Poetic Renditions

column 3

Translation to English

ہمیشہ قتل ہو جاتا ہوں میں ۔ جون ایلیاء

A rendition of a work focuses on conveying its essence while a translation of it focuses on accurately conveying the originally intended meaning. There’s a fine line between the two, and you may find a bit of both as you read each piece in this section, where different poets from around the world offer their version of the same poem in a new language. Together, they are a celebration of the original work.

بساط زندگی تو ہر گھڑی بچھتی ہے اٹھتی ہے

یہاں پر جتنے خانے جتنے گھر ہیں

سارے

خوشیاں اور غم انعام کرتے ہیں

یہاں پر سارے مہرے

اپنی اپنی چال چلتے ہیں

کبھی محصور ہوتے ہیں کبھی آگے نکلتے ہیں

یہاں پر شہہ بھی پڑتی ہے

یہاں پر مات ہوتی ہے

کبھی اک چال ٹلتی ہے

کبھی بازی پلٹتی ہے

یہاں پر سارے مہرے اپنی اپنی چال چلتے ہیں

مگر میں وہ  پیادہ ہوں

جو ہر گھر میں

کبھی اس شہہ سے پہلے اور کبھی اس مات سے پہلے

کبھی اک برد سے پہلے کبھی آفات سے پہلے

ہمیشہ قتل ہو جاتا ہے۔

۔ جون ایلیاء

Amama Bashir

I have been a fan of Jaun Elia’s poetry, and an even bigger fan of his delivery. Watching his performances on YouTube has been a family tradition since I was in highschool. This particular poem, however, hit me differently. I kept rereading, trying to read between the lines, looking for more than there was perhaps. One word that struck with me was ‘ghar’, although used only twice throughout the poem. Knowing about Elia’s relationship with his home, his family, his children, I found myself sympathising with someone who’s been long dead. It fascinates me how he speaks of a game of chess and compares the squares to homes; a very mechanical way of mentioning something that commonly holds so much emotional value for an individual. I also wonder whether the ghar means house here or home.

Javeria Hasnain

CHESS

The game of life turns & turns & turns.
All its squares, all corners
reward happiness
& grief.

All men here
take turns.

Get stuck or run forward.
Check.
Checkmate.

Sometimes you defer the turn.
Sometimes you turn the game.

All men here
turn.

But I am that pawn,
who in any square—
before this check or that checkmate,
before this cold or that disaster—

always gets taken.

§

I had only ever previously read Jaun Elia’s ghazals and so was really surprised to hear this freeverse voice of his. So quintessential, yet so distinct. I really wanted to play around with the “chess as a metaphor for life” concept, especially the “taking turns” aspect of it. You play, & your opponent plays. Knowing Jaun, I am thinking of opponent as God, and thinking of opponent not as opponent necessarily, but rival. And who better to have as a rival than God.

I take liberty with the translation and change some phrases to suit contemporary English poetry, whilst ensuring the meaning still carries. I keep anaphoras, I lose language. To quote Antena’s first point in the Manifesto for Ultratranslation, “Nothing is lost in translation. Everything was always already lost, long before we arrived.”

 

life is a chessboard
 each square a home
each player a piece
 surrounded, moving
hiding, striking
checking, mating
life is a chessboard
each piece a player
I’m the one
always
 taken from the square
 in a body bag

§

‘Our mother tongue is wordlessness.’ I read this in an essay about the life of an exophonic poet1 and felt it to be true. I felt the same when a veteran translator speaking at T2F2 in Karachi said to translate was ‘to colonise’. Writers are translators of wordlessness and translators are their colonisers. This is what I carried to Hamesha Qatal Ho Jaata Huun. What do the words in Urdu carry? A subtle positioning of the self as loser in the game of life, love and family; the charge of knowing this; chess imagery. Which English words can carry the same? (It’s my first colonisation. I hope you like it.)

1 ‘Certainty frays: Searching for Wong May’,Hao Guang Tse, Brick Issue 112
2 Reading Fehmida Riaz & Ismat Chughtai: a conversation with translator Tahira Naqvi, T2F, Karachi, 07.04.24

Yusra Amjad

checkmate

the chessboard is in medias res:
we clear it, we play, we re-set.
you win some, you lose some.

all the pieces have to play;
this is not a voluntary game.

look, look!
 now you are in the lead.
look, look!
 now you are besieged.

here, where kings are made to be toppled,
power moves postponed.
here, where tables are made
to be turned, defeat
always in the air.

yes, all us pawns have to play,
but all I
ever seem to do
is die.

§

Firstly, I would like to acknowledge my mother, Dr Naumana Amjad’s help in explaining some of the words I wasn’t familiar with. That, obviously, was the first step: getting to know the poem on the literal and metaphorical level. After that, I started to identify the aspects of the poem that are often used in the Urdu poetic tradition, such as repetition, especially in the form of anaphora or at the end of a line. The main thing that I chose to exclude for a successful translation was the refrain which is also the title of the poem. I felt the poem would be much more impactful if this statement was only given away at the end after establishing the main analogy of the poem, which is that of life as a chessboard. This is also why I chose to change the title of the poem itself, making it both more ambiguous and one that cements the chess metaphor in the reader’s mind. I also wanted to create an expectation of victory, which is what most readers would subconsciously associate the word “checkmate” with, and then subvert that expectation at the very end.

I’m Always Killed
by Jaun Elia, translated by Ayesha Manazir Siddiqi

The chess-board of life is, every moment, laid out and put away again
Every cell, every house here,
all
joys and miseries award us
All the players here
walk their own specific walk
Sometimes they are surrounded, and sometimes they manage to escape
Here, kingdoms are usurped
Here, monarchs defeated
Sometimes, a move is subverted
Sometimes, the tables turn
All the players here walk their own specific walk
but I am that pawn
who in every house
sometimes before this uprising and sometimes before that defeat
sometimes before this victory and sometimes before that catastrophe
is always killed.

§

I mulled over the first line, considered ‘chessboard’, ‘checkerboard’, or simply ‘the spread of life’, as the analogy is clearer in the Urdu, which references a cloth version of our modern chess-board, and also the tapestry of life. It was interesting trying to maintain the balance, in word choices, that allows the game/life analogy to flow without becoming trite. 

And then there were the numerous ‘sometimes’. A wish to stay loyal clashed with a desire for diversion here, but I kept them in the end. I also kept the free-floating ‘all’ in its original position i.e. in a line of its own, as I felt there was an ambivalence there as to whether it referred to the line before it or after. 

I have to admit, I struggle sometimes with the self-victimising tone in this poem and in many of Elia’s others, and was therefore grateful to be able to contribute a translation of a testimony written by the poet’s daughter, Fainaana Farnaam. I actually found it to be more incisive, emotionally attuned and interesting than the poem itself. And holding both side by side, I found myself responding to the poem – we can be the pawn, while also being the bishop, and the knight, and the king too, all at the same time, and it is worthwhile and may even make for more complex writing to acknowledge these overlapping and sometimes contradictory realities.  

Finally, many thanks to my long-time teacher Zulfiqar Ali Sajjad, who has walked me through many such nazms and ghazals over the years, and taught me so much.

§

Jaun Elia: The Other Side of the Picture

by Fainaana Farnaam
Translated by Ayesha Manazir Siddiqi

It has been nineteen years today since Abbu’s devotees lost him. But I’d lost him years and years before then. I’d never wanted to discuss this; I stayed quiet for decades. Many people would want me to talk about this but I would always find excuses as I felt this was a personal matter and why should I share with the world what was going on in my house? Still, Sohaina and I wanted to speak because our silence allowed people to say things that were hurtful and untrue.

The difficulty for Sohaina, Zeryoun, and me is that our parents are famous, and famous people’s fans assume that it is their right to talk about their lives. If the matter were straightforward then this wouldn’t be a problem, but to only hear the story from one side, and to form an opinion based on that and then to believe in the truth of that view is an injustice. Our silence encouraged people to say and write whatever they liked.

There is no better day than today to write everything down that is not easy to write, and that I have always run away from writing.

Until the age of twelve, this photo was what I thought was the truth of my life. I didn’t think that this picture might not be real. I didn’t wonder if Ammi and Abbu were really like this for each other when this photo was taken, or if they were just posing to make me happy on my birthday.

When, late one night I heard Abbu fighting with Ammi, I didn’t understand anything. To this day, I can’t explain how I felt that night, but I stayed up all night, waiting for morning. I had to speak to Ammi. I had to know what had happened. I should have cried then. If I see an emotional scene in a film my eyes moisten and my children make fun of me for getting so emotional at the cinema. But that night not even one teardrop fell from my eyes. In the morning, I asked Ammi, was Abbu fighting with you last night? My ears couldn’t believe the question that was coming from my own lips because until then I had considered my mother and father to be the world’s most ideal couple, and Abbu was my ideal. I loved him intensely. More than I loved my mother even. And so, maybe on that basis, I believed Ammi when she told me everything was fine. Or maybe I believed her because I didn’t want to know any different. That was the time when Ammi and Abbu’s conflicts would get resolved in their room, but a few years later those conflicts moved past those four walls and became a subject of people’s gossip.

That was a very difficult time for Ammi and us three siblings. We had to put up with a lot of hurtful things from people around us, and this happened because Abbu would go sit somewhere and say whatever he felt like saying, and people would believe him. I have never understood how people couldn’t see that for them Jaun Elia was their favourite poet but to me he was my father. I couldn’t find my father inside his couplets. He was my life, he was my, Sohaina and Zeryoun’s father. We didn’t want Jaun Elia the poet, we needed Jaun Elia the father, and he was nowhere to be found.

He would forget what class we were studying in, how old we were. He could not remember our birthdays. When he wanted to call out to me or Sohaina he would use his niece’s names. He was never able to accept Ammi and his family couldn’t accept Ammi either; this was because Ammi was not from Amroha, nor was she Shia. For these reasons, a distance was created between Ammi and Abbu that only grew with time. Abbu also found it difficult to accept that Ammi’s fame was increasing. From a man as educated as him this kind of thinking was hard to believe.

I stopped going to mushairas because when people would find out whose daughter I was, whispers would start and I would feel hurt by the things I heard. When I had to fill out the examination forms for class nine, I went home and said I wanted to change my name. At the time my name was Fainaana Jaun. Ammi was very shocked that I would want to do this. I said I didn’t want Abbu’s name next to mine. I was sixteen then and this was a painful decision, but I knew that this relationship, which had been my most precious one in the world, had finished. Abbu died for me that day. The meaning of life changed for me. Abbu was the one who changed my name from Jaun to Farnaam. When I was born Abbu had named me Fainaana Jaun. After my relationship with Abbu broke, everything changed for me. My entire identity changed, and it happened because of Abbu, which was why I insisted that whatever new name I was to take on, it would be Abbu who picked it.

It was very difficult for me to face people, to endure questions that pinched, but then I understood – I was not responsible for Abbu’s actions. He was responsible for his actions. Abbu would often say after fighting with Ammi that he didn’t remember what had happened the previous night because he was drunk. But we all knew he had been in his senses. He knew what he was doing. He would say that it is not a poet’s problem to worry about rent or buying groceries. The truth was that he wanted to run away from his responsibilities. I never met my father’s parents; they died before Ammi and Abbu got married. They were both simple people and were pained by Abbu’s lifestyle. Abbu believed that poets and intellectuals should be free of life and its troubles, and so he would slip away from the responsibilities that came with life.

When I was four years old, Abbu took me with him to the house of Aleem Mamoo (a famous poet). Ammi didn’t want to send me but Abbu insisted. When he got back home at two in the morning Ammi asked him at the door, ‘Where is Feeni?’ He said, ‘How would I know? She must be inside.’ I think of what Ammi must have gone through at that moment. She went to Aleem Mamoo’s house to bring me back.

The problem is that we believe that a poet or a writer, an artist or a musician, or anyone associated with the arts can’t live their life like an ordinary person. We say, they’re a poet, an artist, how can we ask them to be responsible? We forget that an artist has a family too that needs that person’s presence and support every step of the way.

I’ve always felt that Abbu’s fans wish that his children would see Abbu as the great Jaun Elia, the murshid. How do we explain to his admirers that for us he was just a father? We only wanted his love and care. A child can surely ask this much from their father, whether the father is a king or a beggar. For the child, he is only a father. All three of us only wanted our father’s love.

I have not seen a luckier man than Abbu. He was blessed with respect and fame, but he was not happy, because he hadn’t cared for his relationships. A man not connected to loving relationships with his parents or children can’t have a loving relationship with himself either.

Ammi gave me the news of Abbu’s death over the phone. I couldn’t believe that Abbu was no more. He had departed from my life long before then, but that day he departed from the world. In our lives the position of father remained empty, and so life was not as it should have been. But Ammi, Nana, Khala, Mamoo, Bua, Uncle, and Rahmat Mamoo all loved us very much. They had taught us how to live a good life without Abbu while he was still alive. We lived our lives with our heads held high and are grateful for the happiness and blessings we got. Had Abbu been present in our lives it would have been very different, but we have no complaints because it has helped us become who we are today. Not only are my siblings wonderful people, they should be praised for living their lives with their heads held high which wasn’t easy. It’s also not possible to praise Ammi’s patience and courage enough, she raised three children all by herself and we all turned out to be happy.

When I had married Kamran, Ammi told him and his family members about Abbu in detail. I also spoke to Kamran about this, because I knew he was a fan of Abbu’s and I needed to let him know that, although alive, Abbu was not a part of my life. He’s still a fan of Abbu’s, but he understands the breakdown in our relationship and always stands by me. Both my children also know about my relationship with my father. My daughter reads his poetry and my son comes home from college and tells me that when his friends are unsuccessful in love, they read Abbu’s poetry.  

Amama Bashir is an aspiring Kashmiri writer. She has majored in literature and is working towards earning a doctorate in English literature. As she puts it, her thoughts, observations, and emotions make more sense on paper and over the years she has tried to perfect the art of thinking on paper. Her work has been published in various literary magazines. She is currently compiling her parents’ experiences as muhajirs in writing.

Javeria Hasnain is the author of SIN (Chestnut Review, 2024). Her recent poetry has appeared/is forthcoming in Pleiades, Poet Lore, Foglifter, and The Brazenhead Review. She is an MFA candidate and a Fulbright scholar at The New School. 

Shandana Minhas is the author of the novels Tunnel Vision, Survival Tips for Lunatics, Daddy’s Boy, Rafina, and Ferdowsnama (forthcoming from Penguin India in 2025). 

Yusra Amjad is a Pushcart-nominated poet, comedian and activist from Pakistan who completed her MFA from Sarah Lawrence College on a Fulbright scholarship. Her work has been published in The Missing Slate, The Noble Gas Quarterly, L’Ephemere Review, Wasafiri, Dawn News and NONIIN Magazine. Her poetry has also been featured by Oxfam International and Vice News. You can also find her poetry at @yusraamjadwrites on Instagram.

Ayesha Manazir Siddiqi has published essays, reviews, short stories, poetry, monologues, and translations, and has also written for radio and for the stage. She was contributing editor for the Serial podcast the Trojan Horse Affair, and her debut novel, The Centreabout a Pakistani translator living in London, is published by Picador (UK) and Zando (US). She’s on twitter @tweetingayesha.

Scroll to Top