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| Amita Ray |
** ISSN 2475-1359 **
* Bilingual monthly journal published from Pittsburgh, USA :: рдкिрдЯ्рд╕рдмрд░्рдЧ рдЕрдоेрд░िрдХा рд╕े рдк्рд░рдХाрд╢िрдд рдж्рд╡ैрднाрд╖िрдХ рдоाрд╕िрдХ *
Special Edition: Amita Ray
Poetry: Amita Ray
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| Amita Ray |
A review of Legends Speak: Bengali Women’s Narratives in Translation
Translators: Amita Ray, Chaitali Sengupta, Lopamudra Banerjee
ISBN: 978-93-90873-62-3 (Paperback)
Edition: 2022
Price: ₹ 550.
Publisher: Avenel Press.
Reviewed by: Sutanuka Ghosh Roy
Throughout the centuries women’s voices have been muted. Women were/are considered to be the epitome of sacrifice and posited by society as carriers and preservers of culture and tradition and expected to bear the cross silently for ‘motherhood’ and ‘nationhood’. When women started speaking for themselves they were ‘labelled’. When they did start writing their writings were put into ‘brackets’. The Bengali women writers are no exception. In their writings, they have pointed out how society has failed to give them what they deserve.
Three contemporary translators Amita Ray, Chaitali Sengupta, and Lopamudra Banerjee across three continents have successfully put in their efforts to represent Bengali women’s creative fiction straddling a wide-ranging trajectory from the colonial period and thereafter contemporary times. The translators have selected novellas written by Swarnakumari Devi (1855-1932) Ashapurna Devi (1909-1995) and Suchitra Bhattacharya (1950-2015). “The novella, as a literary genre, can be positioned mid-way between the concise short story and the expansive novel. The novella therefore can be described as a literary sub-genre, which borrows its structural uniqueness by combining the precision of short stories and the novel” writes Sanjukta Dasgupta in the Foreword of the book.
Swarnakumari Devi’s Chinna Mukul—The Uprooted Blossom was published in 1879. Chaitali Sengupta has translated the multi-textured narrative with grace and ├йlan. The story is about Kanak and her failed love for Hirankumar, a deputy Magistrate in Alipore Court. The plot is intriguing and full of twists and turns and keeps the readers glued to the last. The prose is gender-neutral there are no feminine effusions or emotions or use of proverbs or sentiments that are womanish. This shows the contemporaneity of the novella. The Clarion stated, “Remarkable for the picture of Hindu life, the story is overshadowed by the personality of the authoress, one of the foremost Bengali writers today.” (36, Thakhurbarir Andarmahal). Sengupta has succeeded in retaining the fervour and essence of the original writing. The novella laced with humour and wit makes strong jibes against systematic patriarchy with light-footed ease. Swarnakumari did not show any self-conscious cultural project to situate the historically and culturally grounded feminist concerns. But in Chinna Mukul, she raised questions that foreshadowed the future intellectual and political constructions of Indian feminism.
The next
translated novella Nachhor was
written by Ashapurna Devi in the 1960s. It was later published in her
collection of novels titled Shreshthya
Panchti Upanayash. Nacchor
translated into English effortlessly by Lopamudra Banerjee as The Incorrigible chronicles the
emotional journey of Neera as she juggles between her marital life with Biram
and her childhood love Kunal. Neera could never muster courage enough to
proclaim her love for Kunal and lived on with the emotional baggage. The author
deftly points out how Neera/(woman) is/are tamed into being the right fit for
her family and society at large. Ashapurna had a keen eye for understanding the
psyche of women and in a way, she was a game-changer and subverted the
stereotype of the Bengali woman and portrayed her in a new light.
Ace translator Amita Ray has translated Suchitra Bhattacharya’s novella Shunya thekhe Shunya published in 2010. Shunya thekhe Shunya –The Void captures the essence and change in Bengali society over three generations. The little world of Bandana her son Sagnik, the new-age daughter-in-law Riya, and her grandson Rwik are painted in subtle deft strokes by the author. After her husband’s demise the world changed for Bandana and the void was a permanent one. Perhaps in the modern world, one has to live with fissures and voids. The story ends; it begins where it ends. Suchitra’s penchant for allowing her readers to find a reflection of themselves in her works and her beguiling presence in the novella makes her a favourite among her readers.
Legends Speak resonates with feminine voices of resistance and resilience though they were written at different points in time. One can feel the pulsating grains of history laid across the pages of these three novellas. Conventional values of traditional Bengali society are closely interrogated as part of the reaction to changes brought about by the changing times. The readers are implicated in the novellas, which brings to the surface questions around where lie the boundaries beyond which women are condemned of transgression; in the private moments when they desire. When their desires burst male hegemony? When they are resolute and unabashed in their word? When their roars threaten age-old notions of middle-class Bengali sophistication? A volley of nuanced questions makes these novellas resonate across class, gender, and cultural contexts.
Legends Speak (Bengali Women’s Narratives In Translation) evokes an intimate
feminine space by revealing the truth one a woman’s stories lies in the plunge
that these translators take while sharing them, in the intimate acts of
transfer the readers are enriched, it is a collection where women (original
writers and translators) wear themselves and the volume is bound to attract and
connect global impulses of feminine voices.
Works
Cited:
Deb, Chitra, Thakhurbarir Andarmahal., Kolkata: Ananda Publishers, 1983. Print.
Amita Ray (Towards Visibility)
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| Amita Ray |
Amita
Ray,
a former associate professor in English and Vice- Principal of a college based
in Kolkata. She is a translator, short story writer, reviewer and poet. She has
four volumes of translations to her credit. The titles of her translations are Khirer
Putul (The Doll of Condensed Milk), Treats in Translation, Legends Speak
(Co-authored) and Dwipantarer Katha (The Story of Transportation).
She is a widely published short story writer. Her collection of short stories TRAIL
OF LOVE AND LONGINGS published in 2020 has received rave reviews. She is a
published poet and has brought out a collection of poems Until Birds Sing.
She is an executive council member of the Intercultural Poetry and Performance
Library, Kolkata. She is also an Advisory Board Member of Kavya Kumbh, Kolkata
Chapter. Her translation of Abanindranath Tagore’s Khirer Putul (The Doll of
Condensed Milk) was shortlisted for the Sahitya Akademy award for English
translation 2022.
TAPESTRY OF DREAMS AND DEVASTATIONS: A RIVIEW OF IT BEGINS AT HOME AND OTHER STORIES
AMITA RAY
TITLE OF THE BOOK: IT BEGINS AT HOME AND
OTHER STORIES
AUTHOR: SANJUKTA
DASGUPTA
PUBLISHER: VIRASAT ART PUBLICATION
ISBN:
987-93-92281-06-8
PAGES: 123
A
short story owes its immense popularity to the fact that through it a slice of
life is presented which consumes one with infinite zest. Sanjukta Dasgupta’s
volume of short stories It Begins at Home
and Other Stories is an eclectic mix of sixteen exceptional short stories published
by Virasat Art Publication. The cover design of the book by Partha Pratim Roy
depicts an apparently unobtrusive eye which in fact signifies the deep gravitas
of perception. I had read some of the stories in this volume which were
published in The Statesman. But while rereading them for this review I realized
the appropriateness of Kunal Basu’s observation of the book, “These sharply
observed tales… demand to be read and read again.”
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| Amita Ray |
The home in its metaphoric reach extends to the space of inner life
lived by Dasgupta’s characters. In the story “Bhajan Ram’s Last Night” the protagonist,
a dalit casual farmer fosters a world of dreams. He dreams of building a house
with a garden just like those of the Thakurs in his village. He also dreams of
taking his family to Agra to see the Taj Mahal. But dalits, always at the mercy
of Thakurs are not entitled to either dream or dare to overstep limits. As a
result of his adamant stand for refusing to sell a piece of land housing his
piggery to the Thakur, Bhajan Ram had to pay a heavy price. He was brutally set
ablaze in his sleep and killed.
Being a sensitive woman writer Dasgupta’s stories are replete with women
characters, specially the marginalised second sex. They are mainly the ones who
bear the brunt of injustice, oppression and relegated to obscurity. In “Just
Another Suicide” Kalyani is diagnosed with cancer in uterus and needs
hysterectomy, the money for which the poor family can ill afford. Her husband
Nirmal together with her mother and sister conspire to get rid of her by
poisoning her food and pass it off as a suicide. Ironically enough, Nirmal ties
the knot second time after Kalyani’s death. In the story Hair Raising (based on real life incident) the leitmotif of
patriarchal power and possessiveness is revealed unabashedly. Bela a teenage
ordinary girl dreams of continuing her studies to get a job. She spurns the
advances of Madan, a crook and turns down his proposal for marriage. As a
revenge for his bruised male ego, Madan toppled Bela from her bicycle pulling
hard her long plait. Then he dragged her along a bumpy road until she breathed
her last.
Death and unfulfilled dreams, the stark facts of life predominate in
Dasgupta’s stories. Being a keen observer,
she delves deep into social problems which precipitate them and explores avenues
not oft trodden. “Mira’s Madness” probes
the post marriage traumatic experiences of a low- born graduate girl who dreams
of a decent life with a job. She flees
to her mother’s home from her ‘sasur bari’(in law’s home) where people are
apathetic to her dream, engaging her only in household chores. But her mother too is equally insensitive and
sends her back to her in law’s place. The mother believes that the ‘sasur bari’
is her rightful abode after marriage.
Mira attempts suicide but survives; she is “trapped like a rat in a cage.”
She frantically searches for a job and is eventually stigmatized as a lunatic! The story “Change” focuses on the ubiquitous
love for gold ornaments of supposedly emancipated women hailing from all
classes of society. Ironically enough this fondness for the yellow metal belies
the iconic Rokeya Sakhwat’s article Alankar
naa Badge of Slavery.
But women are not the only losers in life; there are male losers too. In the story “Loser” the protagonist Anil is
a jobless slum dweller with a Master’s degree in English together with a B Ed,
degree. He is destined to be a loser not only in building up his career but
woefully a failure in love too. The story “Charred Dreams” highlights a hard
hitting truth. Any sophisticated endeavour to be implemented in a locality
demands that the people of the place should be sensitive enough to the
enterprise and mentally ready to accept it as a part of their social existence.
Hence Ranjit Gupta’s dream of establishing Rabindra Bhavan Library in a
locality inhabited by people who fail to comprehend its worth and sanctity is
not successful.
Nostalgic facts of life and emotions spin
around the stories “Adjust” and “Freedom” leaving a whiff of pathos in our
mind. The story “Metamorphosis” vividly portrays the change in Avik’s attitude
towards life and his elderly parents, once he is married and settles down in
America with his materialistic wife. A bitter slice of present day life is
evinced in the poignantly narrated story.
The much favoured device of a short story ending with a twist in the end
is ingenuously employed by Dasgupta in some of her stories. Both the stories “Freedom”
and “Loser” bear her idiosyncratic stamp of gifting the reader with surprise
ending. The fine raconteur with an array of themes to lay her hands on
skilfully transports the readers to the pre independence days of Master da and
his band of freedom fighters in the story “Good Friday 1930”.
The stories are heartfelt engagement with a broad spectrum of life in all hues and spirit. Her pithy style, insightful clarity of thoughts, rejuvenates us. At the same time they leave an overwhelming sense of despair exposing the ironies of human existence which plague our society.
ASHAD: Amita Ray (Tagore Special)
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| Amita Ray |
In the deep blue clouds of Ashad sky
There is no room for a wisp more
Oh dear, do not step out of house
today.
Streams of rain drizzle down
The aus field is flooded to the brim
Look, darkness engulfs other side of river
With pitch black cloud.
Oh dear, do not step out of house
today.
You can hear the cow’s frequent moos
Bring the white cow inside the shed.
Darkness will soon descend as day
tapers off.
Go, stand by the door and look out for
those out in the fields, if they are back.
Who knows where the cowherd is
The whole day in his own whims.
Darkness will soon descend as day
tapers off.
Ah hark! Someone is calling the boatman
To ferry him across the river
Ferry boats have stopped plying
today dear.
Wind blows in the East, not a
soul by the riverside
The waves overflow the banks
Cascading water plunges in the water
Ringing a splash around.
Ferry boats have stopped plying
today dear.
Oh dear do not step out,
Step out of house today.
The sky is gloomy, day is about
to end.
In streaming shower clothing will drench,
Road to the bank has turned
slippery,
Yonder you can see the bamboo groves
swaying by the roadside
Oh dear, do not go from the house
out today.
(Translation of a poem written by Rabindranath Tagore which features
in ‘KSANIKA’, one of his book of poems published in 1900)
WORD NOTES:
Ashad: one of the Monsoon months in Bengal.
Bio: AMITA RAY is former associate
professor of English based in Kolkata. An academic of varied interests she is a
Translator, Short Story writer and Poet. She has three volumes in Translations
(one in collaboration) of noted Bengali authors to her credit. She
has published a collection of short stories titled TRAIL OF LOVE AND LONGINGS.
Voices Within: Amita Ray
Amita Ray
is former associate professor in English of a college residing in Kolkata, an
academic of varied interests she is a Translator, Short Story writer and Poet.
She has two volumes in Translations of noted Bengali authors to her credit. She
is presently a translator in several ongoing projects. Her latest publication
is a collection of short stories titled TRAIL OF LOVE AND LONGINGS.
She has a passion for writing poems and has been widely published in various
anthologies and journals. At present she is an executive council member of
Intercultural Poetry and Performance Library, Kolkata.
Book: Trail of Love and Longings: A collection of short stories
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| Santosh Bakaya |
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| Amita Ray |
Amita Ray: Poetry (Voices Within 2021)
YEAR 2021
A wisp of hope crystallizes
in thawing warmth of time, breathing
respite to lingering helplessness,
a cursed year floundering trails
into a year of embryonic hope
flaking off clawed edges of gloom.
Clinics buzz round the clock
take toll of untold thousands
while laboratories intensely speculate,
white coats triumph over white shrouds
embody human expectation in
vaccines that immune
Moving ahead-
a sigh gushes from deep, voices choke within
looking through the rear view mirror
billowing clouds of mourning margin
a bygone year, tear swept.
THE TEAR DROP
It dodges her reflexion, mimics
Her khol rimmed eyes
Cherry reddened lips contoured quiver
Colourful nail wrapped fingers fumble-
She furrows her tresses for the final tweak
Faces her mirror craving for accolades
The halogen light fantasizes feigned lustre
On the caked epidermis of self-conceit,
She glares at the mirror inset
Pleading for the wonted nod of praise.
A voice emerges from soul profound
Lashing rejoinder to pleas
All the glitter of pretensions
Frivolous images hoarded
In the pupil of khol rimmed eyes
Shed as drops of tears pure, pristine,
Exfoliating layers of narcissism
Peeling masks hinged on make believe
Weeding out fungus of empty nothings-
And in the last purged tear drop
A precious pearl
She recognises her ‘self’
For tear drop never lies.
COLOURS
Dreamy eyes agog she roves peak of fancy
Colours her world rinsed with blobs bright
The sky shimmers in bubbles of ecstasy
Nature yields to her impulsive vibes.
Countless dreams impinge on memory
Blush in strokes between lines
Thoughts swirl tinge and touch
A tableau in colours galore.
Dreamy eyes season in maze of messy reality
Colours of innocence dribble uncertain rhythm
Chaos and confusion of a fake world
Absorbs all rainbow colours
Her cerulean sky in anguish turns black.
She withdraws, forages inner pasture
Serene stream of thoughts outpour
Sweep across canvas
In monochromatic shade To colour truth.
Treat to Life: A Review of Treats in Translation
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| Amita Ray |
Author: Amita Roy
Page:
142.
ISBN:
978-93-89615-45-6
Edition:
(2020). Paperback.
Published
by Authors Press. New Delhi. India.
Price:
₹ 295.00 / $ 15.00
Reviewed by: Sutanuka Ghosh Roy.
Salman Rushdie says, “we are all born across
the world whether you are a man or a woman, so we are all translators, anyone
who speaks translates”. In this context, Milton comes to mind, who dreamt vivid
dreams and his Paradise Lost he says,
was in translations of those dreams that he had early in the morning written
and transliterated by one of his disciples. The noble laureate of the Caribbean
Derek Walcott talks about his English as always unappropriated by human beings
because any language is the language of imagination no one can own a language--
any one of us who can translate or are translators whether we are translating
from or translating to is just as important. Derrida writes, “in the limits to
which it is possible, or at least appears
possible, translation practices the difference between signified and signifier.
But if this difference is never pure, no more so is translation, and for the
notion of translation we would have to substitute a notion of transformation of
one language by another, of one text by another” (Criticism, Spring 1995, Vol XXXVII, No 2, p 281-308).
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| Sutanuka Ghosh Roy |
In
the foreword, to the book, Bharati Ray writes, “This is a volume of
translations of a few gems of Bengali literature into English. Translation from
one language to another presents a crucial issue—that of the difficulty in
conveying the fundamental nuances of the original language; yet translations
are necessary. They give an idea of other people’s cultures, enrich the
thoughts of the readers, and help mutual understanding of the culture of
different people”. Amita Ray, former Associate professor of a college is an
academic of varied interests, a translator, a short story writer, and a poet.
Her translation of Abinindranth Tagore’s Khirer
Putul into English was published in 2018. In the present volume Treats in Translation, she has
translated seven stories of five luminaries of Bengali literature. Bankim
Chandra Chattopadhyay (1820-1891) is
known as the Father of Bengali prose. He developed a new style which became the
standard of academia. It was he who brought in romantic influence from the West
and gave a new leash to the Bengali language. Ray has selected two of his
novellas, “Radharani” and “Jugalangurio”, both the novellas are a fine play of
the eternal human emotion—love. Ray has captured the subtle nuance of Bankim with
ease.
She next turns to Rabindranath Tagore
(1861-1941) and gives us his story “Kankal”. This short story of Tagore is a
bit different from his other stories like “Postmaster” or “Kabuliwala”. “Kankal”
is a love story in the guise of a ghost story. It is riveting, lyrical, and
scary.
“The moonlight night was beautiful;
breeze from the South blew to drive away the weariness of the world into a
slumber. The whole garden was ecstatic with the fragrance of bel and juin flowers”.
“When the melody of the flute gradually
subsided, when the moonlight faded to darkness, the trees, sky and together
with it my mundane home, the whole world slowly started receding like an
illusion around me, I closed my eyes and smiled”(19-20).
Ray then goes on to translate Saratchandra
Chattopadhyay (1876-1938). Saratchandra is a widely popular writer of Bengal
and he has been translated into many languages. “Mahesh” is a moving story of a
poor peasant Gafur’s love for his bull Mahesh and agony at losing him. “In the
darkness of dead night, he set out holding on to his daughter’s hand. He had no
relatives in this village, so there was no one to bid goodbye. Crossing the
courtyard he stopped abruptly by that acacia tree by the road and all of a
sudden started crying bitterly. Face upturned towards the star-studded black
sky he said “Allah! Punish me as much as you can, but my Mahesh has died of
thirst. No one has even left a small turf for him to graze on. Do not forgive
those who haven’t allowed him to feed on the grass you have given, the water
you have blessed us with to quench our thirst.”(116)
The
story revolves around Bengali social life, the pain, the angst, the poverty. The
translator has tried to connect words with emotions keeping in mind a
multi-lingual frame. It is only through translations that the present and
future generations will be able to appreciate and engage with authors. The next
author that Ray takes up is Bibhutibhushan Bandyopadhyay (1894-1950).
“Upasarpa” speaks of a man’s love for the image of Lord Krishna.
“Ah! That should remain unsaid. Tell me,
have you died? Come with me, I am alone in Puri. I am not feeling good”.
After that Sir, I go to Puri frequently and
stay there two or three months at a stretch.
Now I spoke after a long time.
“How is that idol?”
“The same as before. He is absolutely
crazy. He won’t let me go anywhere. How is it possible? Don’t I have my own work
Sir, what do you say?”(29).
The
story gives an idea of the culture of Bengal, enrich the thoughts of the
readers, and help mutual understanding of the culture of different people
across the country as well as the globe. The aim is to reach readers hoping
that readers of the second language—readers of the translation—will perceive
the translated text, ardently and creatively, in a method that parallels and matches
the aesthetic experience of its first readers. Good translations approach that resolution.
Memoir / Essays: TWINS AND TWAIN
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| Amita Ray |
Amita Ray
Fiction: OUR DAILY BREAD
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| Amita Ray |
Amita Ray
Gripped with panic Pritha limped towards the main gate of her school. Not a soul was in sight. Her fear proved to be true. The small gate was closed implying that the last trip of the school bus had left with the children. A chill ran down her spine.The little girl, a student of class four travelled to and from school by school bus. The last trip after school took her back home. So the children taking the final trip had to wait quite some time after school when the previous two trips did their rounds. The children then made most of their time in the children’s play park. In the park there were swings, sea saws, a merry go round and for the nimble limbs there was the jungle Jim. During the interval most of the children crowded here and it was usually the dashing ones who could get a chance to swing or get hold of the sea saws. Pritha being the typical ‘goody goody’ girl could hardly stand a chance in the jostle. It was only after school that she got a chance to swing to her hearts content when most of the children had left. She would go high up in the swing bounce back then up again, each time aspiring to touch the sky. She felt like a free bird flying in the blue sky while the wind caressed her cheeks.
One day she had been a bit too adventurous. Some children to hog the limelight would try out many feats in the park. Some would stand and swing barging into great heights teasing others who chose to sit and swing. There was also a competition of who could rise the highest! Challenging and sometimes even bullying would be a regular feature of afterschool fun. Pritha had secretly cherished the desire to stand on the swing and reach the sky. She found no one in the park that day, an ideal time to embark on her first time venture. . Her best friend Mala was absent too. Standing on the swing and holding on to the iron chains, she had hardly gone up when her feet slipped and down she toppled. Her left knee got badly bruised and she wished that her friend Mala had been there to help her.
With an aching knee she slowly stood up and proceeded to the tap at the rear side of the building to wash her bruised knee. Tears rolled down her eyes as she thought of her mother. She longed for her caring touch. Washing her knee and regaining her calm she suddenly realized that her bus must have left by then. And she was right! The bus driver had somehow failed to notice that Pritha was missing. It was a lapse on his part too.
The elderly gardener of the school Mr. Anthony spied Pritha sitting in the remote corner of the school cycle stand all alone weeping. Amazed, he went to her and said, “What are you doing here dear?”
Pritha beside herself with fear and anxiety narrated what had happened, her voice choking in between.
“Don’t worry, come with me,” he said and lead her to the building where the nunnery was housed. He rang the bell and Pritha trembled in fear of the imminent encounter with the sister who would emerge. She held her breath anticipating a good scolding from her for being so careless as to miss the bus. The sister who was in charge of the junior section of the school came out and looking at Pritha was astonished. She was a short demure lady with an unassuming smile which endeared her to all. She said, “What’s the matter child? Why are you here?”
The moment Pritha saw her favourite sister she was profusely relieved. She broke down and said, “Sister, I have missed my bus.” She was so perplexed that she couldn’t utter any other word. Anthony came to her rescue and narrated the whole story.
“Oh my dear child, so you fell down from the swing! Looking at her knee she continued, “Good gracious! Your knee is terribly bruised. Go dear, sit down in the parlour. First of all let me bring the first aid box. Now…now, don’t you cry. I will ring up your father and he will pick you up. Ok?”
Leaving Pritha in the care of sister, Anthony left for the garden adjacent to the parlour to finish his job. Presently sister appeared with the first aid box and a plate of bread and butter. Looking at sister taking out a pad of cotton and the iodine bottle Pritha shrieked in fear.
“Nothing to worry child. It won’t hurt much.”
Pritha shut her eyes and flinched when the medicine was applied. When it was over Pritha patted herself for being the brave girl enduring the assault of medicine on her wound. Sister was relieved too as the child didn’t make much of a scene.
“Now like a good girl have this for your lunch and wait for your daddy to come and pick you up after his office gives over. I have given him a ring.” She kept the plate on the table and left. A waitress brought her a glass of water to drink.
In the lonely afternoon sitting alone in the parlour Pritha felt wired. There was a kind of hush all over, not a sound could be heard. She stared in dismay at the slices of bread and tears welled up. Bread and butter were something she detested and could not have at any cost. Hunger was gnawing at her entrails but still she could not touch them. She thought of the rice and fish curry prepared by her mother and sighed.
In a moment of aberration she did something strange. She threw the slices of bread out of the window. Little did she realize that they would land up in front of Anthony still in the garden. The gardener had green fingers. The poppies and roses in all resplendent shades bloomed in the garden under his loving care. At that time he was tending the saplings and was taken aback. “Whoever could have done this?” He mused for some time.
He collected the pieces of bread went inside and rang the bell of the nunnery. The same sister came out to attend to the call this time too. She listened to Anthony’s story and was quick to guess the miscreant. Though aggrieved, she remained calm. Pritha who was sitting in the parlour absent minded startled when sister suddenly entered with the pieces of bread. She did not scold her. Calmly she said, “Why did you do this child?”
Pritha’s eyes were downcast with remorse. She had acted on the spur of the moment. She said, “I don’t like bread and butter. I am sorry sister.”
“You should be so. We pray every day to Our Father for ‘our daily bread’. You should be thankful to God for every morsel you get whether you like it or not.”
Pritha repeated, “I am sorry sister. I will never do it again.”
“Now you will stay without food until you reach home. Then you will understand what pang of hunger is. That will be the right punishment for you.” With these words sister left the parlour.
It was about 5p.m. when Pritha’s father came to pick her up after office hours. All along she was fretting about sister complaining to her father about the misdeed. But sister was wise enough not to do it. When Pritha reached home she was exhausted with hunger, thirst and stress.
She signed off the day with a lesson she had learnt that day. The concluding lines she wrote in her little diary were as follows—
“I promise never to waste any food. So many children do not get anything to eat. I will never again be fussy about food.”
BIO: Amita Ray is former associate professor in English and Vice-Principal of a college residing in Kolkata, India. An academic of varied interests she is a Translator and Short Story writer. She has published two volumes in Translations of noted Bengali authors into English. Her short stories have been published in The Sunday Statesman, Cafe Dissensus and other on line journals of repute. She has a passion for writing poems and has contributed to various anthologies and e-zines.
Book Review: Amita Ray’s ‘Treats in Translation’
Book Review by Gopal Lahiri (Poet and Critic)
Treats in Translation
Author: Amita Ray
ISBN: 978-93-89615-45-6
Publisher: Authorspress, New Delhi
Price: ₹ 295.00 INR
‘Treats in Translation’ includes translation of selected stories by Bankimchandra Chattopadhyay, Rabindranath Tagore, Saratchandra Chattopadhyay, Bibhutibhusan Bandyopadhyay and Jibanananda Das. It is true that Amita Ray’s book contains translations of seven short stories written by the writers, all of whom are luminaries in Bengali literature.
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| Gopal Lahiri |








