Being A Madiga

Gogu Shyamala paints a world in rural Andhra Pradesh where human lives are not separate from nature. They inhabit a vast space, feet planted in the ‘moist mud’ and faces touching in the sky. That these human lives are also segregated by society as ‘untouchable’ means that certain pleasures, such as ‘the scent of new rice’, the taste of jowar sap, the power to invoke the goddess, are theirs to enjoy; joys perhaps unknown to the upper castes.

Cultural Transference

Referring to the craft of translation and its difficulties, J.M. Coetzee had commented in his rather well-known essay, ‘Roads to Translation’ that ‘Translation seems to me a craft in a way that cabinet-making is a craft. There is no substantial theory of cabinet-making, and no philosophy of cabinet-making except the ideal of being a good cabinet-maker, plus a handful of precepts relating to tools and to types of wood’ (Coetzee 151).