70,000 copies of 'Heart Lamp' reprinted in 2 months, says Deepa Bhasthi
Bhasthi said that permission has been given to translate the work into Malayalam, Assamese and Oriya languages and requests from other languages have been coming in too.
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The Hindu
a day ago
- The Hindu
Beyond Heart Lamp's success: Are translators getting the credit that's due?
'Against Italics' - Deepa Bhasthi's translator's note for Heart Lamp, which won the International Booker Prize 2025, made headlines. The translator's note section, which is usually skipped, drew attention this time. 'Setting aside the futile debate of what is lost and found in translation', Ms. Bhasthi talks about her deliberate choice to not use italics for the Kannada, Urdu, and Arabic words that remain untranslated in English. Ms. Bhasthi ends the translator's note saying, 'Italics serve to not only distract visually, but more importantly, they announce words as imported from another language, exoticising them and keeping them alien to English. By not italicising them, I hope the reader can come to these words without interference, and in the process of reading with the flow, perhaps even learn a new word or two in another language. Same goes for footnotes – there are none'. While talking to The Hindu, Ms. Bhasthi says this translator's note has been met with a lot of love and care, and attention by readers as well. One of the reasons why words are italicised in translated texts is that there may be no exact equivalent in the target language of translation ~ seen as untranslatability. Until some years ago, this idea of untranslatability was the prominent discourse in translated literature, viewed negatively. Conversations about translated texts have, however, become more nuanced now, and translation is coming to be seen as a creative process as much as writing. As translators claim creative agency and push back against conventions like italicisation, the way a translator's role is perceived is evolving. From what's lost to what's found Ms. Bhasthi prefers the term writer-translator over just translator, which reduces the translator's job to one less than the writer. She says translation is as much a creative practice as writing, and autonomy in translation is important, as without it, her job would be no different than ChatGPT. 'That said, of course, if the author is living, it is always nice to be in conversation with them about their stories and, you know, get insights', she says. Moutushi Mukherjee, Commissioning Editor at Penguin Random House India, states that translators are now able to talk more about the tremendous impact a translation can have on expanding a literary heritage to wider audiences. She notes that there is a growing number of enthusiastic and resourceful translators in the country, which she sees as a very positive development. Ms. Mukherjee adds that the translators themselves are now more vocal about their role, putting themselves out there, so to speak, and emphasizing their contributions. According to Ms. Mukherjee, wins like Tomb of Sand (for Daisy Rockwell) and Heart Lamp (for Deepa Bhasthi) have also, obviously, changed the way readers perceive the translator. Translator visibility on book covers The book cover for Heart Lamp, published by Penguin, features an artwork at the top, followed by the book title and subtitle in red and sky blue-colored fonts, respectively. The next prominent feature is the author's name, Banu Mushtaq, spaced across the centre of the cover. It is then followed by Ms. Bhasthi's name in a smaller font, highlighting her 'Winner of the English PEN Translates Award 2024' achievement. A similar pattern of book covers is visible in the Perennial translation series by Harper Collins, and their back covers provide a brief introduction to both the author and the translator. This wasn't always the norm. Ms. Bhasthi says this visibility on the book cover is much better than until a few years ago, as translators' names would be somewhere inside the book and not on the cover. But now nearly all publishers put the translator's name on the cover. In a 2016 opinion piece for The Hindu, translator S. Krishnamurthy writes, 'Except on the title page and the cover, nowhere else will you see your name or any other details about you (translator). If your name is an ubiquitous sort, as is mine, nobody will even know you are the translator, unless you tell them'. Ms. Bhasthi says there still needs to be a lot of awareness about this, and it needs to start with the media. She states that there is an attitude that continues to persist in the media, especially, where somehow it is enough to just name the writer of the original work and not name the writer-translator who has brought the work into English or whatever other language. Ms. Bhasthi says we have certainly come a long way, but she thinks we still have a very long way to go before writer-translators are also seen on an equal footing with the writers in the original languages as well. Stepping aside from India, the research paper, 'Examining Intersemiotic translation of book covers as a medium of culture transfer,' was published in 2018. Among other aspects, it attempts to concentrate on the elements and criteria that are directly related to the visibility of translators. It takes into account five translations of Ernest Hemingway's, 'The Old Man and the Sea', in Iran, one of the most translated books in the country. The research paper finds that the title is designed with the biggest font, and then the name of the author in a quite smaller font, and lastly, the name of the translator is printed in the smallest font. 'It is also worth mentioning that in two works, the name of the translator is not even printed on the front cover, i.e., Manzoori and Parsay translations. In other words, the mentioned pattern prioritises the importance of each item: first the work, then the author, and last the translator. These covers also don't provide specific information in the book for introducing the translator or his/her other translated works to the interested readers', the paper says. In the Indian publishing industry the scene has changed. Urvashi Butalia, publisher, teacher and activist, says, 'There is greater acknowledgement and this is evident in all the things such as larger fonts, better placement, and also in including translators in media events. By contrast, I've not seen many reviews that mention names of translators, although again I could be wrong'. Ms. Mukherjee says credit is very important. She states that a simple act of giving credit to the translator on the cover of the book, and yes, equal weightage inside the book, has gone a long way, in her personal experience. Ms. Mukherjee also says we should expand that credit in a broader sense: include the translator in all marketing and publicity details, retail campaigns, and general discussion about the book. She emphasizes giving the translator the visibility they deserve across festivals and awards. According to Ms. Mukherjee, if we want to give visibility to translators, we must do so collaboratively, across all stakeholders. Promoting translated literature Translators are being acknowledged as co-creators in the literary process and not as secondary personas. There is a drive for better visibility of translators through book publicity campaigns, panel discussions, and other media. 'However, broader industry support and consistent credit across marketing, media, and events are still needed. I do think it's not enough for a few publishers and award ceremonies to promote translation literature. We need more publishing groups, more juries, and certainly, more of the mainstream media, supporting and recognising the significance of literature in translation', says Dharini Bhaskar, Associate Publisher, Literary at HarperCollins India. It helps to keep translation central to all conversations to do with books and literature. For instance, on World Book Day, Harper Collins had a full translation panel—which included Mini Krishnan, Sheela Tomy, Jayasree Kalathil, and Ministhy—and they spoke about the challenges faced by translators and the space translation literature occupies in the literary firmament. On how they bridge this gap, Ms. Bhaskar says, 'For one, we give literature in translation as much prominence as the poems and novels, and non-fiction originally published in English. Translation literature not only gets equal editorial care and attention but also has the full support of both the sales and marketing teams. We promote our works of translation—and not just when they're nominated for awards—and back translator and author equally. For they're a team. The book belongs to both of them'. Ms. Mukherjee says their publicity campaigns include the translator along with the author; this is without exception, and they will never have it any other way. She states that they make it clear at the outset to the author as well as the agent that the translator is going to be equally involved in the editing process, in planning publicity, and even on decisions pertaining to the cover of the book. Ms. Mukherjee says the translator has equal space (and equal say) on the journey of the book, both during and after its publication. Zubaan recently began a translation collaboration with Ashoka University called Women Translate Women. Every event for the books in this series has had translators present. Ms. Butalia says, 'This is also the case with many other publishers – in fact, several mainstream publishers now employ editors whose main task is to source translated manuscripts. This is a very positive development'. Are readers more willing to buy translated books? Publishers say winning the International Booker does drive sales of translated works. Though publishing houses have been increasingly taking steps to highlight the work of the translator alongside the author, the media lags in giving translators due credit. Readers, too, are increasingly open to buying translations, though Western approval still influences Indian buying habits. Ms. Bhasthi says there has been a lot of love that the translation of Heart Lamp has received, apart from the stories, and she is very grateful for that. She highlights the importance of the International Booker Prize giving equal emphasis to both the writer-translators and the writers from the original language. 'So, I think that attention is very important for translations and writer translators as well', she says. Talking about the media coverage Heart Lamp received, Ms. Bhaskar says there is immediate media coverage once a book is longlisted or shortlisted for a prestigious award, and such coverage doubles if the book wins. She adds that this kind of visibility has a direct impact on sales. 'This, in turn, has a direct impact on sales', she says. Ms. Bhaskar says they have seen sales numbers of books spiralling the moment they win prestigious awards. She notes that the ripples spread far, and that major wins typically benefit all literature coming out in a certain language. She emphasizes that such recognition also helps literature in translation overall, and sometimes even specific genres like poetry or short fiction. It also bodes well for literature in translation (as a whole), and sometimes, it bodes well for certain genres. Ms. Bhaskar points out that very often, in India, readers look for approval abroad before buying a book published locally. She stresses the need for Indian readers to start recognising the wealth of literature already available in the country—in English, in translation, and in regional languages—and to start supporting these books without necessarily waiting for validation from the West. Ms. Butalia says readers are more willing to buy translated works in general, perhaps this is because translated books are also more visible now, both in offline and in online bookshops. And they are better marketed, as books in their own right and not as poor cousins of an original. Ms. Bhasthi says that compared to other literary fiction, translated fiction is still not as widely read as it should be in a diverse country like India. She expresses hope that readers show more interest in translated fiction, and specifically mentions Kannada as one of the more under-translated languages in South India. Ms. Bhasthi says'I hope more translators bring forth some of the extraordinary works that we have in my language.'
India Today
2 days ago
- India Today
Education ministry urges 7 states to adopt common board for Classes 10, 12
The Ministry of Education has recommended that seven states — Andhra Pradesh, Assam, Kerala, Manipur, Odisha, Telangana, and West Bengal — transition to a common board system for Classes 10 and 12. This move comes after a detailed analysis by the Department of School Education flagged these states as accounting for nearly 66% of all student failures in board examinations last India has 66 school examination boards, comprising three at the national level and 63 at the state level (54 regular and 12 open boards). Data shows that while the top 33 boards cover 97% of students, the remaining 33 boards serve just 3%, raising concerns about their effectiveness and reach."Adopting a unified board structure for Classes 10 and 12 can greatly improve the schooling experience and outcomes. Lack of standardisation has led to inconsistencies in student performance," said School Education Secretary Sanjay FAILURE RATES SPARK CONCERN In 2024, over 22.17 lakh students failed the Class 10 exams, while 20.16 lakh failed Class 12. While these figures reflect an improvement from previous years, they remain a significant hurdle in ensuring smooth transition to higher education and reducing dropout analysis revealed that open school boards continue to struggle, with only 54% of Class 10 and 57% of Class 12 students passing. Officials stressed the need for the National Institute of Open Schooling (NIOS) to expand its reach, especially in states with high failure rates. Currently, NIOS has a stronger presence in Delhi, Rajasthan, and Haryana — states that also have some of the lowest student failure rates."There is a need to standardise assessments, curriculum design, paper setting, promotion criteria, and exam schedules across all boards. Institutions like NIOS must enhance their outreach to ensure students remain within the education system, supported by initiatives like Samagra Shiksha Abhiyan and active parental engagement," Kumar OUTPERFORM BOYS IN SCIENCE STREAMA positive trend noted in the report was the increasing success of girls in board exams, particularly in science. More than 28 lakh girls cleared science subjects in 2024, surpassing the 27.2 lakh in the arts stream — a significant shift from 2022 when the number stood at 23.3 report also highlighted disparities in performance based on the language of instruction. Students writing exams in Odia and Malayalam consistently outperformed those in Kannada, Telugu, or Assamese. Interestingly, Kerala, Odisha, and Manipur — states that have integrated or centralised board systems — reported exceptional pass percentages, with Kerala achieving a staggering 99.96% success SCHOOLS LEAD IN COMPETITVE EXAM SUCCESSAdditionally, centrally managed institutions like Navodaya Vidyalayas (NVs) and Kendriya Vidyalayas (KVs) continue to deliver strong academic performances. In NEET-UG 2024, 72% of students from NVs qualified, while both KVs and NVs maintained impressive results in engineering entrance exams as Vidyalayas, known for their residential, co-educational setup, aim to provide quality education to talented students from rural backgrounds. Their consistent success, especially in competitive exams, underscores the value of structured and standardised educational Reel
Indian Express
2 days ago
- Indian Express
Education Ministry recommends 7 states to adopt common board for Classes 10th, 12th as analysis flags poor outcomes
The Ministry of Education has recommended seven states to adopt a common board for classes 10 and 12 after an analysis by the School Education Department flagged that these states accounted for 66 per cent of student failures last year, officials said. The seven states are Andhra Pradesh, Assam, Kerala, Manipur, Odisha, Telangana and West Bengal. There are a total of 66 school examination boards in the country, including three national-level boards and 63 state-level boards (54 regular and 12 open boards), while the top 33 boards cover 97 per cent of students, the remaining 33 boards cover just 3 per cent of students. 'Common board for class 10 and 12 is the way forward for ease of schooling. Not having a common board leads to poor academic outcomes. We have recommended these states to adopt a common board,' School Education Secretary Sanjay Kumar said. A total of 22.17 lakh students failed Class 10, and 20.16 lakh failed Class 12 across the country in 2024. While the numbers have improved over the decade, officials say they remain a significant barrier to better retention and transition to higher education. 'Role of National Institute of Open Schooling (NIOS) in these states became important to engage the unsuccessful students in education. NIOS's present prominence around Delhi, Rajasthan, Haryana (where there are least failure rates), needs to be expanded to other states. 'Standardisation of assessment process, curriculums, paper setting, elevation (to the next class), exam span also needs attention of Boards,' Kumar said. The analysis pointed out that open school boards performed poorly, with only 54 per cent of Class 10 and 57 percent of Class 12 students passing. 'Institutions like NIOS must step up efforts to prevent dropouts, supported by the Samagra Shiksha Abhiyan and increased parental engagement,' Kumar said. A major trend noted is that girls are outperforming boys across most boards, especially in science. More than 28 lakh girls passed in science, overtaking the 27.2 lakh in arts — a reversal of earlier trends and a rise from 23.3 lakh in 2022. The analysis flagged significant differences among students' performance in different mediums of instruction. Students taking exams in Odia and Malayalam mediums did significantly better than peers writing in Kannada, Telugu or Assamese, highlighting regional disparities. States like Kerala, Odisha and Manipur, which have integrated board systems, recorded pass rates above 97 per cent, with Kerala at 99.96 per cent. The analysis report also noted strong performances from Navodaya Vidyalayas (NVs), where 72 per cent of the students cleared NEET-UG. Students from Kendriya and Navodaya Vidyalayas also fared well in engineering entrance tests. The NVs are fully residential, co-educational schools providing quality modern education from Class VI to XII to talented children, predominantly from rural areas.
