Very glad to have 5 poems published in the issue 9 of Wishbone Words
Extremely delighted to have work featured in The Handy, Uncapped Pen.
It is a great place for writers with disabilities. I wish more such magazines should come to the forefront in the future.
Very glad to have 3 poems published yesterday in Plato’s Caves, to start this 2023 with this fresh beginning.
Equally glad to have 1 poem accepted for publication in Quail Bell Magazine. Wishing my readers happy new year 2023.
glad to have 5 poems in adelaide literary magazine: LEARNING A SONG by Jyothsna Phanija | Adelaide Literary Magazine (adelaidemagazine.org)
Glad to have 3 poems accepted by Platos Caves Online. poetry keeps me cheered and engaged always.
Back to my active writing life again. I am so glad to have my poem published in the fall issue of The Hopper – Environmental Lit, Poetry and Art
The theme of the Hopper’s fall issue is touch. I felt much connected to the theme and written this poem. Acceptances make the day for any poet. I am much glad to be accepted by Wishbone Words and The Handy, Uncapped Pen. Wishbone Words will be publishing 5 of my poems in December and The Handy Uncapped Pen will be publishing 2 of my poems in January😊
2 of my poems published in Teesta Review’s new volume of animal poetics today.
2 of my poems, “Yellow” and “How They Make a Kite in My Village” have appeared in The Chakkar. The poems can be read from here:
Sumana Roy’s How I Became a Tree (2017) is a compelling work of non-fiction, which takes the readers to access the cartographic elements of the trees, making the reader pause for a while and think of trees in a more philosophical perspective. Sumana Roy’s observations make the reader to think about the trees in several ways as trees have no pressure to write the exams, have no obligation to valorize their marital status, no obsessive desire to look younger and so on. The book is well organized, divided into smaller parts, talking of one particular subject regarding the trees like trees and literature, photographing the trees, or sitting under the tree. She shares the experience of recording the response of trees to wind, making the leaves rustle, gives names to voices that we can hear in the sound of the leaves. She is different from the music teacher to name the voices. Her statements are bold and concrete in this book, as she says for example, trees have nothing excessive. She talks of gender elements, trees as women, women as flowers, naming women with flowers, illustrating her observations from literature and art. This book is a perfect companion for a sensitive reader, who sees things in a slow and quiet way. She talks of the paintings of trees by Nandalal Bose, Tagore’s love for plants, experiments of Jagadish Chandrabose, where she brings the subject of childlessness and plant love. Drawing the trees with dancing leaves, photographing trees as a family picture, she takes the reader to be immersed in the tree world. Part 3 is much interesting where she talks of shadows, as one incident she remembers at the age of 9, when she tries to catch the shadows of the mangoes, and presents the empty basket to the elders. How she observes Tagore’s naming of flowers, especially the indigenous names, is also much interesting. The book reaches a different level, where it focuses nonperceived aspects of trees, which is about the past lives, death, soul taking the form of a tree, getting lost in a forest, finding oneself under the Bodhy tree, religious aspects, trees in folklore, which are mysterious. The language in this book is conversational, and most of the original thoughts of the author are lucidly presented.
Many academic writings and collections have appeared in recent times from the Indian academicians pertaining to disability studies, discussing the very Indian experientiality and nature. Disability in Translation: The Indian Experience is one such book, which locates the larger framework of disability studies within Indian short stories in translation. Edited by Someshwar Sati and G.J.V. Prasad, the book presents informative and well researched essays on the tropes of disability representation in translated short stories from almost all the Indian languages including Marathi, Urdu, Malayalam, Tamil, Gujarati, Bengali, Hindi, and so on. The book sets a critical enquiry on disability and translation studies by the editors, as they reiterate that, disability studies should be surfaced in our academic consciousness. They examine how disability related texts are not discussed in classroom. The interesting fact with the editors proposition is when they equate the correlation between disability studies and translation studies as how lack of translation disables the understanding of a particular text in a particular language. They find Act of translation is directly addressing disability, and hope for more inclusive research by the translators and the disability researchers. With the essays on academicians from diverse backgrounds, the book enables critical thinkers of postcolonial studies, historians, translators, linguists, sociologists, and general readers alike in comprehending the nuances of disability studies in Indian context, aptly suggested by the title of the book. Radha Chakravarty in her essay “A Different Idiom: Translation and Disability” observes disability as a culturally and socially produced idea. She recollects how she revisits her own translations in altered frame of reference for example, Tagore’s “Mahamaya”, where she didn’t italicize the Bengali words, to be clear on the flavour of the short story and the time frame, also denoting the disability how it should be presented without altering. Similarly Somrita Ganguly in her essay “Translating Desires of the Undesired: Re-reading Tagore’s different women in ‘Subha’ and ‘Drishtidaan’” explains how she made deliberate choices in translation for emphasis on the correlation of experiencing desire in feminine terms. While Himani Kapoor writes about Bhagavad Githa on wheels, creating counter aesthetic of abilities, Sanju Thomas discusses the Malayalam film Thakara, as an intersemiotic translation in Jakobson’s terms, a satisfaction to the larger audience, different from the original text. Shubhra Dubey stresses on the need to revise the curriculum for the CBSE Schools while discussing Rangeya Raghav’s short story “Goonji”, perusing how some texts on disability, instead of enabling the non-disabled on the subject of disability, propagate negative stereotypes regarding the disabilities. Dubey also observes texts of these kinds, isolating the disabled students in the classroom. Naiyer Masud’s “Ganjefa”, Anjum Usmani’s “The One-Armed Man”, Agha Sohail’s “Luminescence”, Sauravh Kumar Chaliha’s “Beethoven”, Ishwar Petlikar’s “Lohini Sagai”, Dharamvir Bharti’s “Gulki Banno”, SaileshMatiyani’s “Hara Hua”, Sunil Kaushik’s “Andhere Ka Sailab”, Bharat Sasne’s “Mai Dukh Ki Lambi Raat”, Rashid Jahan’s “Woh”, Khalid Jawed’s “Koobad”, Bama’s “Ottha”, Abilash Chandran’s “Maadippadigalare”, are analysed in touching upon the context of postcolonial Assam, relations between mental illness and hospitalization in terms of care providing, parental attitude towards visual impairment, skin conditions as a sight of unacceptable gaze at the work place, gender and Dalit subjectivity leading to further marginalization for the disabled women, steps as a sight of physical barriers for the disabled in the metaphorical sense, domestic violence operating up on disability, equating disability as a form of poverty, feminist sensibilities, and translation as a never ending process. As Chitra Harshvardhan writes, difference is not a celebration but a mutual respect, no translation becomes ever final. Many of the essays predominantly draw the theoretical framework from David T. Mitchell and Sharon L. Snyder’s Narrative Prosthesis: Disability and the Dependencies of Discourse, and other theorists like Ato Quayson, Rita Kothari, Tejaswini Niranjana, Susan Bassnett, Harish Trivedi, Rosemarie Garland-Thomson, Nilika Mehrotra, Anita Ghai, Lawrence Vinuti, Maria Tymoczko, and so on. Applying the Western theoretical framework for the Indian context, appears rather challenging process, where the regional aesthetics is transliterated into popular readability and anxieties, as Subhadeep Ray contends translating disability texts from regional languages cut across the regionalism itself, re-defining the postcolonial condition of ours, reminding our shared future “fighting with and against multiple bodies”. The book offers several questions to ponder over, as B. Mangalam observes, do we locate the disabled in literary writings as assertive or passive presence? Is there a qualitative representation of the disabled if the representation is done by themselves? Could there be any difference if disabled texts are translated by the disabled? The book presents fresh perspectives on disability, where disability is mentioned in Rig Veda and Upanishads, talking further how like gender, disability is a discursive construct. The research on disability should be strengthened as Shilpa Anand observes in her essay “Translating rhetoricity and everyday experiences of disablement: the case of Rashid Jahan’s ‘Woh’”, in the conference titled “Translating Disability Across Cultures: The Translation and Representation of Disability in the Modern Indian Short Story” in Jawaharlal Nehru University in September 2016, participants tried to locate texts on disabilities in their regional languages, where Tagore’s “Subha” was predominant, chosen by many of the participants. There is a constant need to locate disability related texts in one’s mother tongue. . She underlines the need to locate disability texts in non-western literary framework. Writers should be conscious in portraying the disabled characters in their stories. Disability studies should be seen from the sociological outlet, as it concerns every individual. This book clearly aims for academic inclusion of the sociological experiences of disabled individuals. This book should be recommended for the scholars across the disciplines.
Title: Disability in Translation: The Indian Experience
Editors: Someshwar Sathi and G.J.V. Prasad