song: When you call me your own, I begin to feel proud of myself.

Sitting next to Jassi, whenever I would hum this song, she would remark that I knew only one song to express my admiration for her. Or she would tell me that I would never be able to fool her no matter how hard I tried. She might taunt me by saying that she was not sure if I was praising her by singing that song but that I was definitely thinking of myself as the hero of a Hindi movie. She knew how much I disliked the heroes of Bombay-made Hindi movies. In reality, I never tried to fool her nor ever considered myself a hero of a movie. I was really proud of my friendship with her. Jassi was a beautiful girl, very beautiful. To call her exceptionally beautiful would be no exaggeration.

It is said that beauty is not an attribute of an object itself. Rather, beauty lies in the eyes of the beholder. But Jassi’s beauty is not a result of my perception. Even if it is because of my perception, it is a totally unrelated issue. Because she is pretty even without my eyes appreciating her. Very pretty, exceptionally pretty. Whenever I think of her, I take out from its box a pen she gifted me and write something new, or read her comments, some sincere, some naughty, written in the margins of my books.

I always also take out a one-line letter that Raju wrote to me. I have already read this letter a hundred times. Now I don’t have to read it, I just have a look at it. I like to look at that letter. By now it is completely etched in my memory, commas, full stops, and all. Many years after she separated from me, Raju saw her once at Ludhiana railway station. Raju is my bosom friend and he knows very well what my relationship with her was like and how significant she was to me. She had met Raju once or twice, but she was not so friendly with Raju that she could discuss with him her relationship with me. Jassi had been accompanied by a man. Maybe he was her husband. Without any doubt, he must have been her husband. So, Raju didn’t talk to her.

But there on the railway station he wrote and posted a one-line letter to me. He had written: “I saw Jassi at the railway station just now, I wanted to send my eyes to you.” I had replied to Raju that there was no need to send the eyes. I have the ability to see her from where I am. To have a glimpse of her, I have never felt the need to open the album and to look at her photograph. The imprint of her features is as fresh in my consciousness as is the idol that is always in front of your eyes. She is no less than an idol placed on the shelf of my mind. Many girls are beautiful. In a sense, every girl is beautiful, one way or another. But some are very beautiful. And a few rare ones are exceptionally so. But what is the meaning of the beauty of the flower that has been given prominence by trimming the foliage around it. Then that flower dances arrogantly in the wind as if that flower alone exists in the garden. The real beauty is that the flower should be as and where it is. Anyone looking at its splendour should exclaim spontaneously, “What a miracle of nature! Wah, Kartar! Bow to the creator!”

In addition to being very pretty, Jassi was an aberration of a commonly believed rule of nature. It is often said that the girls who are blessed with beauty are often denied the gift of intelligence and wisdom by the Almighty. But human beings often break such rules of nature; perhaps sometimes nature itself does not follow its own rules. Along with a matchless appearance, she had been blessed with a highly perceptive mind as if she were a golden bowl filled with amrit.

The inner and outer beauty of Jassi was highlighted by her sheer simplicity. She had no vanity, made no use of her looks. She combed her hair if she felt like it, otherwise just ignored it. If she felt like it, she ironed her clothes, otherwise wore them as they were. Once she gave me a photograph of her with dishevelled hair and her chunni carelessly thrown over her shoulders. She said that she had got that photograph taken because she needed one for some form.

“You must have had this snap taken from a tripod camera, where the photographer ducks under a cloth cover to take the photo,” I teased her. “Yes, I had this snap taken at a fair,” Jassi replied in a similar bantering tone. “Then, like the women going to a fair, you should have displayed your arm with the wristwatch,” I continued, extending my left arm forward! Today, when Raju called me as I got ready to leave to see Jassi, I had an urge to look at her photograph again. But I only had to think about her and her image appeared in front of my eyes, full and clear. Even today her image was as clear and fresh in my mind as it was when we used to see each other every day. The same graceful beauty, the same intelligence, simplicity, and innocence. Thinking of her, I had a unique feeling and experience – as if someone had suddenly switched on the lights in a temple and a smiling idol stood in front of me.

Excerpted with permission from “I Am Not Ghaznavi” by Gurbachan Singh Bhullar, translated from the Punjabi by Paramjit Singh Ramana in The Greatest Punjabi Stories Ever Told, selected and edited by Renuka Singh and Balbir Madhopuri, Aleph Book Company.

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Wednesday, August 30, 2023

Just 9 Great Dutch Books in Translation - Book Riot - Translation

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

By day, Leah Rachel von Essen is the editor-in-chief of Chicago Booth Magazine at the University of Chicago. By night, she reviews genre-bending fiction for Booklist, and writes regularly as a senior contributor at Book Riot. Her blog While Reading and Walking has over 10,000 dedicated followers over several social media outlets, including Instagram. She writes passionately about books in translation, chronic illness and bias in healthcare, queer books, twisty SFF, and magical realism and folklore. She was one of a select few bookstagrammers named to NewCity’s Chicago Lit50 in 2022. She is an avid traveler, a passionate fan of women’s basketball and soccer, and a lifelong learner. Twitter: @reading_while

Around 25 million people around the world speak Dutch as their first language. Most of the population of the Netherlands, naturally, speaks Dutch — but it’s necessary to include Dutch colonization and its impact in any article about Dutch literature.

The Republic of Suriname is one of the least densely populated countries on earth. It’s tropical with extensive tree cover, and most people live near capital Paramaribo. Under Dutch colonization, Suriname became a sugar plantation powered by the labor of enslaved African people. When slavery was abolished in 1863, the Dutch turned to indentured servitude from Asia, and Suriname became independent in 1975.

The Dutch East India Company was a key part of colonizing what is now Indonesia. The islands were extremely exploited and rigidly controlled, their tea and other crops a key piece of the economy of the Netherlands. It took World War II to weaken Dutch control, prompting the Indonesian National Revolution. Independence was recognized in 1949. While the Dutch “standardized” Malay and many Dutch loan words are part of modern-day Indonesian, Dutch never became the official language of the islands. (I previously put together a list of books translated from Indonesia specifically!)

I found many books in translation by Dutch-Indonesian (“Indo”) authors difficult to find. Tjalie Robinson was an Indo author and post-war activist who wrote largely in Petjok, an Indo mix language. He is the best-read Dutch author in Indonesia. Marion Bloem is an Indo author, director, and painter whose work is influenced by oral storytelling and Malay. Naturally, I could find no works by either author in-print in English.

Please enjoy the books I was able to gather — from historical fiction about the tea plantations in Indonesia to a queer, eerie novella to a book about a bazaar and mosque in Iran — these books in translation cover a wide range of genres and voices in the span of Dutch literature.

As always, please note that while I took great care to list content warnings where I could, things can fall through the cracks. Please do additional research on the recommended titles if needed.

The Tea Lords by Haase book cover

The Tea Lords by Hella S. Haasse, translated by Ina Rilke

The Tea Lords is pure historical fiction, telling the story of Dutch planters who established and worked on tea plantations in Indonesia. A story of imperialism, hardship, and frustration, it tracks Rudolf’s attempts to find a place for himself, as his family seems to block him out of their business endeavors, and he carves his own way. It also tells the story of his wife, who will go on to struggle herself against the bitter isolation of plantation life. It’s compelling historical fiction that captures a moment in time of colonization and capitalism, as well as the story of a family struggling with their own envy, jealousies, and projects in a land that they consider their own.

Content warnings for ableism, miscarriage, child death, misogyny, imperialism, suicidal ideation.

The House of the Mosque by Abdolah book cover

The House of the Mosque by Kader Abdolah, translated by Susan Massotty

Kader Abdolah is an Iranian author who came to the Netherlands as a political refugee and now writes in Dutch. This book of historical fiction centers around Aqa Jaan, a carpet merchant, manager of the bazaar, and head of the house of the mosque in the town of Senejan. Around him whirl the characters of our narrative: Shahbal, who wants to bring the modern world to the mosque; the grandmothers, who care for the house and attend to all the gossip; Imam Alsaberi and his wife, Zinat, and daughter Sadiq, who is waiting for a marriage proposal. This book begins in 1950 Iran and continues through political intrigue, religious upheaval, revolution, and bitter suppression to tell an ultimately hopeful story.

Content warnings for child death, misogyny, ableism, r-slur, torture, mention of sexual assault.

Bird Cottage by Meijer book cover

Bird Cottage by Eva Meijer, translated by Antoinette Fawcett

Len Howard was an unconventional woman. In 1938 she bought a plot of land, and the house built there would become a haven for wild birds. She fed them, studied them, and published articles about their behavior, intelligence, and their music. She was a recluse, knowing that too much activity would scare her birds away and disturb their behavior. A self-made naturalist, she published many articles and a book about her birds. This book by Eva Meijer is a novelized account of Howard’s story, a fictional attempt to get into the mind of this woman who loved birds, who studied them, and who was a natural-born naturalist.

Content warning for animal death.

On a Woman's Madness by Astrid Roemer book cover

On a Woman’s Madness by Astrid Roemer, translated by Lucy Scott

In this strange, sensual novel, Roemer writes of the cruelty of the life of Noenka, a woman in Suriname struggling to live the life of independence and sexuality that she prefers under the pressures of the society around her. She has left her husband Louis after just days, and after disapproval rumbles around her, she leaves her city for another where she’ll find new loves — the chaotic, wild love of eclectic, orchid-loving Ramses, the quiet queer bond of Gabrielle. Roehmer’s book is poetic and twisting, and almost hard to keep track of, as we experience Noenka’s life through a blur of memory, flashback, feeling, and grief.

Content warnings for sexual assault and rape, depression, domestic and emotional abuse, sex shaming, violence, ableism, suicide, alcoholism, institutionalization, abortion.

Midnight Blue by van der Vlugt book cover

Midnight Blue by Simone van der Vlugt, translated by Jenny Watson

Young widow Catrin loves to paint. Forced to flee Amsterdam when her past comes to haunt her, she paints pottery in a small town, helping them to create an entirely new style that challenges imported porcelain. But with the growing fame of their new technique comes that old past to haunt her, with added risk that she’ll lose her new success and independence to all that she left behind. This is an intriguing historical fiction about Dutch Porcelain that touches on other events such as the Delft explosion of 1654 or the plague in 1655. Fans of the genre will really enjoy this one.

Content warnings for miscarriage, death, child death.

We Slaves of Suriname by De Kom book cover

We Slaves of Suriname by Anton de Kom, translated by David McKay

Proclaimed as “the first book on Surinamese history written by a Surinamese man,” this book is the story of Suriname from the horrors of Dutch slavery to the transition into independence. It took a long time for this book to be published in English. De Kom was a political activist who was repeatedly silenced by the Dutch government — banned from giving lectures, imprisoned, and driven into exile — and the first edition was heavily censored, only resurfacing in the 1960s as De Kom’s legacy was revisited and reconsidered. It’s only been translated in the past few years (here’s my source — plus, read for more!). This book can be difficult to read but is an important and exciting new add to Dutch literature in translation.

Content warnings for racism, torture, violence, sexual assault/rape, police brutality, institutionalization.

Two Half Faces by David Colmer book cover

Two Half Faces by Mustafa Stitou, translated by David Colmer

Stitou is a Moroccan Dutch poet who has won the Jan Campert Prize and A. Roland Holst Award for his work. In this collection in translation from Phoneme Media, we get poems from across all of his collections, with the original Dutch on the left and the translation on the right. The poems touch on religion, God, and spirituality, evoking an irreverent tone as it questions. They touch on his grief at the deaths of his parents, of trying to remember them, to hold onto their relationships. His teasing, skeptical tone gives his poems a feeling of rebellion and have helped him become a leading poet of his time.

Content warnings for mentions of suicide, racism, ableism.

The Dinner by Koch book cover

The Dinner by Herman Koch, translated by Sam Garrett

Picture a dinner table at a posh restaurant populated with four of the most privileged, possibly worst people you’ve ever met. Welcome to The Dinner, in which a man, his wife, his brother, and his sister-in-law all meet to discuss something none of them want to bring into the open — a horrible thing that their sons did, and everything that goes with it. Secrets unfold, the protagonist’s dark, angry past unpeels as the book goes on, and we realize just how unreliable our narrator is and just how awful these people and their decisions really are. It’s an internationally bestselling thriller about the dissociation only the most privileged people can have.

Content warnings for classism, violence, racism, homophobic language, and mention of sexual assault.

We Had to Remove This Post by Bervoets book cover

We Had to Remove This Post by Hanna Bervoets, translated by Emma Rault

Queer woman Kayleigh takes the job as a moderator for a social media platform because she needs the money. After a recent breakup, she addresses an imaginary reader as she explains what she did at the company and how the poor workplace conditions and the psychological toll of watching disturbing videos and conspiracy posts all day every day wore them down until the very idea of right and wrong began to break between their own fingers. At just 160 pages, this book is upsetting and thought-provoking, asking us to consider how social media has the potential to change the way we think, and how constant exposure to the worst of humanity can damage us in ways we can’t take back.

Content warnings for homophobic slur, self-harm, animal cruelty, anti-Semitism, fatphobia, suicide.


Looking for more works in translation? Check out these books from Catalonia, Japan, Southeastern Europe, Argentina, Central Africa, Japan, Ukraine, Chile, Germany, Indonesia, Peru, Italian, and East Africa, and books translated from Arabic, Modern Greek, and French. Or you can check out all of our in translation content.

If you have recommendations or requests for future lists of books in translation, or if you want me to know about a book I missed, please let me know on Twitter!

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Genius English Translations – Stray Kids - Social Path ft. LiSA (English Translation) - Genius - Translation

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Genius English Translations – Stray Kids - Social Path ft. LiSA (English Translation)  Genius

‘Anxious’ or ‘Eager’? - Quick and Dirty Tips - Dictionary

Anxious

“Anxious” means “worried or uneasy,” but it has often been used somewhat interchangeably with the word “eager,” to mean “full of keen desire” — but that flexibility seems to be changing.

We got the word “anxious” directly from Latin where it meant essentially the same thing: worried, disturbed, uneasy, and so on.

Eager

“Eager,” on the other hand, comes directly from French, and an interesting usage quirk is that although French did have the “full of keen desire” meaning, it had many more negative meanings for the word. The Oxford English Dictionary mentions “severe,” “fierce,” “savage,” “pungent,” “strenuous,” and more. Another meaning was “sour,” and that’s one of the roots of the Latin word for “vinegar,” which was essentially “wine eager” or “wine sour.”

English also had many negative meanings for “eager” in the beginning, but they’ve mostly become obsolete, rare, or regional. Today in English, when you hear the word “eager,” you think of positive emotions. 

‘Anxious’ or ‘eager’?

In the recent past, let’s say the early 1900s, usage writers started making a big deal about not using “anxious” to mean “eager.” You were eager to take your apples to the market to sell if it was just for some extra money, but you would have been anxious about taking your apples to market if you absolutely had to get a certain amount of money for them to be able to survive the winter. You’re eager for good things, but you’re anxious for bad things or things that make you worried.

“Anxious” had been evolving, though. By 10 or 15 years ago, many people were using the words interchangeably. Three major dictionaries imply that it’s OK to use “anxious” to mean “eager,” from dictionary.com saying it’s fully standard to the American Heritage Dictionary saying in 2014 that resistance was waning. Fifty-seven percent of their usage panel said it was fine to use “anxious” to mean “eager,” and the most recent edition of Garner’s Modern English Usage says using “anxious” to mean “eager” is ubiquitous.

However, I have seen indications that resistance to using “anxious” to mean “eager” is actually growing again, which is very uncommon! When a word starts becoming accepted, it usually continues to become more accepted. But in this case, cultural factors are becoming stronger than linguistic factors. I recently did a poll on Facebook, and only 43% of the people who responded said it was OK to use “anxious” to describe an event someone was looking forward to — 14% fewer than the American Heritage Dictionary Usage Panel in 2014. That was surprising to me.

A bar chart showing that 42% of respondents think it is OK to use "anxious" in the sentence "We are anxious to see the new show of contemporary sculpture at the museum."

Mental health an ‘anxious’

But after reading the comments — sometimes yes, it does pay to read the comments! — it became more clear: We’ve become much more open about mental illness in the last 10 or so years, and the word “anxious” is used more frequently in a medical context. Which means that although anxiety isn’t stigmatized like it used to be, people do view it as something they’d rather not have. If you’re going to the doctor and getting a prescription for being anxious, you’re not going to associate that word with happy feelings or being full of keen desire.

The bottom line

So although usage guides no longer say it’s wrong to use “anxious” to mean “eager,” it’s probably still a good idea to keep the words separate. You’re eager to see the dessert tray at a fancy restaurant, but anxious about seeing the final bill. You’re eager to get your new puppy, but anxious about how it might get along with your cat.

Images courtesy of Shutterstock.

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Dictionary - Merion West - Dictionary

Sometimes—in the middle of fair night—/when disobedient moon turns vandal/and violently rips off the bolts/of my window-shutters, my eyelids…”

variation on a theme of John Barth’s

recommendation for “prescriptive grammar”

as a healer of sorts (The End of the Road)

disobey—

disoblige—

Disorder—

Sometimes—in the middle of fair night—

when disobedient moon turns vandal

and violently rips off the bolts

of my window-shutters, my eyelids,

forcing them open to cells of unreclaimed

remembrance—memory funeral, tenebrous—

or when the microscopic pea underneath

my forty princely mattresses turns loose,

having to disoblige what little rest

my ailing thoughts laboriously secured

from tight-fisted sleep,

I fear that disorder might creep in

the spacious crevasse of Big Ben’s entrails

to overturn good old punctilious time.

In these foreboding nights of chaos pending

I reach for a dictionary, of any kind,

disobey—disoblige—disorder—

and greedily feed on its law,

its system, structure, rhythm.

                        

Of course, I learn nothing of the art

of holding reservations for tempest

in a harmonious, apollonian lodging.

Youlika Masry, a dual citizen of Greece and the United States, completed her legal education in Greece and France and also studied political theory in the United States. In addition to publishing poetry, she writes and translates books and essays in literature; the social sciences; religion and theology.

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‘Anxious’ or ‘Eager’? - Quick and Dirty Tips - Dictionary

Anxious

“Anxious” means “worried or uneasy,” but it has often been used somewhat interchangeably with the word “eager,” to mean “full of keen desire” — but that flexibility seems to be changing.

We got the word “anxious” directly from Latin where it meant essentially the same thing: worried, disturbed, uneasy, and so on.

Eager

“Eager,” on the other hand, comes directly from French, and an interesting usage quirk is that although French did have the “full of keen desire” meaning, it had many more negative meanings for the word. The Oxford English Dictionary mentions “severe,” “fierce,” “savage,” “pungent,” “strenuous,” and more. Another meaning was “sour,” and that’s one of the roots of the Latin word for “vinegar,” which was essentially “wine eager” or “wine sour.”

English also had many negative meanings for “eager” in the beginning, but they’ve mostly become obsolete, rare, or regional. Today in English, when you hear the word “eager,” you think of positive emotions. 

‘Anxious’ or ‘eager’?

In the recent past, let’s say the early 1900s, usage writers started making a big deal about not using “anxious” to mean “eager.” You were eager to take your apples to the market to sell if it was just for some extra money, but you would have been anxious about taking your apples to market if you absolutely had to get a certain amount of money for them to be able to survive the winter. You’re eager for good things, but you’re anxious for bad things or things that make you worried.

“Anxious” had been evolving, though. By 10 or 15 years ago, many people were using the words interchangeably. Three major dictionaries imply that it’s OK to use “anxious” to mean “eager,” from dictionary.com saying it’s fully standard to the American Heritage Dictionary saying in 2014 that resistance was waning. Fifty-seven percent of their usage panel said it was fine to use “anxious” to mean “eager,” and the most recent edition of Garner’s Modern English Usage says using “anxious” to mean “eager” is ubiquitous.

However, I have seen indications that resistance to using “anxious” to mean “eager” is actually growing again, which is very uncommon! When a word starts becoming accepted, it usually continues to become more accepted. But in this case, cultural factors are becoming stronger than linguistic factors. I recently did a poll on Facebook, and only 43% of the people who responded said it was OK to use “anxious” to describe an event someone was looking forward to — 14% fewer than the American Heritage Dictionary Usage Panel in 2014. That was surprising to me.

A bar chart showing that 42% of respondents think it is OK to use "anxious" in the sentence "We are anxious to see the new show of contemporary sculpture at the museum."

Mental health an ‘anxious’

But after reading the comments — sometimes yes, it does pay to read the comments! — it became more clear: We’ve become much more open about mental illness in the last 10 or so years, and the word “anxious” is used more frequently in a medical context. Which means that although anxiety isn’t stigmatized like it used to be, people do view it as something they’d rather not have. If you’re going to the doctor and getting a prescription for being anxious, you’re not going to associate that word with happy feelings or being full of keen desire.

The bottom line

So although usage guides no longer say it’s wrong to use “anxious” to mean “eager,” it’s probably still a good idea to keep the words separate. You’re eager to see the dessert tray at a fancy restaurant, but anxious about seeing the final bill. You’re eager to get your new puppy, but anxious about how it might get along with your cat.

Images courtesy of Shutterstock.

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Tuesday, August 29, 2023

Genius English Translations – Stray Kids - Social Path ft. LiSA (English Translation) - Genius - Translation

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Genius English Translations – Stray Kids - Social Path ft. LiSA (English Translation)  Genius

Translation troubles: send fruit and any vegetable - Buenos Aires Herald - Translation

Argentine slang takes inspiration from almost anywhere, often using mundane nouns and spicing them up to give them new meaning, so how could fruits and vegetables escape that fate? We’ve had perejil as a previous “translation trouble” — a garnish that becomes much stronger with a dose of lunfardo — so I thought I’d take readers to our linguistic verdulería for a different sort of five-a-day.

Mandar fruta/cualquier verdura

“Send fruit” and “any vegetable” mean the same thing so we can group them together: it basically means doing something on the fly without taking it seriously. The phrases apparently come from long-distance comforts in the 19th century, with people asking their family to “send them fruit” from home when they moved to other parts of the country. The stories differ in how mandar fruta went from earnest plea to admonishment but it seems to stem from the disappointment of receiving packages without fruit: saying in contrast that “any old vegetable” or cualquier verdura was sent instead. 

Now, mandar fruta means to say things without understanding and cualquier verdura can also become hacer cualquiera or cualquier cosa — doing something poorly, usually in a rush and completely missing the mark.

Banana

This came up in conversation with the innocent and potentially philosophical question: “What does it mean to be a banana?”

A banana is basically a showy person who thinks they’re all that — and in trying to be cool they look ridiculous in their inflated sense of self. It can be a noun modified for the person’s gender, e.g. sos un banana, or a descriptor: es re banana (they’re so banana).

Here’s a bonus: the warning phrase “A papá mono/mamá mona con bananas verdes.” This basically means “Don’t try to fool me” — you wouldn’t trick a parent monkey, a seasoned and mature fruit expert, with unripe bananas. Growing up abroad in a bilingual household with a wisecracker for a father, I genuinely learned this one as “To father monkey with green bananas” — only to realize on returning to Argentina that I didn’t know its original Spanish form. Translation troubles, indeed.

Nabo

With the same sentence structure as sos un banana, the unassuming turnip can also become a bit of a put-down. But better to be a turnip than a banana in Argentina (what a sentence) because nabo usually just means that someone’s a bit of a chump. If you forgot your keys, you might call yourself a turnip. If someone tells a particularly bad joke, they could be called a turnip without fear of genuinely offending them. In fact, if you wanted your gentle blow to someone’s intelligence to be even softer and kind of dorky, you can use naboleti.

¡Chupate esta mandarina!

When you have an ace up your sleeve, particularly if you’ve accomplished something and want to throw it in someone’s face, you can tell them to “suck on this tangerine.” This is usually negative or to the other person’s detriment — presumably because tangerines can be bitter — but can also be used to express surprise. I’ve heard it a lot in the card game truco, when a winning hand is thrown down with an exultant ¡chupate esta mandarina!

The closest English equivalent, an approximation which I find delightful — “How’d you like them apples?”

¡Apa la papa!

This is basically the opposite of chupate esta mandarina, although I don’t hear it often. Apa la papa is so satisfying and fun, though, that I really think we should say it more. Apa and epa are simple and versatile exclamations but as with anything in life, you add a potato and the result is necessarily positive — congratulatory amazement, even. Someone graduated? ¡Apa la papa! You did the thing? ¡Aapaa la papaa! 

Really draw out those A’s for full effect. Go on, have some fun with cries of tubular triumph today.


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Monday, August 28, 2023

20,000 words included in new dictionary of Shakespeare's English - Medievalists.net - Dictionary

The Arden Encyclopedia of Shakespeare’s Language, published this week, aims to be the ‘first fully corpus-based dictionary of Shakespeare’s language and most comprehensive since Alexander Schmidt’s in the early 1870s.’

William Shakespeare used the word dotage to capture reduced mental ability (as in being blindly in love) rather than as a quaint term for old age, successes were really outcomes – one could talk of a ‘bad success’ – and, it turns out, the word bastard back then most often referred to a flower that was genetically hybrid.

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While dinner was preferred by Shakespeare for what we might think of as lunch (although his contemporaries used it to refer to an evening meal), beef, as today, was strongly associated with the English, but particularly the lower ranks (it was thought to reduce intelligence). And while fish was not only considered inferior to red meat, it was also considered to be ‘decidedly dodgy’, being associated with Catholicism or sex.

This new research by Lancaster University sheds light on the times with the publication of The Arden Encyclopedia of Shakespeare’s Language, published by Bloomsbury earlier this week. Its publication comes after 25 years of preparation, a £1 million Arts and Humanities Research Council grant, a team of up to 25 researchers, and seven years of hard work.

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The project, conceived and led by Jonathan Culpeper, a Professor of English Language and Linguistics at Lancaster University, will result in a unique 5 volume reference work, detailing and illuminating Shakespeare’s rich language. A key feature of the project is that is uses corpus linguistics, the computer-aided analysis of massive datasets of language, to provide evidence-based accounts of Shakespeare’s language.

And not just of Shakespeare’s words. The volumes of the Encyclopedia will also reveal the linguistic thumbprints of plays and characters plays, the articulation of themes such as love and death, and the networks of character interaction. Professor Culpeper, who worked together with Dr Andrew Hardie and Dr Jane Demmen, also from Lancaster University, on these volumes, explains “This is the first fully corpus-based dictionary of Shakespeare’s language and most comprehensive since Alexander Schmidt’s in the early 1870s.”

This month sees the publication of the first two volumes, which together constitute a dictionary. Volumes 1 and 2 comprise 20,000 word-entries gleaned from a million-word corpus of Shakespeare’s plays and compared with a matching million-word corpus of contemporary plays, along with huge corpus of 320 million words of various writings of the period.

“So why the comparisons?” asks Professor Culpeper. “Other dictionaries define Shakespeare by looking just at Shakespeare. The result is a bit circular – Shakespeare’s words had lives amongst his contemporaries, and we pay attention to that, along with what they are doing in Shakespeare’s plays.”

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It is obvious perhaps that wicked occurs densely in religious texts of the time, but who would have guessed that of the highly frequent word ourselves? Frequent words such as alas or ah are revealed to be heavily used by female characters, doing the emotional work of lamentation in the plays (especially histories).

“Frequent words,” Professor Culpeper comments, “often excluded from previous Shakespearean dictionaries, have a wood for the trees problem.”

The dictionary also surveys the infrequent, flagging words that occur but once in Shakespeare, such as bone-ache (syphilis) or ear-kissing (whispering, though other writers used it for flattering), and words that seem to have their earliest occurrence in Shakespeare (including, the decidedly modern-sounding self-harming).

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The Encyclopedia is written for a general audience. The remaining volumes will be published over the next three years. To learn more, please visit the publisher’s website or buy this set on Amazon.com.

Top Image: Work on a new ‘verbal treasure trove’ captures nuances and uses of Shakespeare’s words. Phot courtesy Lancaster University, UK

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Sunday, August 27, 2023

Lost in translation: Germany's challenges training Ukrainian soldiers - Financial Times - Translation

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New 'Verbal Treasure Trove' Dictionary Captures Nuances And ... - Eurasia Review - Dictionary

William Shakespeare used the word dotage to capture reduced mental ability (as in being blindly in love) rather than as a quaint term for old age, successeswere really outcomes – one could talk of a ‘bad success’ – and, it turns out, the word bastard back then most often referred to a flower that was genetically hybrid.

A new dictionary, a verbal treasure trove of the nuances and uses of Shakespeare’s words, is published this week.
While dinner was preferred by Shakespeare for what we might think of as lunch (although his contemporaries used it to refer to an evening meal), beef, as today, was strongly associated with the English, but particularly the lower ranks (it was thought to reduce intelligence).

And while fish was not only considered inferior to red meat, it was also considered to be ‘decidedly dodgy’, being associated with Catholicism or sex.

This new research by Lancaster University sheds light on the times with the publication of The Arden Encyclopedia of Shakespeare’s Language, to be published by Bloomsbury.

Its publication comes after 25 years of preparation, a £1 million Arts and Humanities Research Council grant, a team of up to 25 researchers, and seven years of hard work.

The project, conceived and led by Jonathan Culpeper, a Professor of English Language and Linguistics at Lancaster University, will result in a unique 5 volume reference work, detailing and illuminating Shakespeare’s rich language.

A key feature of the project is that is uses corpus linguistics, the computer-aided analysis of massive datasets of language, to provide evidence-based accounts of Shakespeare’s language.

And not just of Shakespeare’s words.

The volumes of the Encyclopedia will also reveal the linguistic thumbprints of plays and characters plays, the articulation of themes such as love and death, and the networks of character interaction.

This month sees the publication of the first two volumes, which together constitute a dictionary.

Professor Culpeper, who worked together with Dr Andrew Hardie and Dr Jane Demmen, also from Lancaster University, on these volumes, said: “This is the first fully corpus-based dictionary of Shakespeare’s language and most comprehensive since Alexander Schmidt’s in the early 1870s.”

Volumes 1 and 2 comprise 20,000 word-entries gleaned from a million-word corpus of Shakespeare’s plays and compared with a matching million-word corpus of contemporary plays, along with huge corpus of 320 million words of various writings of the period.

Professor Culpeper said: “So why the comparisons?

“Other dictionaries define Shakespeare by looking just at Shakespeare. The result is a bit circular – Shakespeare’s words had lives amongst his contemporaries, and we pay attention to that, along with what they are doing in Shakespeare’s plays.”

It is obvious perhaps that wicked occurs densely in religious texts of the time, but who would have guessed that of the highly frequent word ourselves?

Frequent words such as alas or ah are revealed to be heavily used by female characters, doing the emotional work of lamentation in the plays (especially histories).

“Frequent words,” Professor Culpeper comments, “often excluded from previous Shakespearean dictionaries, have a wood for the trees problem.”

The dictionary also surveys the infrequent, flagging words that occur but once in Shakespeare, such as bone-ache (syphilis) or ear-kissing (whispering, though other writers used it for flattering), and words that seem to have their earliest occurrence in Shakespeare (including, the decidedly modern sounding self-harming).

The Encyclopedia is written for a general audience. The remaining volumes will be published over the next three years.

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Women in Translation Month: Travel the world with 12 books written – and translated – by women - Scroll.in - Translation

From Italy: A Sister’s Story, Donatella Di Pietrantonio, translated from the Italian by Ann Goldstein

It’s the darkest time of night. Adriana, a baby in her arms, hammers on her sister’s door. Who is she running from? What uncomfortable truth is she carrying with her? Like a whirlwind, Adriana upends her sister’s life bringing chaos and cataclysmic revelations.

Years later, the narrator gets an unexpected, urgent summons back to Pescara, her hometown. She embarks on a long journey through the night, and through the folds and twists of her memory, from her and her sister’s youth, their loves and losses, secrets and regrets. Back in Borgo Sud, the town’s fishermen’s quarter, in that impenetrable yet welcoming microcosm, she will discover what really happened, and attempt to make peace with the past.

From Indonesia: The Birdwoman’s Palate, Laksmi Pamuntjak, translated from the Indonesian by Tiffany Tsao

Aruna is an epidemiologist dedicated to food and avian politics. One is heaven, the other earth. The two passions blend in unexpected ways when Aruna is asked to research a handful of isolated bird flu cases reported across Indonesia. While it’s put a crimp in her aunt’s West Java farm, and made her own confit de canard highly questionable, the investigation does provide an irresistible opportunity.

It’s the perfect excuse to get away from corrupt and corrosive Jakarta and explore the spices of the far-flung regions of the islands with her three friends: a celebrity chef, a globe-trotting “foodist,” and her coworker Farish.

From Medan to Surabaya, Palembang to Pontianak, Aruna and her friends have their fill of local cuisine. With every delicious dish, she discovers there’s so much more to food, politics, and friendship. Now, this liberating new perspective on her country – and on her life – will push her to pursue the things she’s only dreamed of doing.

From Slovakia: Vanity Unfair, Zuzana Cigánová, translated from the Slovak by Magdalena Mullek

An accidental pregnancy, a good-looking man who cares about no one but himself, marriage because the man “had a bit of a Christian upbringing”, and divorce – that is the trajectory of Pipina’s life, leading to single motherhood and a thousand cruelties of everyday life because she is an ugly woman in a world where ugliness is worse than a death sentence. At every turn, she is reminded of her inferiority. She can’t wait for the end of each day when she can sit in the stairwell outside of her dilapidated apartment and retreat into her thoughts. Her drab life full of indignities dissolves only in her beautiful, cinematic dreams. In them, she experiences whatever she can’t do or have in real life.

From Morocco: Straight from the Horse’s Mouth, Meryem Alaoui, translated from the French by Emma Ramadan

34-year-old prostitute Jmiaa reflects on the bustling world around her with a brutal honesty, but also a quick wit that cuts through the drudgery. Like many of the women in her working-class Casablanca neighbourhood, Jmiaa struggles to earn enough money to support herself and her family – often including the deadbeat husband who walked out on her and their young daughter. While she doesn’t despair about her profession like her roommate, Halima, who reads the Quran between clients, she still has to maintain a delicate balance between her reality and the “respectable” one she paints for her own more conservative mother.

This daily grind is interrupted by the arrival of an aspiring young director, Chadlia, whom Jmiaa takes to calling “Horse Mouth.” Chadlia enlists Jmiaa’s help on a film project, initially just to make sure the plot and dialogue are authentic. But when she’s unable to find an actress who’s right for the starring role, she turns again to Jmiaa, giving the latter an incredible opportunity for a better life.

From Argentina: The Dangers of Smoking in Bed, Mariana Enriquez, translated from the Spanish by Megan McDowell

Welcome to Buenos Aires, a city thrumming with murderous intentions and morbid desires, where missing children come back from the dead and unearthed bones carry terrible curses. These brilliant, unsettling tales of revenge, witchcraft, fetishes, disappearances and urban madness spill over with women and girls whose dark inclinations will lead them over the edge.

From Cameroon: Dark Heart of the Night, Léonora Miano, translated from the French by Tamsin Black

What is Africa’s own “heart of darkness”? It is what confronts Ayané when, after three years abroad, she returns to the Central African village of her birth. Now an “outsider” with foreign ways distrusted by her fellow villagers, she must face alone the customs and superstitions that bind this clan of men and women. When invading militia organise a horrific ceremony that they claim will help reunite Africa, Ayané is forced to confront the monstrosity of the act that follows, as well as the responsibility that all the villagers must bear for silently accepting evil done in their name.

From Palestine: Minor Detail, Adania Shibli, translated from the Arabic by Elisabeth Jaquette

Minor Detail begins during the summer of 1949, one year after the war that the Palestinians mourn as the Nakba – the catastrophe that led to the displacement and expulsion of more than 700,000 people – and the Israelis celebrate as the War of Independence. Israeli soldiers capture and rape a young Palestinian woman, and kill and bury her in the sand. Many years later, a woman in Ramallah becomes fascinated to the point of obsession with this “minor detail” of history.

From South Korea: Concerning My Daughter, Kim Hye-jin, translated from the Korean by Jamie Chang

When a mother allows her 30-something daughter to move into her apartment, she wants for her what many mothers might say they want for their child: a steady income, and, even better, a good husband with a good job with whom to start a family. But when Green turns up with her girlfriend, Lane, in tow, her mother is unprepared and unwilling to welcome Lane into her home. In fact, she can barely bring herself to be civil. Having centred her life on her husband and child, her daughter’s definition of family is not one she can accept. Her daughter’s involvement in a case of unfair dismissal involving gay colleagues from the university where she works is similarly strange to her. And yet when the care home where she works insists that she lower her standard of care for an elderly dementia patient who has no family, who travelled the world as a successful diplomat, who chose not to have children, Green’s mother cannot accept it. Why should not choosing a traditional life mean that your life is worth nothing at all?

From Germany: Identitti, Mithu Sanyal, translated from the German by Alta L Price

Nivedita (aka Identitti), a well-known blogger and doctoral student is in awe of her supervisor – superstar postcolonial and race studies South-Asian professor Saraswati. But her life and sense of self are turned upside down when it emerges that Saraswati is actually white. Nivedita’s praise of her professor during a radio interview just hours before the news breaks – and before she learns the truth – calls into question her own reputation as a young activist.

Following the uproar, Nivedita is forced to reflect on the key moments in her life, when she doubted her identity and her place in the world. As debates on the scandal rage on social media, blogs, and among her closest friends, Nivedita’s assumptions are called into question as she reconsiders the lessons she learned from her adored professor.

From India: Bhairavi, The Runaway, Shivani, translated from the Hindi by Priyanka Sarkar

A still, dense, ancient forest. A dark cave deep within. And in it a woman-child whose beauty can move the most pious to sin. Who is she and why did she jump from a moving train to land in the biggest cremation ground teeming with Aghori Sadhus?

In this story spanning generations and redolent with Gothic imagery, Shivani aka Gaura Pant tells the story of a woman’s life, her moral and mental strength and her resilience. She also examines the choices women have in her beautiful, descriptive prose.

From Japan: Scattered All Over the Earth, Yoko Tawada, translated from the Japanese by Margaret Mitsutani

Welcome to the not-too-distant future: Japan, having vanished from the face of the earth, is now remembered as “the land of sushi.” Hiruko, a former citizen and a climate refugee herself, has a job teaching immigrant children in Denmark with her invented language Panska (Pan-Scandinavian): “homemade language. no country to stay in. three countries I experienced. insufficient space in brain. so made new language. homemade language.”

As she searches for anyone who can still speak her mother tongue, Hiruko soon makes new friends. Her troupe travels to France, encountering an umami cooking competition; a dead whale; an ultra-nationalist named Breivik; unrequited love; Kakuzo robots; red herrings; uranium; an Andalusian matador. Episodic and mesmerising scenes flash vividly along, and soon they’re all next off to Stockholm.

From Ukraine: The Museum of Abandoned Secrets, Oksana Zabuzhko, translated from the Ukranian Nina Shevchuk-Murray

Spanning 60 tumultuous years of Ukrainian history, this multigenerational saga weaves a dramatic and intricate web of love, sex, friendship, and death. At its centre: three women linked by the abandoned secrets of the past – secrets that refuse to remain hidden. While researching a story, journalist Daryna unearths a worn photograph of Olena Dovgan, a member of the Ukrainian Insurgent Army killed in 1947 by Stalin’s secret police. Intrigued, Daryna sets out to make a documentary about the extraordinary woman – and unwittingly opens a door to the past that will change the course of the future. For even as she delves into the secrets of Olena’s life, Daryna grapples with the suspicious death of a painter who just may be the latest victim of a corrupt political power play. From the dim days of the Second World War to the eve of the Orange Revolution, The Museum of Abandoned Secrets explores the enduring power of the dead over the living.

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Saturday, August 26, 2023

Women in Translation Month: Fiction by ten women authors from Latin America to read in English - Scroll.in - Translation

Mexico: Hurricane Season, Fernanda Melchor, translated from the Spanish by Sophie Hughes

The Witch is dead. And the discovery of her corpse has the whole village investigating the murder. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters – inners whom most people would write off as irredeemable – forming a lasting portrait of a damned Mexican village.

Cuba: I Was Never the First Lady, Wendy Guerra, translated from the Spanish by Achy Obejas

Nadia Guerra’s mother, Albis Torres, left when Nadia was just ten years old. Growing up, the proponents of revolution promised a better future. Now that she’s an adult, Nadia finds that life in Havana hasn’t quite matched its promise; instead, it has stifled her rebellious and artistic desires. Each night she DJs a radio show government censors block from broadcasting. Frustrated, Nadia finds hope and a way out when she wins a scholarship to study in Russia.

Leaving Cuba offers her the chance to find her long-lost mother and her real father. But as she embarks on a journey east, Nadia soon begins to question everything she thought she knew and understood about her past.

As Nadia discovers more about her family, her fate becomes entwined with that of Celia Sanchez, an icon of the Cuban Revolution – a resistance fighter, ingenious spy, and the rumoured lover of Fidel Castro. A tale of revolutionary ideals and promise, Celia’s story interweaves with Nadia’s search for meaning and eventually reveals secrets Nadia could never have dreamed of.

Venezuela: It Would Be Night in Caracas, Karina Sainz Borgo, translated from the Spanish by Elizabeth Bryer

In Caracas, Venezuela, Adelaida Falcón stands over an open grave. Alone, she buries her mother – the only family she has ever known – and worries that when night falls thieves will rob the grave. Even the dead cannot find peace here.

Adelaida had a stable childhood in a prosperous Venezuela that accepted immigrants in search of a better life, where she lived with her single mother in a humble apartment. But now? Every day she lines up for bread that will inevitably be sold out by the time she reaches the registers. Every night she tapes her windows to shut out the tear gas raining down on protesters.

When looters masquerading as revolutionaries take over her apartment, Adelaida must make a series of gruesome choices in order to survive in a country disintegrating into anarchy, where citizens are increasingly pitted against each other. But just how far is she willing to go?

Colombia: Fish Soup, Margarita García Robayo, translated from the Spanish by Charlotte Coombe

Fish Soup is a collection comprising two novellas plus the book of short stories Worse Things.

Set on the Caribbean coast of Colombia, Waiting for a Hurricane follows a girl obsessed with escaping both her life and her country. Emotionally detached from her family, and disillusioned with what the future holds if she remains, she takes ever more drastic steps in order to achieve her goal, seemingly oblivious to the damage she is causing both to herself and to those around her.

The tales of Worse Things provide snapshots of lives in turmoil, frayed relationships, dreams of escape, family taboos, and rejection both of and by society. Sexual Education examines the attempts of a student to tally the strict doctrine of abstinence taught at her school with the very different moral norms that prevail in her social circles.

Brazil: The Apple in the Dark, Clarice Lispector, translated from the Portuguese by Paulo Gurgel Valente

Martim, fleeing from a murder he believes he committed, plunges into the dark nocturnal jungle: stumbling along, in a state of both fear and wonder, eventually, he comes to a remote, quiet ranch and finds work with the two women who own it. The women are tranquil enough before his arrival but are affected by his radical mystery. A book in three chapters, with three central characters, The Apple in the Dark is one of Lispector’s best works.

Peru: Little Bird, Claudia Ulloa Donoso, translated from the Spanish by Lily Meyer

A stranger keeps coming into the narrator’s apartment and staring at her plant. A woman rescues a bird her cat attacked but accidentally carries it into her job interview. A woman ends up accidentally married due to a misunderstanding. Donoso stories carry with them the haze and fatigue of every day life.

Uruguay: The Naked Woman, Armonía Somers, translated from the Spanish by Kit Maude

A groundbreaking feminist classic from 1950s Uruguay, The Naked Woman was met with scandal and outrage due to its erotic content, cynicism, and stylistic ingenuity. The novel follows Rebeca Linke’s ardent, ultimately tragic, attempt to free herself from a hostile society. Juxtaposing fantastic imagery and brutal depictions of violence, it is one of the most original works of Latin American fiction.

Chile: Seeing Red, Lina Meruane, translated from the Spanish by Megan McDowell

Lucina, a young Chilean writer, has moved to New York to pursue an academic career. While at a party one night, something that her doctors had long warned might happen finally occurs her eyes haemorrhage. Within minutes, blood floods her vision, reducing her sight to sketched outlines and tones of grey, rendering her all but blind. As she begins to adjust to a very different life, those who love her begin to adjust to a very different woman – one who is angry, raw, funny, sinister, sexual, and dizzyingly alive.

Argentina: Nineteen Claws and a Black Bird, Agustina Bazterrica, translated from the Spanish by Sarah Moses

Through stories about violence, alienation, and dystopia, Bazterrica’s vision of the human experience emerges in complex, unexpected ways – often unsettling, sometimes thrilling, and always profound. In “Roberto,” a girl claims to have a rabbit between her legs. A woman’s neighbour jumps to his death in “A Light, Swift, and Monstrous Sound,” and in “Candy Pink,” a woman fails to contend with a difficult breakup in five easy steps.

Ecuador: Jawbone, Mónica Ojeda, translated from the Spanish by Sarah Booker

Fernanda and Annelise are so close they are practically sisters: a double image, inseparable. So how does Fernanda end up bound on the floor of a deserted cabin, held hostage by one of her teachers and estranged from Annelise?

When Fernanda, Annelise, and their friends from the Delta Bilingual Academy convene after school, Annelise leads them in thrilling but increasingly dangerous rituals to a rhinestoned, Dior-scented, drag-queen god of her own invention. Even more perilous is the secret Annelise and Fernanda share, rooted in a dare in which violence meets love. Meanwhile, their literature teacher Miss Clara, who is obsessed with imitating her dead mother, struggles to preserve her deteriorating sanity. Each day she edges nearer to a total break from reality.

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