Showing posts with label Amita Ray. Show all posts
Showing posts with label Amita Ray. Show all posts

Special Edition: Amita Ray

Amita Ray
Ring in the New

The last rays of sun
passes through turnstile 
of impermanence
yesterdays todays tomorrows
make faint imprints
to an end that knows no End
dwindling lustre of a winter eve
plunges in cavernous time
to renew an array of tomorrows

Each year bids adieu
seamless down time’s flow
yawning and waking garbed anew
in hope riding the moments
of yet another, a palimpsest
slipping perennially through
hourglass of eternity.
***

Warmth of Touch

The final parting
with a loved one 
was sedated in comfort-
my hands exuding 
love and life snugged the
 pallid but still warm touch,
emotions rhymed in
medley of mild heart throbs.
 A lifetime story I wove anew
 keeping me immersed in
 the benign eyes, then
lost in desert of disorientation
the thread of narrative I sought
 blissfully ended
 in peaceful last breath.
***

Poetry: Amita Ray

Amita Ray
LOSS

My grief lies stranded on denuded space
heaviness of loss weighs down
a blow of infringement on tender green
predators plunder and wreck, fill in
 the lacuna of verdant identity
 with sky-scraping dreams
aligning eyesores and beaten shapes,
concrete flights scale zenith
awning gateway to sunshine, peeping
 through interstices of yesteryear
immigrant eyes seek balm to soothe. 
I deplore the loss—
Nature’s beauty gone for a toss.
wings homeless sing a dirge
echoing through manicured lawns
trimmed groves gossamer replicas 
like painted trinkets of embellishment 
amplify the perfect picture
of an  impoverished  vista.
***


PAPER BOATS

Pitter patter on window panes
alternate torrents battering down
occasional lull orchestrate
interlude of a monologue--
a splash here plays rock and roll
with a plop there
a constant drip drop synthesises
the perfect diurnal sonata.

Night churns a symphony saudade
 trailing into deep foggy tunnels
down eyelids memory clogged,
 a crescendo of croaks and chirps
 rebounds, disquieting piled  silence 
 a refrain muted long in wistfulness
 drifts me  indulgently to a realm  
in paper boats sailing upstream! 
***

A review of Legends Speak: Bengali Women’s Narratives in Translation

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 ShunyaThe 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.


Bio: Sutanuka Ghosh Roy is an Associate Professor of English, at Tarakeswar Degree College, The University of Burdwan. The titles of her books are Critical Inquiry: Text, Context, and Perspectives, Commentaries: Elucidating Poetry, Rassundari Dasi’s Amar Jiban: A Comprehensive Study, Ashprishya (translated into Bengali, a novel by Sharan Kumar Limbale,). She is also a reviewer, a poet, and a critic. 

Amita Ray (Towards Visibility)

Amita Ray
THE MATRIARCH

age sculpts a framed face animating
an unobtrusive corner of haveli
in the hollow of her venerable womb
posterity sketches its roots,
branches wrinkle in flawless mesh
capturing the indecisive count of her age,
the sunken sockets of the matriarch
epitome of empowerment
hold pedigree in spine entitled
its fluidity diverge in veins a continuum,
years arrested in furrows of her hallowed gaze
immortality palpates unblinking,
her mystic gaze registers cryptic dialogues
coupling the mortal with immortal.

* Haveli: old private mansion
***


THE RAG DOLL

she looks at herself lacklustre,
staring at the red dot between her brow
the fateful sun bridging flights of darkness
in a life less than a decade and half years old

days trundle dos and don’ts pieced together
she pines for her child, a rag doll left behind
in penniless sundry joys of childhood
she now festers in a squalid den
of a knotted city slum

daily chores pile up
as does her body needs
pangs of hunger coalesce
with a seedling in her womb
the burgeoning life terminates
in spasms of unpardonable abuse
the miscarriage bleeds, bleeds, merges
in embers red of a doll forsaken, her child
between the vermillion parting of her hair.
***

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.”


Amita Ray
      The stories in this collection dwell on themes of social issues and their challenges, conflicts and controversies, dreams and distress in a gendered, class-based society. Deeply moving facts of social prejudices, maladies, and inequalities weave into the web of her cannily structured stories.  The titular story “It Begins at Home” brings to the forefront the unsettling fact that home is the epicentre of sexual abuse. In this story the relentless father vents his perverted desire on his teenage daughter Mimi when his wife was away for a couple of days. On her return, the anguished daughter discloses the traumatic incident to her mother pleading for a police action. But she is advised to hush it up, “Mimi, these unfortunate incidents happen in many families. Yours is not a unique case… these are never revealed, never discussed, never reported. The family is a sacred space, dear Mimi.”

     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)

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.

Aus: a variety of paddy.
***

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.

Asylum

A hallowed space
defying cascading scars of time
 petering to twilight’s phantom path
holds me in place.

Here I inhale sacred dust of deep truth
snuffed off in trespassing encounters,
 oblique unforeseen shadows 
at intersections tangent seek compromise
make mockeries of depths I seek.

Here a voice seraphic serenade
I take refuge as unspoilt dreams unwrap
here footprints existential
loose way in desert of forgotten lies.
***


Belonging

A compelling feeling of belonging grips
as I leave my two-year-old abode
my den in student hostel.
The window ajar overlooking a bustling road
will catch the gaze of a migrant pair 
new animated eyes
renewed in succession every couple of years
rolling down time’s gradient.
The bed smothering loops of anxiety, sighs,
soaking endless pain, wonder, ecstasy
in creaks of every twist and turn
chronicles an epic narrative in chapters.
The reading nook is an ancient temple of 
pregnant minds worshipping wisdom
where nights remain awake chasing
prospective dreams of scholars-
I pause to glimpse back,
dislodging the baggage from my mind-
belonging is shared ephemeral
a part of a whole, its permanence
an ensemble in continuum
of time and space.
***
 

Book: Trail of Love and Longings: A collection of short stories

Review by Santosh Bakaya


Trail of Love and Longings: A collection of short stories
Author:  Amita Ray 
Publisher: Authorspress 
Price:  295 Rs. 
Year of publication: 2021 
PP 123 

 Dedicated to her parents, Trail of Love and Longings, A collection of short stories, written by Amita Ray is a reader’s delight, each one of these fifteen stories having its special charm and a strong thematic appeal. 

Santosh Bakaya
Short fiction has always held a special attraction for me. Right from my college and school days, I have ravenously gorged on short stories, having been eternally captivated by stories of all genres, the surreal and spooky, sublime and ethereal. Anton Chekhov’s stories are snugly ensconced in my heart, and I can never forget some of his stories and the sense of perfection they were infused with, my all-time favorite being, Lady with the Dog.  Hemingway, Edgar Allen Poe, O’ Henry, Dostoevsky are some of the other writers who have also enthralled and inspired me, so have the stories of Haruki Marakami and George Saunders. 

Some people are of the opinion that short stories are an apprenticeship for longer work; it is not necessarily so. But, yes,  while writing a short story one needs to be unwaveringly targeted, and out of shards, slivers and vignettes create a whole new world. To quote Annie Proulx, short stories stimulate by their “intensity, brevity, balance and word play.” And Ray’s stories, I must say, are not only unwaveringly targeted, but are intense, have an exquisite word play and the reader wants to keep going back to them.
Amita Ray
 Not all stories that story-tellers relate, are figments of the imagination, some are scenes that an author’s sharp eye has observed and stored for future reference. When I co-authored Bring out the Tall Tales, with Avijit Sarkar, many of my stories were the result of something I had seen somewhere, and it had slipped in memory.  I am your Man in the collection was triggered by a scene I had witnessed at a railway station, which refused to leave me till it reappeared in the form of a new avatar – as a short story, which resonated a lot with the people, because of the verisimilitude.

I feel that when we write on a familiar theme, it has a deeper resonance. In this collection, we find that Ray’s detailed and accurate portrayal gives the stories a verisimilitude. The way she gives a detailed description of the frolicking and frisky feline prankster that makes its appearance in the heartwarming story, Taming of the Cat, one is convinced that she had seen it  from very close quarters, first precariously perched on the tree, and later going round and round the room, pathetically entangled in a brass jar. It evoked memories of so many cats that I had been in close proximity with, and also written about, almost convincing the readers that I was a feline psychologist!  I have always loved cats- be it the many cats from Eliot’s Old Possum’s Book of Practical Cats or Arthur Conan Doyle’s Brazilian Catso graceful, so sinewy, and so gently and smoothly diabolical’, and now Gullu from Taming of the Cat!
 
The Divine Will, is a very touching story about the  intense longing of a daughter for her deceased mother, and the epiphanic moment when she realizes that mothers never leave, they are always hovering around, their hands eternally raised in benediction. 

The Longing again, is another story encapsulating a daughter’s love for her mother and the realization that even after they leave this earth, mothers have a knack of sending slivers of blessings to their offspring left behind on earth.

When the fa├зade behind a happy picture of contentment that the old woman Shanta paints of herself, is sadly ripped apart in A Happy family, I could feel my sighs merging with the sighs of the dumbfounded Rini Mukherjee, the young lady who had befriended her on the park bench. 
A beautiful story pulsating with a tragic realism.

All for a Gift is another heartwarming story through which Ray gives us a peep into ‘the beautiful subtleties of life.’ 

Let me confess, that I loved Promita’s Lover a little more than the others because it evoked memories of the way my dad, [who had a doctorate in the Dramatic Monologues of Robert Browning], recited the very lines form Porphyria’s Lover that Ray has quoted.

In one long yellow string I wound 
Three times round her little throat around.
 
The story, like Browning’s poem Porphyria’s Lover, sent chills up my spine, so did the spooky tale The Grey Lady, somehow reminding me of the Tell-Tale heart of Edgar Allen Poe.
 
In this collection, Gitanjali, a very touching story about how a marginally autistic child proves more humane, compassionate and understanding than the so called normal people, continues nestling close to my heart and is my favourite.

“and there lay Gitanjali in a corner hidden away from public gaze….
their eyes met perhaps for the first time in a meaningful communication .”

No, I am not going to reveal the story, you need to lay your hands on the book to read not only this absolutely heartwarming story but all the other enchanting ones.

Short stories oft appear to have poetic undertones and in Ray’s stories we find these undertones when she paints nature in poetic hues- the hills, trees, breeze, the sky, the moon and the sun manage to add some more luster to her already lustrous stories. 

It is not very easy to delineate a character in a short story of 1500- 3000 words, but Ray has done it commendably well, be it Sudip and Aruna in All for a Gift, or Sangeeta in The Longing, or Shanta, the strong, old, uncomplaining woman in A Happy Family, even Gullu, the endearing cat in The Taming of the Cat.  Yes, the frolicsome, frisky, stoical character of the cat Gullu, left me dumbfounded.  

These stories of ordinary people leave one with extraordinary feelings, suffused, as they are with emotions of love, compassion and generosity, moving the readers to tears, laughter, epiphanies, and self- introspection.
 
And yes, the foreword by Dr. Bashabi Fraser is a literary gem, which not only enriches the book by its very insightful and in-depth analysis of the stories but is also a lesson in story writing for all budding story-tellers. 

Authorspress has once again done a commendable job by bringing out this excellent publication. 
A book highly recommended. 

Amita Ray: Poetry (Voices Within 2021)

Amita Ray is a 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 of Translations, KHIRER PUTUL. and TREATS IN TRANSLATIONS. Her recent book is a collection of short stories TRAIL OF LOVE AND LONGINGS. She has a passion for writing poems and has contributed to various anthologies and journals..


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

Her mirror has of late turned erratic
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

Amita Ray
Title: “Treats in Translation”

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).

      Translation is still a perpetually under-recognized genre. Whereas European literature easily accommodates German, French, British, Russian, or Czech authors among others in its corpus most of the Indian languages are known to the readers of that language but unfortunately remain little known to the readers outside of that language. Even though we stay in the same country we fail to recognize each other’s language. So the main aim should be to see how Indian literature is perceived by foreign readers as well as to the readers of other Indian languages so that it can be appreciated throughout the world and across India. Translation has a key role to play in reducing the gap in understanding different languages. Sanjukta  Dasgupta writes, “ translation is a process of disseminating cultures. By selecting seven canonical fictional narratives written by five superstars of the Bengali literary world, the translator Amita Ray has provided a rich fare for readers  which is indeed a rare treat. These well-known and lesser-known stories by the luminaries of Bengali literature Bankimchandra Chattopadhyay, Rabindranath Tagore, Saratchandra Chattopadhyay, Bibhutibhushan Bandopadhyay and Jibananda Das translated by Amita Ray will surely be appreciated by researchers of literary studies, cultural studies, and translation studies”.

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.

     Jibannada Das (1899-1954) in “Somnath and Sreemati” gives us a glimpse of his philosophy of life. He is a popular poet in Bengali literature. In all the translated stories Ray has developed a keen sense of style, honing and expanding our critical awareness of the emotional impact of words, the social aura that surrounds them, the setting and mood that informs them, the atmosphere they create. Ray, the translator has been able to capture vividly and retain the interest of the readers.

Memoir / Essays: TWINS AND TWAIN

Amita Ray

Amita Ray

    Childhood remembrances shimmer in memory to be revived when one trips over a coincidental experience narrated by others.  I had always been a voracious reader. It was while going through Orhan Pamuk’s ‘Istanbul: Memoirs of a City’, that I was pleasantly bewildered by little Pamuk’s preoccupation with his “ghostly other” self residing somewhere in Istanbul, his birthplace. Pamuk’s allusion thus unleashed a spurt of recollections of my early childhood, an exuberance of fancy nestled in nostalgia.
     Instinctively, I went back to my childhood days.  Like Pamuk, I had been obsessed with a fantasy. I would revel in the thought that someone exactly like me was somewhere round. I even fantasized meeting her someday. No, for me the notion of the ‘other’ ME was not just a vagary or a fitful fancy in the mutating landscape of imagination. Rather, it was one of those convictions the like of which many a child nurtures in the deepest recess of the heart in some form or other. I have no idea about the origin of such a belief. Maybe childhood beliefs weave around collective fragments of fairy tales or bed time stories heard from our parents or grandparents. The imagination of children was fed with such stories in those times when the modern modes of entertainments emerging from technological advancements were unheard of. One of my childhood friends firmly believed that she would someday meet Chand Mama who would descend from the moon to parade on earth!
     Playing Dark Room was one of my favorite games as a child especially when my aunt together with her kids would come down to our house for vacationing. All the little ones then would gather in a room, shut the doors and windows and play our favorite game. The game was supposed to be played in silence so as not to betray our hiding place. But kids as we were, giggling and whispering went on without restrain. It was at this time when I would cherish the furtive desire to bump into the ‘other’ ME in a room engulfed in darkness where the kids herded in a game of hide and seek. The much-anticipated encounter with my identical ‘self’ remained elusive as I groped in expectant playfulness.
    Revisits of this longing would occur at other times too. My father would often drop me to school on his way to office. On those days, I would reach school early enough when no student was in sight. It was when entering the empty classroom that this delightful feeling descended on me -What if I come across the little ‘ME’ ensconced in my little chair! Eerie though it may seem now, it was then one of the most cherished desires of my heart.
     Or on one of those days while playing with friends and straying away on the meandering lanes on a winter’s balmy eve it would strike me, “What if I meet the ‘Other’ ME at the crossroads or in the hideout of some forlorn lane?”
     Thus I fancied a brush with my lookalike, of a never-to-happen confrontation, a willing submission to fitful feelings. I did not know the cause of such a feeling nestling in me and kept the secret wish lounging within me. I was then too young; I had not even come across any twins which could probably give rise to such a thought in my consciousness. Then one day I asked my father, “Papa, do I have someone who looks like me?”
      Bemused, my father asked, “Why dear, what makes you think so?”
      I do not remember the answer I gave to this question, but I still remember that my father lovingly told me that God had created each one differently. There might be similarities between two people but only identical twins looked alike. That was the first time I heard the word “twins”. 
     “Where is my twin, Papa?” I flung an innocent question.
        It was then that Papa introduced me to the biological concept of twin in its most rudimentary form. Though I was sadly convinced that there was no chance of bumping against the other ME, I didn’t abandon hope altogether. It took another incident to get over this puerile conviction for good.
          One winter afternoon my father took me to the nearby park. Children in colourful woolens played around.   I was amazed to find among them two children playing who were identical, it was very hard to differentiate one from the other. The dying sunshine of the cold winter afternoon shone on the duo looking like two fluffy woolen balls. They pranced about, their cheeks suffused with a pink blush.
          Holding my hand, my father took me to those children. They too had come with their fathers. I could hardly hold my surprise when my father told me that those two girls were “Twins”. I was introduced to them, their names rhyming in similarity. It was a great moment in my life grappling with the fact what ‘Twins’ were for the first time. Within the periphery of my innocent realization, I could figure out twins as same looking sisters living in the same house and having same parents. How I wished I too had a twin sister! Though disappointed for having to forgo my fantasy, my expectation of meeting my look alike someday, I was exalted at being face to face with two children looking exactly the same.  I played with them smeared with the warmth of the residual sunshine of the dying day while our fathers chatted leisurely. 
        That night I dreamt of my twin sister. Both of us dressed in pink frilled frock were walking hand in hand in a beautiful valley of flowers. Suddenly she left my hand and ran away to catch a butterfly flitting about on the flowers. She kept on running, as if driven by a force to flee from me. Then she looked back, waved me good bye and vanished into thin air. 
          I woke up whimpering, but that dream marked the end to my tryst with the fantasy for good. Later when my sister was born, I was pretty delighted to hear from others that she resembled me a lot. Though not twins, the twain were happy in each other’s company and still are; an everlasting bond binding us in the sinuous journey of life.

Bio: A former associate professor in English, Amita Ray is based in Kolkata.  An academic of varied interests she is a published translator, short story writer and poet. She has two books of translations to her credit.  Her short stories have been published in The Sunday Statesman, Cafe Dissensus, Setu and other on line magazines. A collection of her short stories is due to be published soon. Her poems have been widely published and featured in anthologies.  

Fiction: OUR DAILY BREAD

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

Translation Treats- A Rich Fare

Jacques Derrida says, ‘Every text remains in mourning until it is translated’. In her captivating book titled ‘Treats in Translation’ Amita Ray brings the nuances of the Bengali short stories written by the legendary writers into English language and makes it her own form. She signals that her expressions are not only shaped by the language but also the traditions of Bengali Culture.

‘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.

Gopal Lahiri
Ray finds her vein of expression by attending to the minute details and offers new space that goes beyond the existing. The book is highly impressive, lively and imaginative work. The readers will feel the struggle and despair and the sweat and tears that flowers in the stories.


Sanjukta Dasgupta, the eminent writer and academician, has rightly said, ‘Translation is a process of disseminating cultures. By selecting seven canonical fictional narratives written by five superstars of Bengali literary world, the translator Amita Ray has provided a rich fare for readers which are indeed a rare treat.’

One of the translations most appealing elements can be the right choice of the words keeping the essence close to the original. Here the author understands that the translation of an indigenous language isn’t always the preservation, rather the work projects the needs of transferring the spirit of the culture into another language.

In her foreword, Professor Bharati Ray mentioned, ‘Translation from one language to another presents a crucial- 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.’

Ray’s selection of two novellas of Bankim Chandra Chattopadhyay’s Radharani and Jugalangurio is laudable. It is to be noted that Bankim has brought in dreamy and romantic influence from the Western world into Bengali literature. The union of Hiranmoyee and Purandar at the end in ‘Jugalangurio’ after prolonged uncertainties and stress amplifies the emotion of life with grace and delicacy. Radharani is a simple love story told with stunning tenderness. Dreaming up passion, the author probes and sketches the relationship between the characters with skill and purpose.

Ray weaves in her own way in translation, the essence of the story, yet exploring how the idea of staying close to the original can bring you the desired consequence. Clarity and candidness are her watchwords for translation; her voice is not always one of grandeur or pomposity. 

‘For the first time the two of them looked at each other in broad daylight. With their eyes fixed on each other they started thinking whether anyone had faced such a situation in their life. In this vast world with oceans, sculpted by rivers and inhabited with multiple forms of life could there be an amalgamation of such contradictions like so embarrassing, yet delightful, so unsettling yet calm, so comical yet serious, so satisfying yet awkward?’(Radharani)

Ray has selected two gems of short stories of Tagore. In ‘Kankal’ and ‘Postmaster’ Tagore leans into desire and love as a means to heal wounds and empower thereafter. ‘Postmaster’ is a heart wrenching story of a young orphan village girl and a very compassionate postmaster. The postmaster comes to the village for work leaving his urban life but he feels lonely in this secluded place.

His only solace is his servant ‘Ratan’ who engages him with conversation and soon she finds an emotional bondage with her ‘new master’. But sadly, the postmaster quit his job at the end and decides to leave the village. Ratan is devastated and reconciles with her destiny, the short spell of loving moments does not last long and she understands at the end that she has to live with her fate and realises ‘in this wide world no one belongs to another’.

But in the grief-stricken innocent mind of Ratan there was no such revelation. Crying bitterly, she loitered round the post office probably in faint hope of Dadababu’s return to take her along. To her it was such a precious bond which she could ill afford to sever. Alas! How foolish the human heart is.’(Postmaster)

Ray has also translated another Tagore story titled ‘Kankal’ and the narrative conveys the right kind of emotion that the situation demands. The straightforward cadences of the original, paired with the signature story telling are beautifully expressed.

Bibhutibhushan Bandyopadhyay’s story ‘Upasarpa’is a delightful exploration of  a man’s profound love for the image of Lord Krishna’. It can at times feel highly emotive, yet its ultimate effect is one of deep humanity. It’s true that the splendour of language is as much a matter of sound as of meaning. There is not much lushness to the language the translator uses, especially about the inward journey.

Saratchandra Chattopadhyay is one of the most popular novelists of Bengal. ‘Mahesh’ is a moving tale of a poor peasant’s love and affection for his bull and anguish at losing him. The story reflects the unevenness, the dismay all around in the society and is worthy of our intense gaze.

Jibanananda Das is a famous poet of Bengal and his prose writings are equally striking. Ray has selected the story ‘Somnath and Sreemati’ which is no less captivating and determines what happens next.

It’s impossible not to cheer the awareness and cognizance enacted by the protagonist ‘Sreemati’ in the story and to be stirred by her viewpoint. To paraphrase, ‘Sreemati’ is writing in her final letter the anthems of her generation.

‘Our life is like the clouds. From within the fumes of anarchy it becomes alive for a moment or two with likings ad desires of human beings…to think of work. It should be then enjoyed, changed, perceived…Or there is no harm if all these are undone. But the realisation that there is no harm is essential.’ (Somnath and Sreemati).

The writer is especially good at capturing its longings, those in this story being at once obsessive and incipient, and the mental and physical unravelling is evoked in chilling detail. It is poignant and the ending is tragic.

Most of the stories reside on the questions of who we are and where we belong- of what divides us and what unites us in the society. Those are the signifiers we are invited to discover in these evocative stories. One of the great strengths of this book is the detail with which Amita Ray expresses in her translation the emotion and shade.


The cover page is impressive. This immensely readable book offers us the chance to escape and at the same time forces us to engage and is definitely a worth buy.