Each semester, Chad has students in both his Introduction to Publishing course and the World Literature in Translation course write book reviews as part of an assignment—we’ll be running these over the next weeks.
Rachael Daum (who is an accomplisher and recipient of all the things/fellowships, speaker of several languages, translator-in-training, and hails from England/Germany) was part of the internship and Intro to Publishing course this semester. Here’s a bit of her review:
The Urdu word “_basti_” refers to any space, intimate to worldly, and is often translated as “common place” or “a gathering place.” This book by Intizar Husain, who is widely regarded as one of the most important living Pakistani writers, traverses a number of cities, the connections between them, and the people who live in them. Within this slender book are a great number of dichotomous themes, most of them facing off with each other: tradition and innovation, Hinduism and Islam, India and Pakistan. But all of these revolve around a greater theme of change, mostly that which comes with war, and how the people involved must react to it—and possibly lose their humanity in doing so.
The book opens with Zakir as a child in India, which, at the time includes what would soon be Pakistan. He recalls growing up as a small Muslim boy alongside Hindu boys and girls. The calm of his childhood, however, is upset by an explanation of how Cain murders and buries of his brother Abel, with Zakir’s mother calling a curse on Cain’s blood, for “it was thinner than water!,” and a further discussion that Doomsday will come “when those who can speak fall silent, and shoelaces speak.” This particularly gloomy talk soon becomes appropriate in this context, however, as it clearly foreshadows the war that will rend India and Pakistan apart, and separate families and friends.
To read the rest of the review, go here.
The Urdu word basti refers to any space, intimate to worldly, and is often translated as “common place” or “a gathering place.” This book by Intizar Husain, who is widely regarded as one of the most important living Pakistani writers, traverses a number of cities, the connections between them, and the people who live in them. Within this slender book are a great number of dichotomous themes, most of them facing off with each other: tradition and innovation, Hinduism and Islam, India and Pakistan. But all of these revolve around a greater theme of change, mostly that which comes with war, and how the people involved must react to it—and possibly lose their humanity in doing so.
The book opens with Zakir as a child in India, which, at the time includes what would soon be Pakistan. He recalls growing up as a small Muslim boy alongside Hindu boys and girls. The calm of his childhood, however, is upset by an explanation of how Cain murders and buries of his brother Abel, with Zakir’s mother cursing Cain’s blood, for “it was thinner than water!,” and a discussion that Doomsday will come “when those who can speak fall silent, and shoelaces speak.” This particularly gloomy talk soon becomes appropriate in this context, however, as it clearly foreshadows the war that will rend India and Pakistan apart, and separate families and friends.
It is interesting, and then sad, to observe how the role of religious conflict between Hindus and Muslims in India changes throughout Zakir’s life. This conflict is a common fact of life at the beginning of the novel—it’s a point of exasperation more than it is one of violence. For example, when the rainy season comes and soaks everything, the Hindu women sing night and day for the god Krishna to come and end the rainy season. Zakir’s mother, a Muslim woman, sighs over this, saying:
“Oh, these Hindu women won’t let us get a wink of sleep tonight! And on top of it the rain keeps coming down.”
“Bi Amma, this is the Janamashtami rain!” Auntie Sharifan elaborated: “Krishan-ji’s diapers are being washed.”
“Well, by now Krishan-ji’s diapers have been washed quite enough! The water is overflowing.”
The Hindu explanations of nature in terms of gods, and their terms of respect, “-ji,” and the like, flow easily from the Muslim women’s tongues. However, after the split of India and Pakistan, and the wars that follow, these cease, and the language in the text seems less colorful for it. The vibrancy of the references to Krishna and Vishnu seem dulled when replaced with the uniform allusions to Qu’ranic verses and the disciples Ali and Muhammed.
The majority of the novel concerns itself with Zakir’s position as a professor, caught in the war in Pakistan, while the woman he loved when they were children, Sabirah, is stuck in India. He escapes the war by losing himself in memory, and these passages are some of the most beautiful, particularly when he starts keeping a diary of the events of the war. In these entries, he remembers the plague that swept his town as a child, thus associating for the reader war with plague; he also tracks the confusion that comes with war. One of the most beautiful passages is Zakir realising that home, in war, means everything and nothing as the concept becomes more confused: “I can do nothing else for this city, but I can pray, and I do pray. In my mind is a prayer for Rupnagar, and its people as well, for I can no longer imagine Rupnagar apart from this city. Rupnagar and this city have merged together inside me, and become one town.” Here, the reader sees how in the desperation that comes with war, one must cope by surrendering what one knows as home and allow it to blend, pulling it closer, for the sake of being able to hope and pray for it. Zakir defies the inevitability of the destruction of Rupnagar, by stating, “No, the bomb shouldn’t fall on that neighbourhood. The house ought to stay safe, the whole house and the room which holds in trust the tears of my first night in Pakistan.” By blending the two places he regards as home, he can keep the former in some semblance of safety and wholeness in his mind.
The story of the novel—the chronicle of a Muslim man dealing with the loss of war-torn India and Pakistan—is good on its own, and the language is occasionally very beautiful, especially when the text loses itself in the storytelling of Muslim and Hindu myths, and as Zakir loses himself in them. However, for all the times that the language is elegant, there are instances of where wording seems awkward and there is a literalness that at times is detracting from the story. In her forward, translator Frances W. Pritchett explains that she has “not ‘transcreated’ the text or smoothed out its stylistic idiosyncrasies.” Spelling this out does not necessarily make the text easier for a non-Urdu speaker to read. One example hinges on the use of formality in spoken Urdu. Pritchett explains,
“. . . traditional Urdu is notable for its love of direct address and direct discourse. Speeches often begin with a form of address—sometimes a name or kinship term, or very commonly a vocative particle of some sort; while omitting or translating most, [Pritchett has] retained a few of the more vivid . . .”
The Urdu-speaking young man is very fond of addressing his fellow as “Yar!” This word is a term of comradeship, which is all well in itself, but, for the English-speaker, it calls to mind the cry of a bloodthirsty one-eyed pirate. Thus, the pages where the address is sprinkled throughout the text is almost comical. It’s possible to become quickly disenchanted with this frequency and form of address; in one two-page span, the term “yar” was used fourteen times. Here is a small sampling:
“Yar, that man seems a very suspicious character to me.”
“You’ve said something like this before.”
“But today I’m convinced of it.”
“Yar, anybody who makes a show of national feeling, I’ve begun to have doubts about.”
“Oh, let’s drop the subject, yar. I’ll tell you some news.”
“Really? All right.”
“Yar, today a letter came,” he said confidentially.
While this is the most extreme example of the proximity of the placement of this form of address, it can at times be distracting to an English reader. While Urdu is a more formalized language in which these forms of address and telling of proverbs is common, English is not—though that’s not to say there is anything wrong with presenting some foreignness in the translated text, There are schools of thought in translation theory stating that it is advantageous—if not beneficial—to have the reader work a little to understand a text.
Overall, this is a beautiful book that introduces the uninformed reader to a conflict that shook a whole subcontinent. It is strewn with beautiful language and references to cultures and religions the reader may be ignorant of. The novel is one for people who are interested in leaving their comfort zones and entering into a warzone, a place that was once a home, and learning what happens to those who stay, those who struggle with change. One can enjoy the lands traversed, be pulled in by the political struggle that is reminiscent, in some ways, of what the Western reader might associate with East and West Germany. And, in doing so, we can come to understand the meaning of basti, knowing, finally, that it is an international concept.
As in years past, we will be highlighting all 25 titles on the BTBA Fiction Longlist, one by one, building up to the announcement of the 10 finalists on April 10th. A variety of judges, booksellers, and readers will write these, all under the rubric of “Why This Book Should Win. You can find the whole series by clicking here. And if you’re interested in writing any of these, just get in touch._
Basti by Intizar Husain, translated from the Urdu by Frances W. Pritchett and published by NYRB Classics
This piece is by Korean translator Deborah Smith. You can follow her on Twitter at @londonkoreanist.
Intizar Husain, despite being widely regarded as the most significant living writer of Urdu fiction, is likely to have flown under the radar for most English-language readers prior to his recent nomination for the Man Booker International Prize. It’s particularly fortuitous, then, that the redoubtable team at NYRB Classics chose to issue Basti earlier this year, the only one of Husain’s five novels to have been published in English translation.
The novel opens with the narrator-protagonist Zakir as a child in the fictional town of Rupnagar, a place of harmony whose existence is predicated upon its timelessness and isolation from the outside world. As he grows up, Zakir forms an ambiguous yet touching attachment to his cousin Sabirah, from whom he is later separated when she chooses to remain behind in India post-partition. Zakir, now living in Lahore with his parents, is nominally a teacher of history but spends the majority of his time bickering with his friends in coffee houses as, outside, political slogans resound as the country descends into the madness of war. As Zakir’s narration comes to a close, the frequently-promised moment of revelation remains, as ever, tantalisingly just out of reach.
The fundamental disjunction between a semi-mythical past of harmonious tolerance and the all-too-present realities of political violence and the horrors of Partition is represented both structurally and linguistically in Basti, and refracted through the increasingly insular consciousness of its protagonist (particularly towards the latter stages of the novel, in which interior monologue plays an increasing role, blended with passages from what we are told is Zakir’s diary). Husain makes use of his vast knowledge of Muslim, Hindu and Buddhist traditions by quoting from their texts and alluding to their histories both classical and modern, weaving a shimmering tapestry of tone and register by turns lyrical, dreamy, prophetic, and fervid.
Frances W. Pritchett’s translation grapples admirably with a novel bursting with ambitious linguistic effects. The frequent repetition of the vocative yar, which Pritchett has chosen to retain, while initially jarring, becomes over the course of the novel an invaluable evocation of place for the reader, who is also, thanks to the sensitivity of the translator, not shut out from the subtle ways in which the characters’ various relationships are constructed and indicated in the original. That this visionary, modernist masterpiece is now made available in a translation which matches the ambition of the original is a truly impressive achievement.
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .