Found in translation: How Assamese literature is waiting to be explored

There is a sense of lament, a slight tinge of regret and a lingering question of "why?" Ratna Bharali Talukdar, an Assamese short story writer and novelist, hopes that the world will appreciate and engage with the works of master storytellers from Assam, such as Saurav Kumar Chaliha and Mahim Bora. However, Bharali soon overcomes her despondency and becomes excited about Assamese classic literature.

“Authors such as Lakshminath Bezbarua, Homen Borgohain, Mamoni Raisom Goswami, Birendra Kumar Bhattacharyya, and Bhabendra Nath Saikia were key figures in the golden age of Assamese literature. They transformed the way Assamese people read, write, understand, and reflect on life. Their contributions introduced a new set of grammar, rhythm, and enlightenment to all of us," she told The Federal.

Ratna Bharali Talukdar, an Assamese short story writer and novelist.

"Unfortunately, very few works have been translated, leaving most Indian readers unaware of them. Only a handful of writers, like Mamoni Baideo (Baideo means elder sister in Assamese), who taught Assamese at Delhi University, managed to reach a broader audience, as her works were translated. However, things are changing; a new generation of young translators has taken it upon themselves to highlight the vastness and richness of Assamese literature."

Indira Goswami, who was awarded the Sahitya Akademi Award and the Jnanpith Award, is affectionately known by her pen name, Mamoni Raisom Goswami. She was a celebrated novelist, poet, and scholar who passed away in 2011. Some of her most beloved works include "The Moth Eaten Howdah of the Tusker", also known as "Dontal Hateer Unye Khowda Howda," "The Man from Chinnamasta," or "Chinnamastar Manuhtu," and "Pages Stained with Blood," referred to as "Tej Aru Dhulire Dhushorito Prishtha".

Transcreation and the desire for exposure

Award-winning translator Ranjita Biswas, who prefers to refer to her field as "transcreation", emphasises that Assamese literature, particularly short fiction, ranks among the best in contemporary Indian literature. However, she adds that it has not received adequate exposure. Biswas received the Sahitya Akademi Award in 2017 for translating, Written in Tears, a short story anthology by Assamese writer Arupa Patangia Kalita.

Ranjita Biswas received the Sahitya Akademi Award in 2017 for translating, Written in Tears, a short story anthology by Assamese writer Arupa Patangia Kalita.

Biswas notes that there have been positive developments recently, particularly with the emergence of many young translators. "Another encouraging trend is the increasing interest in regional literature among publishing houses in India, which has provided translators with a platform to showcase their work. In the past, translators' names did not appear on book covers. Today, there are dedicated awards for translators, complete with substantial prize money, which is an encouraging sign."

Three-time Katha Prize winner for short stories translation from Assamese, Biswas began her writing career as a journalist. In the 1980s, she first encountered translation while working on non-fiction. “I started working more earnestly in the fiction genre in the 1990s when I translated 'Shrinkhal' (Fetters) by the brilliant writer and filmmaker Dr Bhabendra Nath Saikia. This was followed by the translation of 'Pita Putra' by renowned writer Homen Borgohain for the National Book Trust, among others. Since then, I have published eight books,” Biswas recalled.

When discussing the golden rules of translation, Biswas stated the importance of being properly familiar with the source language. "Understanding the nuances is crucial, particularly in bhasha literature, which includes aspects like interpersonal relationships and forms of address. Moreover, one must have a strong grasp of the target language. The key to becoming a good translator is to read extensively—there is no substitute for this practice."

‘Expanding the vocabulary and ambit of the target language’

In her piece titled "When India’s North-East Is ‘Translated’ into English," which is included in the book --A Multilingual Nation: Translation and Language Dynamic in India--author and translator Mitra Phukan discusses the complexities and creative joys of writing in English. She reflects on the process of translating works from Assamese to English, highlighting the various ambiguities that arise during translation.

“There is a rich body of Assamese literature which needs to be translated into other languages, including but not confined to English. It is heartening that several good translators are now doing so. And now, when original writings in English are also coming out from this region and this state, these translations, when they are in English, are expanding the vocabulary and ambit of the target language as well,” Phukan wrote.

Seventy-one-year-old Phukan, who is based in Guwahati, has authored four children's books, a biography, and three novels: "The Collector's Wife," "A Monsoon of Music," and "What Will People Say?" In addition to these works, she has recently translated "The Owl, the River, and the Valley," originally written in Assamese by Arupa Patangia Kalita.

When Bharali, also an award-winning journalist, and her husband, veteran journalist Sushanta Talukdar, launched their online magazine NEZINE, which focuses on Northeast India, they chose to include a special section dedicated to creative writing. In this section, short stories and poems of both seasoned and emerging writers are translated and published.

Need to support translators

"Translation is a time-consuming process. Sometimes, it takes almost two years to translate and publish a short story in our magazine. However, we need to be persistent, as it is essential. I want Assamese literature to retain its unique flavour during translation, that is why I prioritise quality over quantity. Earlier, there have been some very 'flat' translations of works by legendary writers, and they need to be translated again," said Bharali.

Most of Bharali's short stories and novels are based on real-life experiences she encounters as a journalist. Her short stories have been translated into English, Hindi, Bengali, Marathi, and Khasi. Some of the 52-year-old's literary works include To You: The Story of a Dakhana Secret, Oye Nathuram, and Come Nawajuddin Miyah: Let's Touch the Moon.

One primary reason for the limited translation of Assamese literary works into other languages, in contrast to languages like Bengali, Malayalam, or Tamil, is that literary organisations such as the Asom Sahitya Sabha have not prioritised training and financially supporting translators, according to experts.

"Literary organisations continue to hold workshops aimed at translating English books into Assamese. However, it would be more beneficial if the process was reversed, as most Assamese readers can read English, while very few people outside of Assam are familiar with the language," said a literary critic who preferred to remain unnamed.

Translating and building bridges

Award-winning Assamese poet Kamal Kumar Tanti emphasised that translation is a crucial bridge that enables communication and understanding between languages and cultures. He described it as a complex process that involves negotiating cultural nuances. Tanti won the Sahitya Akademi Yuva Puraskar in 2012 for his poetry collection, Marangburu Amar Pita. He is a bilingual poet and writer, crafting works in both English and Assamese.

Award-winning Assamese poet Kamal Kumar Tanti emphasised that translation is a crucial bridge that enables communication and understanding between languages and cultures.

Tanti, who belongs to the Adivasi community, is celebrated as a poet deeply connected to his land and history, possessing a strong political voice. Some of his finest poems can be found in the collection, Post-Colonial Poems, translated into English from Assamese by Shalim M Hussain and Dibyajyoti Sarma.

Tanti believes that translation has enabled his work to reach a broader audience. He translates his poetry to explore the nuances between the two languages. "Maintaining the essence of the original is always my priority," he said.

Tanti has translated Assamese poems by other poets into English too. “My goal is to convey the unique voices of the poets whose work I translate. It is an effort to make our literature more accessible,” he explained.

“Translators should focus on cultural context, emotional tone, and linguistic nuances. Maintaining fidelity to the original's spirit is crucial. One of my favourites is 'The Moth-Eaten Howdah of the Tusker' by Indira Goswami, which she translated. Its powerful story resonates deeply, and the translation is excellent,” Tanti added.

Veteran translator Biswas concluded by emphasising that translation is an ongoing process of learning and growth. “Languages in today’s world are evolving, so one must stay updated. I live in Kolkata, and for me, keeping up with new Assamese literature is particularly challenging. I subscribe to well-known Assamese literary magazines and regularly read new books to stay informed.

"I often find it fascinating how words from other Indian languages have been incorporated. Many expressions influenced by the IT revolution, social media, and similar trends have seeped into Assamese literature and young writers use them liberally. Therefore, one cannot afford to be unaware of these changes.”