Translation works in Odiya

Oriya literature undoubtedly is rich and precious. Oriya classics like Fakir Mohan Senapati’s ‘Rebati’, ‘Chha Mana Atha Guntha’ are admired by every Oriya reader. However, these valuable literary works will get proper justice when it will be read by multiple number of readers. And it is possible when these will be translated to mainly English and other languages.  Some of the renowned Oriya works have been translated so far, and have earned accolades.  However, there are still many to be translated or transcreated. Eminent scholar Prof. Ananta Charan Sukla's celebrated Oriya translation of Aristotle's Poetics (Aristotle - Anka Kabyatatwa) published in the late 1960s is a rare and outstanding work. Besides, the leading translators of the state believe Gopinath Mohanty’s ‘Paraja’, translated by Professor Bikram K Das as the best piece since the work received utmost international recognition. Some authors are also of the view that a translation work gets recognition not on the basis of its content, but only when it grabs some award. The blogger discussed with some notable writers of the state, who have translated/transcreated some seminal Oriya works and earned accolades.

Educated at Ravenshaw College, Odisha and Merton College, Oxford, Jatindra K Nayak is Professor of English at Utkal University, Bhubaneswar. He has won Hutch-Crossword Indian Fiction Translation Award, 2004 and KATHA Translation Award, 1997. He was an attending speaker at Jaipur Literature Festival in 2012 and is Adviser, Dhaka Translation Centre. Nayak feels the English translation of Gopinath Mohanty's ‘Paraja’ made by Professor Bikram K Das and published by Oxford University Press and Faber has received global recognition. “The translation is brilliant and has been reviewed in major journals and magazines in India and abroad. Other examples include English translations of Fakir Mohan Senapati's ‘Chha Mana Athaguntha’, Chandra Sekahar Rath's ‘Yantrarudha’, Lakhmikanta Mohapatra's ‘Kanaamu’ and JP Das's ‘Desa Kala Patra’, he said.

When asked whether he finds any bottle neck in translating Oriya classics in other languages he said, “Oriya classics should be translated into English and major Indian languages. Support of the government and other agencies can make the task easier.”

Now, we have some good translated or transcreated literatures. But does these works have carved a niche for itself? Nayak observes, “Translation has certainly made Oriya literature more visible nationally and internationally.” He feels Sarala Mahabharat, Dandi Ramayan should be translated into English. “Some Oriya autobiographies should also be rendered into English, Bangla and Hindi. Essay is another literary form that should receive the attention of translators in Orissa,” he added.

Nayak has a noble suggestion to promote translation. “I would emphasise the need to train translators in Odisha and the need to encourage high school students to translate stories, poems, novels and essays and plays. It is a pity we have not been able to take advantage of a renowned translator like Prof Bikram Das in Orissa. He could have mentored many young translators if we could have given him an opportunity to do so,” he said.

“Very few outside Orissa admire Oriya translation works. Because, the attempt to showcase and promote the best of Oriya literature in English translation in a systematic and consistent manner does not exist among us,” feels Supriya Prasanta, who has a number of translation works to her credit. she is an editor and translator from Bhuabneswar. She edits ‘Indian Literature Today’, an online journal that publishes the best of Indian literature in English Translation.  She has received the Charles Wallace Translation fellowship for translating Oriya women's autobiographical writings into English. She has been a resident at the British Centre for Translation, United Kingdom. Her translations include classics such as Upendra Kishore Das's ‘Malaajahna’ ( The Dying Moon, Rupantar 2006), Mohapatra Nilamoni Sahoo's ‘Abhisapta Gandharab’ ( The Fallen Gandharba and Other Stories, Odisha Sahitya Akademi, Forthcoming). She has recently co-edited ‘Sparks of Light: Short Stories by women from Orissa’, 1899 to the present ( Athabasca University Press, Canada 2016).   

When asked whether there is any difficulty in translating Oriya classic works  she said, “ No. As a translator, I get the utmost joy through translating a text which is considered 'difficult'.”  She feels there are many valuable Oriya literary works yet to be translated. In her words, “There are many works which are yet to be translated such as works of Sarala Das, Fakir Mohan Senapati, Reba Ray, Kanhu Charan, Gopinath Mohanty, Basanta Kumari Patnaik, Bama Charan Mitra, just to mention a few. If there's a sincere, collective attempt to promote Oriya literature in English translation, more readers (belonging to different places of the globe other than Orissa) could appreciate Oriya literature.”

Have the Oriya translation works carved a niche for itself within the national and international readers’ forum? Supriya doesn’t feel so. She answered, “I don't think Oriya translation works have created a niche for themselves. But yes, a few works such as Gopinath Mohanty's ‘Paraja’ ( Oxford University Press, 1984) translated by Bikram K Das, or Chandrasekhar Rath's ‘Astride the Wheel’ ( oxford University Press 2003) translated by Jatindra K.Nayak have been noticed as these books received Sahitya Akademi and Hutch Crossword awards respectively. It is a pity, good works are not noticed because they are good works, but when they fetch awards to the authors/translators concerned!”

Not only Jatindra Nayak and Supriya Prasant, even Chittaranjan Mishra feels that ‘Paraja’, written by Gopinath Mohanty and translated by Bikram K. Das is the widely accepted translation work. Mishra is a proffessor  in English at B.J.B. Autonomous College, Bhubaneswar. He studied M.A (1980) at Ravenshaw College, Cuttack (Utkal University) and earned his M.Phil.(1983) and Ph.D. in English from Sambalpur University (1988). He is the author of Harold Pinter: The Dramatist, the first Indian book on Pinter. He has translated four Pinter plays into Oriya, published in two volumes. He has also authored six anthologies of poems in Odia and one in English. His Odia book on Literary Theory in the West (2005) is one of his important publications. He has published his poems and papers in European Connections, Notes on Contemporary Literature(NOCL), USA, Indian Literature, Kavya Bharati, Indian Journal of English Studies, Dibrugarh Journal of English Studies, Atlantic Literary Review, Rock Pebbles, Indian Age, e-journals like museindia, writers lifeline and the major journals of Odisha. His translation works are ‘Priyatama’, ‘Party Time O Anyanya Nataka’, ‘My Dear Kanha’ etc.

Mishra feels, “Translation of  Fakir Mohan Senapati’s novel “Chha Mana Athaguntha” has gained prominence in global academic circles. Entitled  “Six Acres and A Third” it has been translated by Rabi Shankar Mishra,Satya P Mohanty, Jatindra K Nayak and Paul St-Pierre.As a Penguin publication it has contributed immensely to draw attention of readers from across the globe. U.R.Anantha Murrthy views the publication as “a significant event not only Indian literature,but world literature.” Besides, ‘Yantrarudha’, a novel by Chandrasekhar Rath, translated as 'Astride the Wheel' by Jatindra Kumar Nayak is a mile stone in the journey of OLIET(Odia Literature in English Translation).Dr. Nayak has also translated Atma Jibana Charita, the autobiography of Fakir Mohan, as 'Story of My Life' that was translated by John Boulton as  MyTimes and I in the past.”

About difficulty faced in translating Oriya literary works Mishra said, “Difficulties are but natural when one undertakes a translation of Oriya classics into English. The primary difficulty lies in structuring Odia sentences into English as regards grammar .Since the cultures and histories are different he has to search for equivalence and analogies. But that again leads to more discrepancy. To maintain artistic coherence he sometimes deletes portions that seem untranslatable. A classic in translation should strive at being considered a classic in the other language. Taking more of liberty with the Oriya text in the name of transcreation may lead to a complete distortion of the original text. Moreover texts of classic status are usually from past worlds. Readers of the present times may not understand the subtleties of the historical contexts if the language employed in translation does not adhere to parameters contemporary discourse.”

Mishra pointed out a few translations those have earned accolodes. He said, “Oriya translations have drawn global visibility. Jayanta Mahapatra and Bibhu Padhi have translated number of Odia poets in internationally reputed journals. Leelawati Mohapatra and Kamalakanta Mohapatra have translated important Odia short stories. Gangadhar Meher’s Tapaswini and other poems have been translated into English by Dr.Madhusudan Pati. Mary Mohanty has translated poems and novels of Kuntala Kumari Sabat. Such works have boosted Odia cultural affirmation. But endotropic translation (translation into Odia) needs to be paid more attention to.

“A lot many works need to be translated as they merit attention. Visibility of the seminal literary Odia texts in English translation will not only help building an Odia identity but enrich the Odia diaspora to promote their cultural solidarity abroad,” he added.