• Celebrating the art of translation with Manel Eriyagama

In a triumphant celebration of the literary bridges that span across languages and cultures, the H.A.I. Goonetileke Prize for Translation has once again illuminated the art of linguistic alchemy. Awarded biannually, this prestigious accolade honours exceptional translators who bring captivating narratives from one language to another, enriching the literary world with the beauty of diverse voices. In the latest chapter of this esteemed tradition, the 2021-2022 prize has been bestowed upon the exceptionally-talented Manel Eriyagama for her mesmerising translation of Jewels, a collection of 14 poignant Sinhala short stories compiled by the skilled translator herself and published by Sarasavi Bookshop.

As a seasoned translator with an impressive portfolio of work, Eriyagama has demonstrated an unwavering dedication to her craft, venturing into the realm of literature with an unmatched passion and precision. Earning critical acclaim for her artful ability to seamlessly transport the essence of the original stories into the target language, Eriyagama has set a high standard for literary translation.

In an exclusive interview with Eriyagama, we had the privilege of delving into the intricacies of her translation process and the significance of her work. From the challenges encountered during the delicate balancing act of preserving the original author's voice to the vital role translation plays in fostering cross-cultural understanding, the insightful conversation sheds light on the profound impact of her craft.

As we explore the fascinating world of literary translation through the lens of an award-winning translator, we delve into the moments of inspiration that led Eriyagama to embrace this artistic pursuit and her unyielding commitment to bridging the gaps between cultures. We also discover the ethical considerations she navigates in her journey, considering the responsibility she carries as a conduit for diverse stories to reach readers worldwide.

Beyond the well-deserved recognition, the H.A.I. Goonetileke Prize also serves as a poignant reminder of the importance of translation in making literature accessible to a wider audience. Through her exceptional talent, Eriyagama brings the hidden treasures of Sinhala language to readers who may not have had the opportunity to explore the richness of these narratives before.

With every translation endeavour, Eriyagama exemplifies the profound impact of language in connecting people, promoting cultural appreciation, and fostering a global literary community. The Daily Morning embarked on a journey through the transformative world of translation with a true maestro of her craft, Manel Eriyagama, and discovered the boundless potential of literature to transcend linguistic barriers.

The following are excerpts from the interview:

Congratulations on winning the Gratiaen Translation Prize! How does it feel to be recognised for your work as a translator?

I felt wowed; it was the biggest surprise of my life.

Can you tell us about the winning translation project and the original work you translated?

I selected 14 short stories by the best short story writers of our age. In selecting the writers, I was guided to a certain extent by Prof. Piyaseeli Wijemanna, but the choice of stories was entirely mine. The main criterion of selection was the degree of enjoyment I derived from reading the stories. Brevity was also a factor and thus, I had to leave out a prominent writer Prabath Jayasinghe as his stories were too lengthy to be accommodated in a collection. 

What inspired you to become a translator? Were there any specific works or experiences that influenced your decision?

After retirement, I wrote four novels for teenagers (Yovun Nawa Katha) in Sinhala. They were well received. One won the Godage award and another was shortlisted. My next venture was a Sinhala novel, a soppy love story but it sold well. It was then that I decided to translate a book from English into Sinhala, as there was a very good market for such books. I selected a favourite book of mine, Khalid Houseni’s A Thousand Splendid Suns. To my shame and horror (I had read Sinhala as a subject for my degree and I think I mentioned this in my acceptance speech as well), I realised that I was unable to. Of course, I could translate sentence by sentence, but I lacked the vocabulary needed to express shades of meaning, the nuances, the subtle differences necessary for the smooth flow in writing. It was then that I made an attempt to translate from Sinhala into English. My choice was, Prof. Piyaseeli Wijemanna’s “Manussa Yantara” which had won the award for the best short story collection at the state literary festival, the previous year. 

Translating a piece of literature requires a deep understanding of the source language and culture. How do you approach the process of immersing yourself in the original work and its context?

To my surprise and delight, I found it was much easier to translate from Sinhala into English. Though it was very challenging, and demanding, I realised that I was enjoying myself immensely. In fact, much more than when writing an original story. I learned a great deal from Piyaseeli, not about translating, but about the craft of fashioning a short story which helped me in my task.

After sending the book to the publishers, Piyaseeli suggested that I should translate a collection, and that I should be exposed to more writers. Jewels is the result of that.

I did not have to deliberately immerse myself in the source language and culture as I was born into it. I come from a Sinhala Buddhist family and I grew up in a village, and though I spent most of my school going days in the school hostel, the villagers, their habits and customs, were familiar to us. Though we lived in a 46-acre property, high above the village, almost all the Govi Gama caste people in the village were related to us. I particularly remember the custom of the tenant farmers who worked our fields, coming to inform our parents that the paddy would be harvested on such and such a day, bringing sweet meats and combs of bananas. Not cakes and biscuits but kavum, kokis, asmi, narang kavum, and unduwel. How we used to look forward to those visits!

Could you walk us through the typical steps you take when translating a piece of literature? How do you ensure that you capture the essence and style of the original author?

There are no specific steps that I followed. What I usually do is to read the story thrice at least. Then I put it aside and go about my daily routine, sometimes reading another book. As I do so, words, phrases, and sometimes even sentences come to my mind, which I later use in my translation.

Translation is often considered an art form in itself. How do you balance fidelity to the original text with the need to make the work accessible to readers of the target language?

I do not deviate from the story at any point. If I do so, the original writer will spot it, as I send the translated version to the original writer, for approval before publication. So far, none of the writers whose work I have translated had wanted anything changed. Two writers suggested that I change the topics of the stories and I complied.

When translating a work, what are some of the challenges you encounter, and how do you overcome them?

Only when you attempt to translate a Sinhala story into English, do you realise how rich the Sinhala language is. Both the written and colloquial. For example, the Sinhala words “oya, oba, obathuma, umba, numba, tho, ohe, and thamuse”, can all be translated only as “you”. From the familiar, affectionate ‘’oya” to the disparaging “thamuse”, can only be translated as “you”. There are also words that defy translation, for example, “abhimanaya” which means something beyond pride. There are certain settings and sites such as “aguva” and “pilikanna” which are extremely difficult to translate without the translator stepping in to explain, which is something that a good translator should avoid at all costs. 

In your opinion, what impact does translation have on promoting cross-cultural understanding and appreciation of literature?

Translation has a broad impact on promoting appreciation for literature. The impact of Russian novels by writers like Tolstoy, Turgenev and Dostoevsky translated into Hindi and then into Sinhala would not have reached such an expansive readership if not for translation. Writers like Martin Wickremasinghe and W. A. De Silva were influenced by western writers such as Edgar Allan Poe, and later by Anton Chekhov. Present day writers such as Prabath Jayasinghe are influenced by Latin American writers. None of this would have been possible if not for the English translations. 

Are there any ethical considerations that come into play when translating someone else's work? How do you navigate issues such as censorship, political sensitivity, or cultural appropriation?

After selecting a story, I call the original writer and obtain verbal consent. Then, once the translation is complete, I send it to the writer for approval. Before publication, I obtain written permission as well. 

As a translator, you play a crucial role in making literature accessible to readers who may not have proficiency in the original language. How does this responsibility shape your approach to translation?

I do not consider that a responsibility and it does not affect my writing in any way. 

Finally, what advice would you give to aspiring translators who wish to embark on a career similar to yours?

I would advise them to read as many books as possible in both the original language and the translated language. Do not step in and try to explain alien concepts. In some cases, it would be best to leave the words or concepts in the original language and provide a comprehensive glossary.