Ever since Kannada writer Vivek Shanbhag’s novel, Ghachar Ghochar was translated into English three years ago and into 17 languages thereafter, the book and the author have attracted much attention here and abroad.
Ghachar Ghochar (roughly meaning entanglement) is a laconic tale of a tight-knit Indian family’s sudden progress from possessing little money to being comfortably rich and how the change in fortunes impacts family bonds that eventually get inextricably entangled.
Author of ten works of fiction, including short stories and plays, Ghachar Ghochar is Shanbhag’s first novel to be translated. More of his works are set to be translated soon, he says, as he sits down to talk at his tastefully appointed home in Bengaluru. Excerpts from an interview:
Why was Ghachar Ghochar chosen for translation and was the translation satisfactory?
The only reason for picking this book for translation was its length. It is the shortest of my novels. Srinath Perur is an excellent translator and I am extremely satisfied with the translation, although there can never be a perfect translation from one language to another. What’s important is to bring out the unsaid. The reading experience is different in Kannada and would be different in the other 18 languages it has been translated into. Srinath has captured the essence of the novel, and being a creative writer himself, his engagement with the language is of a superior kind.
Did you play a role in the translation?
Our discussions were never on the meaning of a word or sentence, but on what is beneath the text; and that’s what matters. He challenged me on several occasions and I had to share my secrets to help him understand the intricacies of the work. It was a wonderful experience being part of the translation.
How crucial is it to get Indian language books translated?
It is not important for a writer to see his book in English or any other language. For me, as a Kannada writer, what is important is how well I have been able to write in Kannada and the success of my book is determined by how well I’ve written it in Kannada. Of course, when it is translated and reaches more readers, I am happy. But that’s not why I write. Although Konkani is my mother tongue, my engagement and relationship with Kannada is so deep that my fiction writing can happen only in Kannada.
Ghachar Ghochar has been termed as ‘a book of distilled simplicity’ and you’ve been compared to Isaac Singer and Chekhov. Your comments?
I started out as a short-story writer. Kannada has a strong tradition of short stories, packing in a lot in a short space. I grew up in such an environment, reading and discussing them. So, the emphasis is on making it concise and that is probably the reason for the comparisons. Why use two words when you can do with one?
What was your experience of translating U R Ananthamurthy’s last book ‘Hindutva or Hind Swaraj’?
Keerti Ramachandra and I did the translation of the book published in 2016. It was quite a challenge for various reasons. Although it is a work of non-fiction, the entire text is a creative response to the rise of Hindutva politics URA saw in his last days before his death in August 2014. The book was full of metaphors and imagery, which posed a challenge while translating because you need to explain them using more words. Also, we felt, if he was around, we could have sought certain clarifications.
Your take on the state of Kannada literature today?
There are many young, promising writers who are writing well. But, there was a time when Kannada was more exposed to world literature and it was always a part of discussions. Writers like U R Ananthamurthy, Shantinath Desai, P Lankesh and others were students of English literature and encouraged discussions revolving around world literature. Such discussions are lacking today. Also, young writers are not reading much and one reason perhaps is because there is ample space for publishing, including on web platforms. The rigours and the process a writer needs to go through are not as tough as before.
Given the upheaval, disruption, violence and intolerance we see in the world today, what role does literature play?
Literature has a very important role to play because it is all about the other. Open a book and you get into another world, you relate with the other. Anyone who has grown up reading good literature cannot be communal. Today, there’s hardly any emphasis on literature and humanities in undergraduate education. Conscious efforts must be made to encourage reading and bring literature back into mainstream education; otherwise, the consequences will be serious.
I am sure you’ve been influenced by many writers over the years...
There are many Kannada writers who influenced me greatly, especially Yashwant Chittal because he is from North Kanara, where I come from. We share a lot of things in common. I discovered him accidentally and found his writing so wonderful. Although I emulated his style of writing in my early days, I consciously decided to change and found my own style, language and voice. It is important for a writer to be aware of his influences. I’ve also been exposed to many western writers. To enjoy good writing, you need to open all gates.
What are you writing currently?
I am writing a novel in Kannada. I have also finished a play that is yet to be staged.