Author and activist Sarah Joseph was born and raised in present-day Kerala, known for both Jewish and Christian populations dating back well into the first millennium CE. A Christian herself, she writes both poetry and prose in Malayalam, often centering around religion and feminism. A decade ago she won accolades for a novel based on the Ramayana. Now she has a new novel, Stain, translated by Sangeetha Sreenivasan, that re-imagines the biblical story of Lot, largely set in the town of Sodom. Although readers of the English translation will undoubtedly be familiar with the story of Sodom and Gomorrah, one would have to assume that Joseph’s original Malayalam audience either also know the story or find resonance in a biblical story set long ago and far away.
Malayalam
It’s not every day one comes across a new novel about Jesus as a social activist, least of all one in translation from Malayalam. So Ministhy S’s recent translation of renowned Indian writer Benyamin’s 2007 novel, The Second Book of Prophets, is unexpected, to say the least. One need not know much about biblical stories or be religious—of any faith or none at all—to understand this story, although readers with some knowledge of the New Testament will be familiar with the characters and the plot. Yet as a novel, it’s engaging and even thrilling.
The Malayalam edition of the Mini Krishnan-helmed collections of newly translated classic short stories offers readers a glimpse into the changing social landscape of Kerala. Covering stories written and published across forty decades, the writers of The Second Marriage of Kunju Namboodiri and Other Classic Malayalam Stories navigate the various promises of the early 20th century: education, freedom, and the emancipation of women. Venugopal Menon serves as the translator for the nineteen stories of the collection, also contributing a detailed translator’s note that enriches the reading experience. In it, Menon deconstructs the stories, offers insight into their source, and, of course, proffers insights into the translation process that are sagacious enough to warrant a longer essay.
In Maria, Just Maria, a woman born in the dense humidity of Kerala, with talking pets and petty saints as her friends, finds herself in a psychiatric hospital. The novel steps backwards, beginning with Maria as a recently divorced woman searching her memories for clues that might explain why she ended up in a hospital. The cause of her madness becomes the driving mystery of the novel, and in trying to untangle the answer, the story expands centuries back, diving into moments equally mundane and divine.
Indians take their gods and goddesses seriously, holding them extraordinarily close by means of innumerable festivals round the year, and striving to find every possible opportunity to pray to the divine, wish-granting beings in as many ways as humanly possible. As a result, everything from personal problems to social evils becomes a matter of divine intervention. In his 2014 novel Nireeswaran (recently translated from Malayalam into English by Ministhy S), author VJ James has dared to make a case for human intervention by floating the idea of an un-god. The single-word title is the antonym of Eswaran (God).
South Asia is a literary universe unto itself. It is home to hundreds of languages intersecting in multiple ways with history, ritual, and traditions of the classical Sanskrit as well as vernacular orality. In Sensitive Reading: The Pleasures of South Asian Literature in Translation, editors Yigal Bronner and Charles Hallisey put together a set of texts from multiple languages translated by renowned Indologist David Shulman (along with works of music as well as a work of visual art). The chosen texts all to a greater or lesser extent deal with love—declarations of love, desire, longing, love for the divine, and the pain of separation. Their curation brings together the classics from the ancient and medieval periods in Indian history with a smattering of works closer to the present—19th and 20th centuries.

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