We read stories from other countries—Russian, Chinese, Japanese, African—and learn about their culture. Some stories tell us we are not different. Their customs, habits, perceptions, social consciousness, family values and ethics appear so close to ours. They cry in the same manner as we do and be happy the same way we do, aspire for better life in much the same way as we do. Then there are other stories that distinguish us from them. Partly because each culture evolves in its own environment. Russian winter is unimaginable in Andhra Pradesh. The effects of the vast expanse of land in America is inconceivable in our country. Their interpersonal relationships are defined by their environment. Our summer is inconceivable for them. Possibly the extended family, so common in South Asian countries is incomprehensible to Westerners. The stories from other cultures are fascinating for this reason—they tell us how people live under varying and/or similar circumstances.
The stories of writers like Chekhov, Maupassant, and Mark Twain appeal to us because they all are deeply rooted in their soil; they do not embrace the lifestyles of other cultures or create a pseudo foreign atmosphere in their stories. This should tell us something, meaning we the readers suspend our disbelief willingly as Wordsworth put it and acquiesce ourselves to the other environment and explore the other culture. That is and must be one of the primary principles for translation into another language, especially for international audience. For that reason, when we select a story for translation, we need to keep the target audience in mind constantly. Sometime back, a reader raised the question—how would the translator know who reads the translation. Of course, once a translation is published the translator has no control over the readership. However, he or she can still keep a certain target readers in mind and select a story that hopefully captures the attention of that audience. Others may read and even enjoy the story but it would be in their best interest not to dwell on the original, especially if the reader is a native speaker (Telugu reader, in this case.). Native speakers need to realize that no native flavor carries into the translation one hundred percent. When we read a translation from another language, more likely we do not know how the story had carried its native flavor in the original. We only see whether the translated version appealed to us or not.
When I select stories for translation, I attempt to find stories that illustrate the Telugu homes, Telugu environment, our family values, interpersonal relationships as reflected in our relational terminology, our customs, beliefs, the games our children play and the food our mothers cook. It is important they include as many minute details as possible. For the same reason, I stay away from stories filled with descriptions of modern homes with imported goods and ideas. I want stories that provide our age-old values, beliefs, customs, lifestyles, and perceptions we have cherished. One great example would be arranged marriages in our families. Unfortunately, very often our stories cater to the stereotypical, preconceived notions of the westerners but no effort is being made to explain the complexities inherent in the system such as the underlying philosophy of the extended families and the support they would extend to the couple’s lives.
Second, I would look for a style peculiar to the writer. It is common knowledge every writer has or develops his own technique in telling a story. No two persons talk alike and no two writers tell the same story using exactly the same vocabulary. There is no verbatim report even when a story is retold by the same writer. That also explains why we have so many stories on any given topic. Each writer presents a new perspective and adds to the commonality of global understanding. Similarly, no two readers appreciate the same story and perceive the same message from a given story precisely in the same manner.
Against this background, I have attempted to present my rationale for selecting stories for translation for foreign readers, who are not familiar with our culture and traditions. Basically, I find three angles to this thought: 1. the stories that depict our religious, philosophical beliefs and customs; 2. stories that describe various activities in our daily lives; and, 3. reflect unique perspectives and lifestyles in our society.
Let’s review a few Telugu stories in translation. In the story The Soul Wills It by Viswanatha Satyanarayana, man-woman relationship is explored within the context of Hindu beliefs. The story presents, in a larger context, man and woman not as two entities but one. Thus the pain suffered by the woman is experienced by man. Similarly, the woman carries the man’s wish not as a duty but as a replication of man’s pain. In terms of technique, the author used several forms. It started out with a description of the location and the main characters. In some parts it was presented in the form of direct report, and, in one instance, a dialogue as in a play was also introduced. Is this acceptable in modern storytelling technique? I am not sure. As I said at the outset, the author has the freedom to present his story in a manner that is befitting to his mode of thinking.
The Drama of Life (Madhurantakam Rajaram) depicts the absurdity in a presentation of Bharata yajnam, a narrative of Mahabharata in harikatha style and the monetary reward the narrator receives at the end. The underlying philosophy of celebrating Bharata yajnam is to point out the appalling effects of gambling on a family. The storyteller learns much to his dismay that his payment has come from the income at the gambling stalls set up for the enjoyment of the audience. The storyline in itself is not something we can be proud of yet the umpteen details woven into the rendering are enlightening.
In the story, He is I, (Malladi Ramakrishna Sastry), the author depicts prostitutes as connoisseurs of fine arts and conjugal bliss. At one period, in our culture, they are supposed to initiate young men into the life of marital bliss. Into this complex issue, the author weaves a mystical perception “He is I”, the message being God resides in our bodies and respecting our bodies implies respecting God. As I mentioned earlier, the philosophical connotation leaves plenty to the readers’ imagination.
Another angle in this story is the use of pronouns peculiar to Telugu language, thanu or thaanu which is a gender-free reflexive, roughly meaning oneself. In a complete sentence, the verb suffix corresponds to the person’s gender though. The story He is I opens with one person, taanu, as the narrator. The pronoun, a reflexive, indefinite, third person, singular, and non-gender specific, is peculiar to Telugu language. After Swamiji is introduced, most of the story is narrated by Swamiji using the first person singular, nenu[I]. Towards the end, Swamiji says, “We [memu] were waiting for the other train to arrive.” Telugu has two forms of third person plural, manam [all-inclusive] and memu [excludes listener]. Significantly, in the story, the second term, memu is used. Thus implicitly the pronoun “we” includes the listener, the young man [taanu], and, puts the reader/audience in the shoes of a listener. Confusing as it is for foreigners, it is also quite illuminating. That is one of the reasons, I chose this story despite the difficulty in translating it.
Relational terminology is another aspect that pervade our stories. Just recently I read that Native Americans use relational terms for people not related by blood in much the same way we Telugu people do. In our culture the terms are indicative of not only the relationship between two individuals but also how each perceives the other. The discussion of relational terminology is beyond the scope of this paper but the point I am trying to make is our stories provide an additional layer to understand the conversations between two persons.
The Wedding Garments by Ravuru Satyanarayana Rao is a heartwarming story, perfect for holiday season. The madhuparkaalu are a set of garments offered by the bride’s parents to the groom along with a drink made of honey and milk as he arrives for the ceremony. Puttanna, the protoganist, is a weaver by profession. He customarily makes the garments and presents free of charge to the family who performs a wedding in the village. The story illustrates the spirit with which Puttanna cherishes his family tradition. He refuses to make an exception even when chips are down and he is struggling. He would rather sell his cow, which he needs not only for his own subsistence but other families to whom he supplies milk. The story walks us through not only his struggles but the remarkable sense of dharma the groom avows. This is a moving story highlighting the human values that go beyond the call of one’s duty.
Currently in our society, caste is dismissed as reprehensible. There is however another angle to this caste or community spirit, which is welcome because it aims at the common good. Puttanna belongs to weavers community. For him it is a custom to weave madhuparkaalu (new set of clothes for the bride and groom) in any family in his village free of cost. The reader also learns what life was like for weavers community in those days. It tells us of a lifestyle that is fast disappearing.
Another story that gives elaborate description of a wedding ceremony in Telugu homes is two pawns lost by Poosapati Krishnamraju. This story oozes authentic Telugu flavor and provides a peek into the process of wedding ceremony in our families as it unfolds.
The story Cottage Goddess by Kanuparti Varalakshmamma, published in Andhra Patrika Ugadi issue, 1924, depicts the ruination of cottage industries and the struggles of families caught up in the aftermath of the great Depression following the World War I. The author gives us the harsh realities of the early forties in middle class families and the woman’s struggle to raise her two little children. The amount of details in the struggles of the protagonist’s (Ramalakshmi’s) is quite an education. Sad as it may sound, that has been the reality in India. The small farmer, the small business, the mom-and-pop store round the corner took a downward turn and never recovered as India kept moving towards modernization. Once again, the details of everyday life during the period in question are well-recorded in these stories.
The story, Headmaster by Palagummi Padmaraju, depicts the extraordinary, lifelong influence a mentor has on a student. In our tradition, the teacher has the same place as mother and father in the life of an individual. The lessons children receive from their teachers go beyond textbooks.
In the story Three million rupees bet (Arudra), we learn about the games children played prior to modernization has taken over and in the process about the creative ways they spend their time. The story introduces the reader to a game that is not prevalent anymore even in India. In these days of plastic toys and computer games only money can buy, it is hard to imagine children had just as much fun with the side panels of discarded cigarette boxes. It effectively illustrates not only children’s psyche but also how they imbibe the complex monetary values early in life.
Some of our feminist critics perceived the story The Escaped Parrot (Achanta Saradadevi) as a feminist story, since the female protagonist feels suffocated in their home. I however think that story goes beyond a woman feeling confined. The story illustrates powerfully the lack of communication between husband and wife. What Kamakshamma missed in her life is not freedom but closeness with her husband. In the absence of that closeness with her husband, she befriends a parrot, short-lived nevertheless. Thus in her life the true tragedy is not the house turning into a cage but her husband ignoring her existence. The one-word conversations between husband and wife, the husband constantly trying to convince her that life away from the city is peaceful are authentically depicted. That was the state of affairs in most of the Telugu homes in the fifties.
The story Lord Siva Commands by Nidadavolu Malathi, while depicting the newly acquired concept of privacy in Indian homes, the interpersonal relationships between two unrelated individuals belonging to two different generations are highlighted. In this story, the young woman rooted in Indian values and traditions happens to meet after two decades the elderly lady whom she respects as mentor. The story features several layers – two women from two generations developing closeness, the changing attitudes of the young woman after coming to America, her discomfort with the older woman’s probing questions on one hand and remembering the sweet memories from her past, and at the end realizing where the older woman has come from and how natural it is for her to speak the way she has spoken.
I included this story here because of the comments from current generation readers. The story illustrates the issue of privacy. In the past, in our country, the concept of privacy is not understood in the same manner as in the west. However, the perception among the current generation has been changing fast and it is evident from some of the comments I have received. Most of the current generation Telugu youth would consider the elderly woman “intrusive” and “insensitive,” to put it mildly. The letter at the end of the story, which she would have written had she known how to write, explains where she was coming from. Readers need to delve deeper into this kind of psyche.
That humor is hard to translate is common knowledge. Nevertheless, it is important we expose the foreign readers to that aspect of our culture. One of the ways I found is to introduce the story by way of review. I translated janatha express by Mullapudi Venkataramana as Middle Class Complex. This story has been relatively easy to translate since there is a noticeable storyline. On the other hand, another story Radha’s debt (Radhamma bakee) by the same author is hard to translate since there is plenty of witticism and little of storyline. For that reason, I presented in the form a review. The entire story is provided with explanations why a particular line is considered humorous for us. It allows us to explain the parts, which we consider humorous, but may not be perceived as such by foreign readers.
For each of these stories, it is a different time and different place. Usually, readers from other cultures read these stories in order to identify those differences. And, that is also the criterion for our translators in their selection of stories for translation.
I must admit that all the stories on this site meet these criteria. Nevertheless, ideally though, that is what I aim to accomplish—introduce our culture in its multifarious perceptions and our values to the non-native speakers.
(Author’s note: All the stories referred in this article are available on this site. This article has been modified from the original, how to read a Telugu story, published on thulika.net, January 2005.)
© Nidadavolu Malathi.