Editorial:
Translating for Thulika:
First let me comment on the fiction in the current issue.
“The Lamps on a Dark Night” and “The Critics” are written by established writers well known for their
insightful thinking. In the “Lamps,” Rajaram presents the differences in the mode of thinking between the
previous generation and the current generation. The father, deep-rooted in traditional values was thrown off by
the unorthodox step his daughter has taken. The daughter while rejecting the traditional, arranged marriage
was not insensitive to familial values. Chaya Devi in her story, “The Critics,” depicts the new awareness in
women as individuals, as a result of their education. It was a time when women just started getting education
and become aware of the value of freedom. The details however yet to be worked out and for that reason
their mode of thinking failed to translate into any plausible action. “Old Letters,” by a current generation writer,
Satya Sarada, depicts powerfully the internal struggle or turmoil caused by marriage and divorce in modern
day society. I received the story “Old Letters”—the papers were old and the font looked like it was
typewritten on a manual typewriter—I was taken by its originality.
To me, the three stories together delineate an important part of our social history—the marked changes in the
perceptions of our writers and the mode of thinking in women.
In the story, “Woman’s Wages,” written by Patnala Iswar Rao, a common man, probably an illiterate raises a
potent question about women’s wages. It is common knowledge that women are paid lower wages. The
question is what about the services—are they getting better, worse or equal? I was told that this is Iswar Rao’
s first story, first appeared in Andhra Bhoomi newspaper and later included in an anthology, "neti katha,"
edited by Kalipatnam Rama Rao.
In Bilingual Kid, I attempted to show how the language is perceived in varying environments. For foreigners
the language potentially represents their culture while for the local people it is just a skill. The variance could
cause turmoil in children.
Nayani Krishna Kumari is a highly acclaimed writer, poet, critic, and an authority on Telugu folk literature. Her
poetry conveys the mystical thought inherent in human values. I hope I have conveyed the spirit at least
partially. Those who know Telugu should read her poetry in Telugu. My Telugu or English stands not nearly .
———
Translating/writing for Thulika:
Let me present some of my views regarding translations and original writing for Thulika. In my article, “Two
Weeks as writer,” I wrote about my contemporaries. I am equally pleased with the response from current
generation writers and readers.
In the current issue, Sharada translated “Lamps On a Dark Night,” Satya Sarada Kandula sent in her story
“Old Letters” [an English original], and Sai Padma Murthy translated “Woman’s Wages.”
Several readers have been writing to me, giving their views, suggestions and new ideas. It is very satisfying to
me that they all—the younger generation writers and readers—welcomed Thulika with remarkable enthusiasm.
They are the people who would carry the torch and lead us into a brighter future. Their interest in this
magazine is a validation I would fondly cherish.
During my travel in October, I met with several younger generation writers. I couldn’t respond to their queries
on the spot. Here it is, my philosophy or policy in running Thulika:
1. I intend to run Thulika as a creditable, literary magazine. Personal attacks, gossip, scandals, and
pornographic materials are not acceptable.
2. I am not into any ideology or argumentative ‘–isms.’ Thulika is designed to present a broader spectrum
of human nature and human values. The stories published in Thulika could provide guidance.
3. Stereotypical images of India in general, and women in particular, are overplayed in the books and the
media. I was hoping that the real individuals come alive in our fiction and add to the understanding of our
culture.
4. I started the magazine basically to translate 1960s and 70s fiction since that was the fiction I was familiar
with and could relate to. Several of my contemporaries also expressed the same belief that we had produced
quality fiction in that era, comparable to any fiction in the world literatures, and that our fiction suffers from
lack of exposure to Western readers.
5. In the past a year and a half, I have noticed that Thulika is meeting the need in two areas—to provide
the much desired exposure of Telugu fiction to the Western readers; and secondly, to create an awareness
among the current generation youth whose medium of communication is English. In that sense it is important
that I give priority to the remarkable fiction that is almost forgotten, ignored or never heard of by the current
generation Telugu youth.
6. I am not ruling out the current generation writers. I do prefer stories that could be tied in with the views
expressed above, and evident in my editorials.
7. Thulika is not a business venture and as such no financial reward is offered.
[Note: I have received an impressive collection of books—a small library—during my recent visit to Andhra
Pradesh. It was too large to fit my suitcase and so being shipped via sea-mail. After I receive them, I will read
every one of them and start my selection and translation]
Translations:
Short stories, published and unpublished, are acceptable. In the case of the published fiction, permission/s
from appropriate sources [Authors/publishers] must be provided by the translators. Also, please include the
details of the original source- where and when it was published, if possible. Email your questions for further
clarification.
Poetry is not my area of expertise. I have some reservations I am not ruling it out. You are welcome to send in
poetry.
Language: Thulika is targeting global audience. In that sense, it is important that translators pay attention to the
idiom and phraseology globally used. If the changes are minor, I reserve the right to do so. Or I might contact
the translators for suggestions.
One more suggestion: Here is what I do. First I translate line by line with the original text next to me. Then I
read the translation, with a foreign reader in mind, and check to see if it reads smoothly and makes sense. On
occasion, I also try on my American friends to see if it made sense to them!
At times the translator needs to make a judgment call and rearrange the phrases for a smoother reading. Same
rule applies in the cases of Telugu words with special meanings, like ‘pativrata,’ idioms and proverbs. Even if
you provide footnotes, it could become a hassle at some point.
During my travel I have contacted several writers and all of them offered their cooperation and support. If any
of you are interested in translating fiction by these writers, you can contact either the writers or write to me.
Here are some of the names: Vasundhara, KAVANA Sarma, Ranganayakamma, Sri Ramana, Mullapudi
Venkataramana, Binadevi, Malladi Ramakrishna Sastry, Seela Veerraju, Pothukuchi Sambasiva Rao, C.
Anandaramam, Attilipati Vijayalakshmi, Kondepudi Lakshminarayana, Ravela Sambasiva Rao, Papineni
Sivasankar, Bharago, Ghandikota Brahmaji Rao, M. Ramakoti, Avasarala Ramakrishna Rao, Addepalli
Vivekananda Devi, Vedula Sakuntala, P. Satyavati ... The list is endless. And there are also several younger
generation writers I am hoping to feature.
Up until now Thulika has been my personal home page, my very own pet project! After all the vigor and
enthusiasm evinced by writers and readers, it seemed fair that I give it a broader perspective. As a result I
have created a new honorary editorial board.
As always, looking forward to comments from readers and writers,
N. Malathi
December 2002