CHENNAI: Hard-bound versions of ‘Bahubali - Sivagami Paravasam, Two States - En Thirumanathin Kadhai, and Andha Vizhaimadhipetra Thakur Pengal’ are scattered on a table. Meera Ravishankar, the mind behind these translated versions, humbly holds the book and points towards her name printed only on the cover of the first book. Her latest work is Chetan Bhagat’s novel The Girl in Room 105.
Till date, people recognise her for the translated version of Bahubali’s prequel by Anand Neelakantan. Sitting beside her mother Lakshmi Viswanathan, who is also a translator with 20 years of experience, Meera talks about the ups and downs in the evolving field. Excerpts:
Why did you choose to be a translator? Do you need to study to become a literary translator ?
I have a Bachelors degree in education, law, a diploma in journalism, and an MPhil in literature. When I started practising as an advocate in local courts of Bengaluru, I found it extremely difficult to converse in the regional language. I wasn’t comfortable with that and switched over to teaching and soft skills training. Meanwhile, I got an opportunity to work with the Tamil Nadu Textbook Society to create writing material. I was tutored to conceive and create a textbook. That’s how my writing journey began and I started translating in bits and pieces from 2004. I started taking up projects on a full-fledged basis after 2010. There isn’t a specific method, course or training for translation.
Does your mother have a different perspective on the present scenario from her days ?
Things were different back then. Work would be commissioned to my mother and she did not have options to choose from. Most of the books she translated were self-help and non-fiction. One reason for her to envy me is fiction books. She often feels that many good books and classics that could have been translated, are sleeping on the shelves. Our market believes in best-sellers than quality books. Books get translated based on the need of the hour, and not the content. This is the reason why we miss out on classics.
Tell us about your first book and how did you get the opportunity ?
A literary agent had come to commission work for my mother. He suggested that I write. Tamil is my second language and I started off with a self-help book. My first translated book is 2 States by Chetan Bhagat. It wasn’t a conscious effort and happened by chance. I currently work with the company Mystics Write. We’ve started working with classics like the novels by George Orwell.
What languages do you know? How well can you understand different dialects and accents ?
I know Tamil and English. The biggest advantage in translation is that you don’t have to be proficient. All you need is an ear and eye for language for both target and source. More than proficiency, it is the comfort in both the languages. Colloquial and written Tamil is different. But, that’s not the case with English where only the style changes. Striking balance between the choice of words becomes subjective. Sometimes you need to make compromises to suit the time frame — from the author to that of the reader as only then the flavour can be retained.
How have you developed as a translator ?
Repetition in the choice of words is a challenge. When an author has not qualified a word, how do I choose the appropriate alternative? You have to be true to the original but where do you draw the line? When can you cross and when can you come back? Native language has so much flavour to offer. Earlier, I used to have questions and apprehensions and that would make it a time-consuming process to translate. Now, I read the whole book and know how to capture the essence. Overall it’s an enriching experience for personal growth in both the languages. You also need to stay updated with funky words being added to the dictionary every now and then.
Do translators get enough recognition ?
Translation as a field is still evolving. We do as much work as the original, in fact, double the work. A critical review is welcome and that empowers us. Regional to English translation has better reach and reviews. But, in English to regional languages, we’re treated as outcasts since we haven’t written the original. Where do we fit in? While some authors choose to know their translators, some even refrain from doing so.
Could you tell us about your works and the number of books translated ?
I’ve worked on 20 books so far. Four books by Chetan Bhagats, three books by Anuja Chauhan, one book by Novoneel Chakraborty, a few by Rujuta Diwekar, Bahubali by Anand Neelakantan, and Anita by Sujatha. The toughest projects are associated with deadlines and number of pages. From translating to proof-reading, a translated project gets roughly only two months time unlike the original. I’m currently working on Khalil Gibran’s Prophet and Kalki by Kevin Missal.
What changes can be brought in to improve the work process of the field?
We need a fraternity to look over issues in the field. It’s a struggle to have our name on the cover or get due recognition. Efforts must be made to popularise the concept of translation. It should be made a regulated and standardised process. It would be great to have a platform to interact with readers, get their feedbacks and spread awareness about translated versions.
How do you see youngsters approaching this field as a career option ?
I’d love youngsters to take this up as a career option. There are many students who struggle to communicate in English. These people are more familiar with the Tamil edition. They don’t watch English soaps or read English. The common fraternity feels left out. If they can have access to all the works in their respective languages, they might even read the original. Youngsters need to have a slice of the present-day culture. It’s a tremendous industry and a lot can be improved and achieved.