‘I write because their pain will not let me sleep’: Booker winner Banu Mashtak on giving voice to the silent sufferings of India. Bharat News

Listen here:Excerpt from interview:Question: Perhaps I will address Banu first. Why did you choose the option to write imagination?A: What else can be done? I cannot give any relief to the victim women who contact me with a lot of concerns, sorrows and when I raise their cause, first as a worker and as a worker-cum-advocate, I struggle to get relief, but, I want to document it and show to the whole world that patriarchy can continue the violence in this way and it has to be stopped.Question: But it requires more than just listening. You need something else to write and write with accuracy that you have.A: I can’t just forget their issues. It likes me anything and it never lets me happen in peace. I want to be a voice for their concerns and I want to give voice to all their issues and say to the whole world that these women should be compensated, they should be freed and they should be given their proper place and you should not constantly do all this type of violence against them. Stop it. Nobody has to say. This is what I am saying. Question: The ordinances of those scenarios that you portray in your stories and the violence that is shown is not necessarily physical violence.A: Even with the issue of women, there is an issue of marginalized people. I also wanted to show marginalized people, and people from minority community are humans. They have their own issues, have their own problems. I want to share my experiences with the whole world and to bridge the difference and open a window.Question: There is a feeling of universality about that kind of violence that has been portrayed because Deepa (Bheshi) has chosen different stages of motherhood or not this is not a woman’s life or a child’s life, is it not?A: Yes, I have addressed patriarchy. Patriarchy is prevalent among all sections of society, all communities and is universal in nature. And I have addressed this patriarchy and I have challenged the power structure that is subduing women and forcing them to live inside four walls and forcing them to follow their orders without questions.Question: Deepa, what was your principle of curition?A:I see translation as a very easy process. I am not sure that I am able to intellect the politics of choice at this time, at least it’s something that I need to think for a long time. But he said, when I talk about the practice of translation, I am very interested in the idea of ​​choice, because translation is about choosing this word or one phrase on another. There was a lot in the selection of these stories, the first and most important stories that I liked personally, because it is important for me to enjoy the stories with which I am working with.And then I wanted it to be a career-afflicted selection. I wanted to bring different types of subjects in these stories. And whatever was interesting for me, even if there are different stories, the underlying subjects always treat women under patriarchal systems.Question: The compilation of stories consists of different stages of a girl or a woman’s life. Was that a conscious decision?A: These were part of many factors that I was watching when I was making these options. So one of the factors was to see how women were treated in various situations and circumstances. And, a woman’s life cycle from childhood to a new wife and so on to boyhood. There are interesting things about many roles that are on a child’s child or inconvenience that she can feel.Q (for Banu Mushtaq): The author puts a little bit into his own DNA. They put in one of their own experiences. Will it be appropriate or would it be far away to say that these stories have a glimpse of semi-autocratic elements?A: In my stories, there are not very serious autobiographical elements, but day-to-day experiences that women shared with me have been raw material for my stories. As a worker and as a lawyer, I meet many women every day. They come and talk to me and sometimes I take their advice, sometimes I get them legal relief. They think me as a consultant and they begin to tell a lot of things that are not necessary for legal draft.Q (for Deepa Bhakti): Banu speaks Dakhni, an attractive mixture of Persian, Dehali, Marathi, Kannada and Telugu. But your mother tongue is Hiveka, a dialect that takes back the old Kannada and is spoken by a small community of Brahmins from the Arabian coast. But the rhythm of English flows beautifully. How did this process happen?A:The polythetic is not as rare as we like to think, especially in the South Indian context. We are engaged with many different languages, at least three, and more likely. So, words or phrases from any other language crawl in our everyday conversations. And I was very clear from the beginning that I wanted to maintain this multilingual in translation and did not just want to level it in English, and I knew a lot about the music of Kannada language, which I managed to preserve to maintain some words.And the decision to do or not, I think Super is important. When you do it, it is another of the language, and when you don’t, it mixes in English that the reader is also experiencing in the book. And I think somewhere on the way, we all have decided that English is a very precious item that should not be touched and played together. And I wanted to reject that base completely because we do not speak like the British, we do not speak like Americans. And I think where music has been retained. And when you bring these everyday experiences of the multilingual, Arabic or Arabic or Urdu or Kannada or whichever other languages, I think it is the place where rhythm, music, rhythm, maintains those things remain in translation.Q (for Banu Mushtaq): You do not capitalize for any other types of any type, but you choose to portray life because it is within the community. You bring into the homogeneous culture in which we live, a cross-pollination of our diversity experiences.A:Our culture teaches us, whether it is Hindu or a Muslim or Christian or whether it is Kannadiga or Tamil or Malayali, the culture of the human, the culture of the neighborhood. So we are Muslims, and if there was a feast, then the woman of the family will bring everything to share with the elderly sweets, coconut, shrimp, flowers, our neighbors, who were vegetarian. Although they would not take non-vegetarian food, we used to go to their house and we offered them sweets and all these kinds of things.And they will invite us to their feasts. And this culture of co -existence is still there. The clothes begin to fade, but it remains there. Therefore, there is no question of others. Only a question of inclusion is.