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5. The Mahabharata: a Modern Rendering by, um, it's complicated? Trditionally ascribed to Vyasa (who is also a character in the story itself), probably actually composed by multiple people at various points in time, this version translated and edited by Ramesh Menon.
The Mahabharata is one of the two major Indian epics (the other being the Ramayana), and I've been meaning to read it for ages. And I'm very happy that I've now done so! (Though I guess that means I need to read the Ramayana next.) I picked this translation off of a recommendation on this community, and though I can't compare it to any others, I did really enjoy it. It's quite long- two volumes of about 800 pages each- but it's a fantastic, compelling story, full of all kinds of awesome stuff: gods and secret identities and earth-destroying weapons and reincarnations and gender-switching and so much more!
To completely over-simplify the plot, there are two sets of cousins: the Pandavas, who consist of five brothers who are all the sons of gods, and the Kauravas, who consist of a hundred brothers who may be demons. The eldest son of each group wants to inherit the throne, and the machinations and secret assassination attempts and broken promises eventually lead to Kurukshetra and the Greatest War Ever, which causes the end of the age. My favorite characters were Amba, who holds such a grudge that she kills herself and is reincarnated as a warrior to kill her enemy; Draupadi, who marries all five of the Pandava brothers and is amazingly fierce; and Kunti, who is able to summon gods, and who uses this to sleep with them.
There's so many characters and sub-plots and side stories and so forth that it's hard to even describe the Mahabharata. But it's AWESOME, and I loved it.
The Mahabharata is one of the two major Indian epics (the other being the Ramayana), and I've been meaning to read it for ages. And I'm very happy that I've now done so! (Though I guess that means I need to read the Ramayana next.) I picked this translation off of a recommendation on this community, and though I can't compare it to any others, I did really enjoy it. It's quite long- two volumes of about 800 pages each- but it's a fantastic, compelling story, full of all kinds of awesome stuff: gods and secret identities and earth-destroying weapons and reincarnations and gender-switching and so much more!
To completely over-simplify the plot, there are two sets of cousins: the Pandavas, who consist of five brothers who are all the sons of gods, and the Kauravas, who consist of a hundred brothers who may be demons. The eldest son of each group wants to inherit the throne, and the machinations and secret assassination attempts and broken promises eventually lead to Kurukshetra and the Greatest War Ever, which causes the end of the age. My favorite characters were Amba, who holds such a grudge that she kills herself and is reincarnated as a warrior to kill her enemy; Draupadi, who marries all five of the Pandava brothers and is amazingly fierce; and Kunti, who is able to summon gods, and who uses this to sleep with them.
There's so many characters and sub-plots and side stories and so forth that it's hard to even describe the Mahabharata. But it's AWESOME, and I loved it.
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It is occasionally about the first thing.
While, yes, Wefada Marwan is put in charge of her family's business after a succession of accidental deaths, the novel only shows her actually taking charge on pages 110-122 and 169-185, with a few smaller portions dedicated to her anxiety over the large responsibility. In those two chunks, she's shown to be a capable woman who patches up a bad family-business relationship and firmly tells a non-profitable arm of the company that they need to shape up.
The majority of the novel is about the various members of Wefada's family, by blood or by marriage: how they met, how they fell in love (her views on her second husband are followed, a chapter later, by his views on her, sometimes showing two halves of the same scene), how they died or found out about a death, how they suffered, how they dealt with business problems (Wefada narrates that her brother Waqeel made a mistake, and a chapter later there's a flashback to his decision-making leading up to that mistake, and towards the end there's a flashback to the involvement of her uncle). It's quite dull, especially the repetitiveness. Wefada is the only character that I really cared about, but even she's not especially compelling; I liked her uncle, too, but he only gets one scene. The "Stories of voyages in the brilliant era of the Malay-Muslim civilisation" mentioned on the back never materialise.
I did find the characters' faith (Islam) interesting, in the way it affects their decisions and plays an integral role in their lives - largely, I suspect, because I rarely read books about Muslim characters. Especially attention-grabbing is the integration of Islamic practices into economics, as championed by Wefada - Islamic law forbidding interest came up a lot - but this, frustratingly, is usually skimmed over. The rest of the economics (and there's a fair bit of it) is basic, high school level stuff, that I enjoyed only in the way it reminded me of things I already knew. The people discussing it are a renowned Professor and successful businessmen, so the simplicity of their crowd-pleasing arguments is a bit ridiculous. The only other bits I liked were snippets of Malaysian boat-building history and the page about Wefada's belief that Alexander the Great visited Malaysia. The rest, I found boring.
On a line level, the book is riddled with typos, especially concerning the placement of speech-marks, and there are no breaks when the scene jumps across time and country and character-focus.
And, come the end of the novel, I realised it doesn't even possess a narrative arc. Through jumping about, it's shown Wefada just begin to take over the company, alongside various other characters' histories and relationships (and it explains a couple of family mysteries, but only for the reader's benefit; Wefada never learns the truth), and ends without even resolving whether a certain character has just died. (Perhaps the final pages are a metaphor for his survival, perhaps we're meant to assume he died because people on ships captured by pirates are often shot - who knows!) It's as if the author was told, You have x pages to fill, and on getting close to the final page, panicked, wrote in some waffle about the soul of the titular ship, and that was that.
31. Nu Nu Yi, Smile As They Bow
Sep. 14th, 2009 05:43 pm![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png)
31. Nu Nu Yi, Smile As They Bow
This short novel (translated from Burmese by Alfred Birnbaum and Thi Thi Aye) takes place during the week-long Taungbyon nat religious festival, a annual festival located in a small, rural village which swells dramatically with pilgrims and other people who come to attend. The narration skips between different people at the festival, from pilgrims to the spirit mediums and musicians who make their living off such festivals, to pickpockets who take advantage of the crowds. The main character is Daisy Bond, a 50-ish gay/transgender (the Western categories don't really map onto the Burmese characters) well-known spirit medium. Daisy's relationship with Min Min, his 18-year-old servant/factotum/lover is the center of the plot, but the book seems concerned less with a typical straight-forward chain of events than with showing the chaotic feel of the festival, jumping backward and forward in time, constantly introducing new characters and perspectives, making and breaking connections.
The book is very short (about 100 pages), so it's an easy, fun read. As an American reader, I knew very little about the festival, nats, the role of spirit mediums, or gay/transgender people in Myanmar culture, and the book does not take the time to explain any of the connotations of these. Which, of course, it's under no obligation to do, but I feel sure that I was missing a lot of depth from the story. It would have been nice if the translators had included a few pages with cultural information. Despite my own problems, I still recommend this book, even if you (like me) know very little about Myanmar. It was never hard to follow the plot or sympathize with the characters, and I found it to be a very enjoyable read.
This short novel (translated from Burmese by Alfred Birnbaum and Thi Thi Aye) takes place during the week-long Taungbyon nat religious festival, a annual festival located in a small, rural village which swells dramatically with pilgrims and other people who come to attend. The narration skips between different people at the festival, from pilgrims to the spirit mediums and musicians who make their living off such festivals, to pickpockets who take advantage of the crowds. The main character is Daisy Bond, a 50-ish gay/transgender (the Western categories don't really map onto the Burmese characters) well-known spirit medium. Daisy's relationship with Min Min, his 18-year-old servant/factotum/lover is the center of the plot, but the book seems concerned less with a typical straight-forward chain of events than with showing the chaotic feel of the festival, jumping backward and forward in time, constantly introducing new characters and perspectives, making and breaking connections.
The book is very short (about 100 pages), so it's an easy, fun read. As an American reader, I knew very little about the festival, nats, the role of spirit mediums, or gay/transgender people in Myanmar culture, and the book does not take the time to explain any of the connotations of these. Which, of course, it's under no obligation to do, but I feel sure that I was missing a lot of depth from the story. It would have been nice if the translators had included a few pages with cultural information. Despite my own problems, I still recommend this book, even if you (like me) know very little about Myanmar. It was never hard to follow the plot or sympathize with the characters, and I found it to be a very enjoyable read.
29. Shan Sa, Empress
Aug. 25th, 2009 07:23 pm![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png)
29. Shan Sa, Empress. Translated from French by Adriana Hunter.
A novel based on the life of Wu Zetian (called Heavenlight in the novel), a woman born in China in 625 AD to a relatively obscure family, who rose to eventually become Empress of China- in her own right, not as a wife- and found her own dynasty. The novel, told in first person, covers every single event of Heavenlight's life, from before birth (this may be the only novel which includes a fetus's perspective I've ever read) until after her death. This comprehensiveness is my main complaint with the novel: there are only so many scandals, political power grabs, rebellions inside and outside of the court, and trouble with relatives I can read about before it all starts to sound the same and I stop caring about who is who. I think this would have been a much more interesting book if it had chosen one period and focused on it in detail, instead of trying to cover Heavenlight's entire life.
That said, I did enjoy this novel. The beginning especially had lots of beautiful descriptions and fascinating events. Heavenlight was raised at least partially as a boy, and her accounts of horseback riding were so evocative (Sa is a poet, which I'm sure accounted for the gorgeous language in some parts of the book). Her early days as a concubine in the court were also fascinating, particularly when she develops a relationship with one of the other women. Recommended, though I do warn that it is extremely similar in parts to Anchee Min's Empress Orchid (despite the books being based on two different historical figures).
A novel based on the life of Wu Zetian (called Heavenlight in the novel), a woman born in China in 625 AD to a relatively obscure family, who rose to eventually become Empress of China- in her own right, not as a wife- and found her own dynasty. The novel, told in first person, covers every single event of Heavenlight's life, from before birth (this may be the only novel which includes a fetus's perspective I've ever read) until after her death. This comprehensiveness is my main complaint with the novel: there are only so many scandals, political power grabs, rebellions inside and outside of the court, and trouble with relatives I can read about before it all starts to sound the same and I stop caring about who is who. I think this would have been a much more interesting book if it had chosen one period and focused on it in detail, instead of trying to cover Heavenlight's entire life.
That said, I did enjoy this novel. The beginning especially had lots of beautiful descriptions and fascinating events. Heavenlight was raised at least partially as a boy, and her accounts of horseback riding were so evocative (Sa is a poet, which I'm sure accounted for the gorgeous language in some parts of the book). Her early days as a concubine in the court were also fascinating, particularly when she develops a relationship with one of the other women. Recommended, though I do warn that it is extremely similar in parts to Anchee Min's Empress Orchid (despite the books being based on two different historical figures).
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#13. Three Chinese Poets: Translations of poems by Wang Wei, Li Bai, and Du Fu, translated by Vikram Seth
1992, HarperCollins
Here is an interesting double play: a collection of poems by three Tang Dynasty Chinese poets, translated into English by Indian poet and novelist Vikram Seth.
I had not known Seth spoke Chinese (though looking it up on the Internet, apparently everybody else did: he is "a famous polyglot" who speaks German, Welsh and French as well as Hindi, Urdu, Mandarin and English, and one of his early award-winning books was a travel narrative through Muslim China and Tibet (From Heaven Lake, 1983, in case you were wondering)). In fact, I had not known much about Seth at all except what I decided/learned/concluded from reading about the first third of Golden Gate, his amazingly ambitious and eccentric verse novel about San Francisco, late one night when someone left it in the grad-student work room while I was procrastinating on writing my thesis. From reading this I concluded that Seth appeals to me. I like his playfulness, his eccentricity -- his standing-outside-of-the-orbitness; at the same time, his obvious irregular but snooty attachment to the Established. (Not that this is a universally admirable trait, but it's something I share, so I recognized myself in it.) I like his queer sensibility, his flashes of nastiness blurred with a deep attempt to reach for compassion and humanity. I like his baroque attachment to rhyme, which I also have and which is not very popular these days -- is very risky, also, because unsuccessful free verse is just boring, but unsuccessful rhymed verse descends into doggerel, which makes me sometimes too nervous even to make the attempt.
I think some of Seth's translations here are successful, and some of them really aren't. (Which is okay, right?) He has taken the -- to me -- very surprising approach of trying to translate the poems in metered and rhymed English versions; they are, in fact, metered and rhymed in Chinese, but of course the process of translation complicated everything... I feel like this inevitably puts such a personal stamp on the end results that in this entry I'm tagging Seth as the author, _as well as_ the translator. (Eccentric, maybe, but... so? Seth is eccentric; he makes me feel like eccentricity.) Even though, I should note in fairness, Seth gives the disclaimer that his translations "are not intended as transcreations or free translations" à la Ezra Pound.
( Though you are kind enough to ask... )
1992, HarperCollins
Here is an interesting double play: a collection of poems by three Tang Dynasty Chinese poets, translated into English by Indian poet and novelist Vikram Seth.
I had not known Seth spoke Chinese (though looking it up on the Internet, apparently everybody else did: he is "a famous polyglot" who speaks German, Welsh and French as well as Hindi, Urdu, Mandarin and English, and one of his early award-winning books was a travel narrative through Muslim China and Tibet (From Heaven Lake, 1983, in case you were wondering)). In fact, I had not known much about Seth at all except what I decided/learned/concluded from reading about the first third of Golden Gate, his amazingly ambitious and eccentric verse novel about San Francisco, late one night when someone left it in the grad-student work room while I was procrastinating on writing my thesis. From reading this I concluded that Seth appeals to me. I like his playfulness, his eccentricity -- his standing-outside-of-the-orbitness; at the same time, his obvious irregular but snooty attachment to the Established. (Not that this is a universally admirable trait, but it's something I share, so I recognized myself in it.) I like his queer sensibility, his flashes of nastiness blurred with a deep attempt to reach for compassion and humanity. I like his baroque attachment to rhyme, which I also have and which is not very popular these days -- is very risky, also, because unsuccessful free verse is just boring, but unsuccessful rhymed verse descends into doggerel, which makes me sometimes too nervous even to make the attempt.
I think some of Seth's translations here are successful, and some of them really aren't. (Which is okay, right?) He has taken the -- to me -- very surprising approach of trying to translate the poems in metered and rhymed English versions; they are, in fact, metered and rhymed in Chinese, but of course the process of translation complicated everything... I feel like this inevitably puts such a personal stamp on the end results that in this entry I'm tagging Seth as the author, _as well as_ the translator. (Eccentric, maybe, but... so? Seth is eccentric; he makes me feel like eccentricity.) Even though, I should note in fairness, Seth gives the disclaimer that his translations "are not intended as transcreations or free translations" à la Ezra Pound.
( Though you are kind enough to ask... )
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I picked up these two randomly from the library. Our Twisted Hero was on the table promoting Asian Heritage Month at the library. Link here for reading suggestions. I Say a Little Prayer was on a shelf in the hardcover fiction section.
( Cut for length and potential spoilers )
Note about tagging: I've added a "translation" tag but haven't tagged the (white) translator although his name is noted in my post.
( Cut for length and potential spoilers )
Note about tagging: I've added a "translation" tag but haven't tagged the (white) translator although his name is noted in my post.