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But it is also deft in its portrayal of characters. It is worth reading just for its recreation of a vanished world. It conjures up a whole world by placing telling details in all the right places.
Salim Yusufji has done a commendable job. So much of the force of Chaturvedi’s novels depends upon the cadence of the language, reading them aloud in Hindi produces an effect that is almost impossible to reproduce in English. Just the freedom to say as a character says at one point, “ Chhodo raja, kaun saala harami nahin hain”, is an act of clarity that compensates for the sense of helplessness.But this poses a problem for translators. It is through language that drips with contemptuous wit that they can achieve a measure of freedom. This split in the self is captured and managed through the medium of language.
But how do you translate this? Yusufji translates it as “the two piles of excreta should have intervened so forcefully and turned Chhuttan’s chances to shit.” It’s not exactly wrong, but it cannot capture the delicacy, alliterative power or existential irony of the Hindi novel. The Hindi sentence goes, “ Chhuttan tatha Bibbo ke beech gobar aa gaya aur sab gudgobar ho gaya.” Part of the effect comes from the play on “ gobar” and “ gudgobar”. Chhuttan and Bibbo are two characters. In the book, there is a hilarious moment.
But, somehow, the emotional resonance of this sad and comic world feels a little more laboured in Englishthan in Hindi. But it is, perhaps, even truer of novels where the central character is language itself in all its rambunctious glory.Alipura is worth reading in English for the access it gives to a vanished world and the lives of its characters.
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