Sudeep Sen honoured with
Kathak Sahitya Puroshkar
Internationally-acclaimed writer and poet Sudeep Sen [www.sudeepsen.net], who is also the editor of Atlas: a book[maga]zine of ‘new writing, art & image’, spoke exclusively to Sanam Amin
New Age: How did Atlas come into being?
Sudeep Sen: The first issue of Atlas came out last year. The story behind the birth of Atlas is fairly straight-forward. Often non-Indian international writers would ask me where they could send their creative writing to in India/South Asia. I couldn’t think of many in India that consistently came out on time and was of international quality. So I thought, why don’t I just start one, given my experience as a practising writer, literary editor, and publisher.
NA: Atlas has been compared to Granta.
SS: Yes, many reviews in the UK and USA have compared it to the Paris Review and Granta, and say that it is the next big thing in literature coming out of South Asia — this is particularly gratifying. Atlas is a 400-page long book-format magazine, so it is more like three magazine issues under one cover. I gave myself five issues for it to establish itself, but within two issues it has taken over my life.
NA: Do you think that translations done in this region are below standard and are not up to scratch?
SS: I would agree, largely speaking. In South Asia, translators here are not well-paid, if at all. It has to be a professional enterprise. In the West, my translators have earned more from doing the translation of my poems in their languages (e.g. Spanish, Dutch, German, etc.) than I might get from my original poems.
My knowledge of ‘world poetry’ is through translations, so I am grateful for the existence of good translations. But if translations do not flow, then it does not work at all — fluidity, right cadence, subtle texture, apart from accurate content are key — these constitute the essential elements as to whether poetry works or not in another language. A lot of translated books in South Asia sound too academic or clunky in translation.
NA: What are you writing now?
SS: There are two books I am writing at the moment. One is a follow-up of my book of prose poems Monsoon called Dreaming of Cezanne. This too is a book of prose poems, as is another one called Wo|Man. Another recentish work is a book-length poem set in Scotland titled Distracted Geographies: An Archipelago of Intent.
NA: Why do you write?
SS: I have absolutely no answer to that. I feel moved that so many people appreciate my writing. I never imagined that I could make a living out of my writing. I feel truly blessed. But it is a very hard act to continue doing it day in and day out — actually, it is the hardest and the easiest act in the world — creative writing. Nobody actually expects and tells you to write, one does it because one really does not have a choice, ultimately.
NA: When did you start writing?
SS: I started writing very late. In high school and college, I wrote sheaves and sheaves of early poetry. I wrote for the school magazine, college magazines. There were lots of writing competitions I used to shamelessly send my writing to. The Lunar Visitations won a competition for ‘unpublished first books’ in New York. The prize came with a decent amount of money and the publication of the book. So that is how my first book got published in the United States.
The way I got to know about the competition result was quite dramatic — I got a call, and person at the other end mispronounced my name, so I replied saying that it was the wrong number and was about to hang up, but then he said ‘The Lunar Visitations’ won the prize. First I was thrilled of course, but thereafter I started getting cold feet. I thought my God, I don’t want this callow work out — I was being unduly harsh on myself I think. I was only 24 years old then, obscenely young for a first book. Besides I had already moved on to my second and third manuscripts, and of course I was writing much better by then. So I told my professor that I didn’t want the book out. His reply was very touching — ‘This is your first baby. Father it, no one else can.’ … Now I am 20 books old!
NA: What are you reading now?
SS: For Atlas, I am actually reading enormous amounts of fine contemporary world literature as it is currently being written, and that too from some of the top writers of the world. So that is a real treat. Also, I’m asked to review, write about books, and talk about books in the electronic media. I also read what my son’s reading — he’s just turned nine and he just eats books, consuming them voraciously — what a thrill to be part of all that.
NA: You have done a lot for Bangladesh’s literature. In fact you were honoured last week with the ‘athak Literary Award — the Kathak Sahitya Puroshkar’.
SS: Yes, I feel very touched. But looking back I realise that I have translated and published three Bangladeshi poets: Shamsur Rahman, Fazal Shahabuddin and Aminur Rahman; edited and designed Hayat Saif’s Selected Poems; published two books by Kaiser Haq — The Black Orchid and The Logopathic Reviewer’s Song; edited the anthology The British Council Book of Emerging Modern English Poets from Bangladesh; co-founded and designed the journal Six Seasons Review; wrote Monsoon (which has photographs by Mahmud), and a landmark anthology Modern English Poetry from Bangladesh is forthcoming.
Then there is the big literary coffee-table book Postcards from Bangladesh, a consistent bestseller for the last five years. The Lonely Planet travel guide to Bangladesh recommends and lists this book as a ‘must read’. Plus, a forthcoming issue of Atlas will be a special on Bangladesh writing — so a lot of work done here, all immensely pleasurable and gratifying. And I thank the people of Bangladesh for being such wonderful friends, my extended family really.
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