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The Hindu
4 hours ago
- Entertainment
- 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.'
The Hindu
a day ago
- Entertainment
- The Hindu
Kanishka Gupta's open door policy
Kanishka Gupta, 43, is likely the most popular book agent in the country right now. One strategy that has helped him go from being an outsider who 'didn't know the ABC of agenting' — and someone whom publishers fobbed off by saying they didn't pay author advances — to an industry insider who runs the largest literary agency in South Asia, is that he always keeps his doors open. 'I don't say, tune mujhe kitab nahi di, katti (You didn't give me your book, so I won't speak to you),' he says. He once helped a journalist-author conduct an auction for her book despite the fact that she didn't want him to be her agent. In turn, she introduced him to many writers. In an insulated and competitive field, Gupta's open door policy is rare. Now he's the agent for feminist lawyer Indira Jaising's conversational biography with Ritu Menon; says he can tell if ChatGPT is the real author of a piece of writing by the overuse of words such as 'tapestry' and 'align'; and promises to send me an award-winning book published in 2019 that he's re-pitching for publication in the U.K. and the U.S. because he has 'never read a book like this'. He's talking about Numair Atif Choudhury's Babu Bangladesh!. Choudhury died in a freak drowning accident in Japan a year before his book was released. He may not yet have discovered an Arundhati Roy in his slush pile, like literary agent David Godwin once did, but Gupta now has an author roster that includes two International Booker winners in four years. He is the agent for Banu Mushtaq's Heart Lamp (translated by Deepa Bhasthi), which recently bested around 150 entries to win the prestigious prize. He was also translator Daisy Rockwell's agent when she and author Geetanjali Shree won the 2022 International Booker for Tomb of Sand. Agent 'by accident' Gupta was also representing two books of Shehan Karunatilaka when the Sri Lankan writer won the 2022 Booker Prize (Gupta got a shoutout in the victory speech alongside Godwin). His author Avni Doshi's Burnt Sugar was shortlisted for the Booker in 2020. Gupta says he's been the agent for around 1,700-1,800 published books so far. As Heart Lamp propels bookstore sales across the country, Gupta has been inundated with translation offers. '…Malay, Sinhala, Portuguese, Greek, Italian, Arabic… a Georgian publisher is interested, the Polish book is a big deal,' he rattles off at 2x speed, adding that he has also received invites from 30 literature festivals. Gupta became an agent 'by accident'. In school he had 'zero interest' in books. As a teenager, he suffered from 'life-threatening depression' and a few years after, he began writing a book. Somehow, due to regular visits to Delhi book shops, he developed an interest in publishing. 'I kept observing and Googling,' he says. His own book was rejected by publishers at first because it was overwritten. But in classic Gupta style, he worked on his own writing, read voraciously and made it to the longlist of the now discontinued Man Asian Literary Prize. At 21, he was that pesky author who would email agents repeatedly (he still has half-a-dozen manuscripts, 'one worse than the other'). The people connect He had two short stints working with literary stalwarts Namita Gokhale and Mita Kapur and, in 2008, he started Writer's Side to give authors editorial feedback. Two years later, when he signed on his first client, Anees Salim, then an unknown author, Gupta became a literary agent. 'There was a lot of opposition, confusion, uncertainty from the publishing industry,' he says about the early years. 'I had no credentials, some were not keen on working with me, but I always stayed in touch with people and that worked for me.' When his business thrived, Gupta began sharing his observations about the publishing industry. 'I'm blunt, so I'm disliked. Once I felt I was in a position to speak my mind, I started doing that,' he says. 'I called out the nepotism and casteism in publishing.' One of his pet peeves is that many talented authors are forced to publish paperback books while the hardbacks seem to be reserved for the prestige memoirs of bureaucrats. The breadth of Gupta's author list is impressive. 'I'm known for my translation list,' he says. 'It's big.' But then he has also been the agent for at least 50 Pakistani authors. He has a long list of nature writing, sports books, Dalit writers and academics-turned-authors. 'I'm open to everything,' he says. After 7-8 years of wading through the slush pile to discover writers, Gupta now has the luxury to operate from references and his travels. He represented Pakistani author Moni Mohsin after meeting her at the Galle Literature Festival in Sri Lanka and signed up writer and naturalist Yuvan Aves after they connected at the Jaipur Literature Festival. He was the agent for the book, Trial By Fire, about the Uphaar cinema tragedy, and Life after MH370, written by a man who lost his wife on the plane. 'I get drawn to personal stories,' Gupta says. His personal story is not bad either. The writer is a Bengaluru-based journalist and the co-founder of India Love Project on Instagram.
Time of India
2 days ago
- Entertainment
- Time of India
‘Edeya Hanate' set for stage adaptation
Shivamogga: 'Edeya Hanate' (Heart Lamp), a story by Hassan-based writer Banu Mushtaq, which is part of the story collection that won the International Booker Prize, will soon be performed on stage. Satya Shodhana Ranga Samudaya, Heggodu, will present this play, and Janamanadaata Repertory troupe artistes will perform. According to M Ganesha Heggodu, principal of the Ninasam Theatre Institute, Heggodu in Shivamogga, who is directing the play, this is the second story of Banu Mushtaq brought to the stage. "In 2019, 'Hrudayada Tirpu' was brought to the stage," he explained. Salma Dandin, an old student of the National School of Drama, Delhi, will play the lead role of Mehrun along with conceptualising the play. This 55-minute play with seven characters will be performed first on July 5 at NINASAM, Heggodu. It will be performed at Kiru Rangamandira in Mysuru on July 19. "In Hassan, the play will be performed on July 12. Our idea is to perform this play in all the taluks of Hassan district as it is the home district of Banu," he said. The artistes and the team will rehearse the play for a month's time before presenting it on the stage. "The audience will get the feel of reading the story while watching the play. It will be like a poem," Ganesha said. "The story will be adapted in its originality to the stage," he added. "Janamanadaata Repertory troupe has been performing plays since 2005. 'Mayamruga' of Poornachandra Tejaswi will be the other play that will be presented by the troupe this year," he said.
The Hindu
3 days ago
- Entertainment
- The Hindu
Literature Across Borders
Published in the wake of the International Booker Prize win for Heart Lamp by Kannada writer Banu Mushtaq and translator Deepa Bhasthi, this special digital edition from The Hindu explores how Indian literature travels across languages—and what gets transformed along the way. In a country where language is identity, culture, and memory, translation is not just a literary act; it is a bridge. This collection brings together some of the most insightful voices in the field: writers, translators, publishers, and scholars reflecting on the art, politics, and emotion behind Indian writing in English translation. What's Inside Explore 11 essays and interviews that decode the invisible yet powerful force of translation in Indian literature: · Lost and found in translation By Urvashi Butalia · Discovering the world of Kannada in English By N.S. Gundur · I made it a point to translate with an accent Interview with Deepa Bhasthi by Preeti Zachariah · How Perumal Murugan broke the glass ceiling By Kannan Sundaram · Cross-cultural currents and literary inventions in Malayalam literature By Navamy Sudhish · From 'anuvad' or translation to 'samvad' and dialogue By Anuj Kumar · Two-way bridge: The Journey of Marathi literature By Prathmesh Kher · Stories from unheard corners of the Northeast By Sudipta Datta · The art of assembling a glossary By Mini Krishnan · Catching the nuances of original texts By Ramya Kannan · The anxieties of the Indian translator By Arunava Sinha Each chapter offers a unique perspective, revealing how translation shapes what we read, how we understand it, and who gets heard. Literature Across Borders is available free for all digital subscribers of The Hindu Group. Non-subscribers can also purchase the e-book on Amazon To download a sample of the e-book : To buy the e-book from Amazon: To download the PDF version for the book, subscribe here:
Time of India
5 days ago
- Entertainment
- Time of India
3,000 copies of ‘Heart Lamp' sold out
Mysuru: The euphoria around 'Heart Lamp', the story collection of Hassan-based Kannada writer Banu Mushtaq, which brought the first International Booker Prize to Kannada, has continued. 'Edeya Hanate', a story collection in Kannada comprising 12 stories featured in the 'Heart Lamp' published by Abhiruchi Prakashana, is selling like hot cakes. 3,000 copies of this book, which was released on June 4, were sold out by June 8. According to Ganesh, publisher of Abhiruchi Prakashana, there is a demand for 20,000 copies of this book. It can be recalled that these 12 stories were part of 'Haseena Mattu Itara Kategalu'. "The Edeya Hanate book has great demand from all over the state," said Ganesh. "The book is well accepted by readers. The book is received very well both online and offline. We got huge demand from across the state, which is unique," he explained. He also stated that the demand for 'Haseena Mattu Itara Kategalu' is also good. Ganesh informed that the idea behind publishing the collection of 12 stories featured in the 'Heart Lamp' is to present the selected stories of Banu Mushtaq to readers, which will develop interest among readers in reading other stories of hers. "Immediately after she got the Booker Prize, there was a huge demand for her story collection. So we decided to bring this book along with the 'Haseena Mattu Itara Kategalu'. Currently, both the books are not available in the market. The re-printing is in progress," he said.
