As Shree wrote about Amma’s metamorphosis — a journey that culminates in a fateful trip to Pakistan, which she had fled after violence erupted during Partition in 1947 — she found herself composing an elegy to pluralistic, polyglot India, a place teeming with a diversity of languages, religions, cultures and dialects.
“The book kept bringing up the kinds of divisions that have crept in and the unities that are being lost,” Shree said. “That’s what we seem to be losing, now that there’s a kind of monopoly of certain languages and cultures.”
Shree didn’t expect the novel to resonate with an international audience. Several of her previous novels had been translated into English, but none were released outside of India, and she had no reason to believe “Tomb of Sand” would be any different.
Then, an unlikely series of breaks vaulted her to literary stardom. After the Hindi edition came out, the translator Arunava Sinha reached out to Shree and introduced her to Rockwell, who was looking for contemporary feminist fiction to translate. Rockwell did a sample translation, and the publisher, Titled Axis, a small, independent British press, acquired it and secured a grant for Rockwell to translate the full text.
The English version was published in Britain in 2021. The following year, it won the International Booker, which is given jointly to the author and translator. “Tomb of Sand” sold 30,000 copies in Britain, an impressive number for a work in translation from a relatively unknown author. In India, the English edition sold 50,000 copies, making it a resounding success for a work of literary fiction, and the Hindi version, titled “Ret Samadhi,” sold more than 35,000 copies. The novel became ubiquitous in train stations and airports across India; Shree’s name was a question on a popular game show hosted by the Bollywood legend Amitabh Bachchan. “Tomb of Sand” is now being translated into several other Indian languages, among them Tamil, Malayalam, Marathi and Assamese, according to Shree’s literary agent.
“It was considered a little bit out there,” Rockwell said. “Now everybody’s reading it.”
“Tomb of Sand” was a daunting text to translate, Rockwell said. The narrative is experimental, fragmented and dreamlike, full of language tricks and invented words. It’s laced with references to Sanskrit classics, Bollywood movies, song lyrics, prayers and chants, and contemporary Hindi and Urdu novelists. To capture the polyphonic flavor of the prose and Shree’s freewheeling sense of wordplay, Rockwell preserved fragments of the text from Hindi, Urdu, Punjabi and Sanskrit, leaving them untranslated.
In a way, it’s fitting that “Tomb of Sand,” a novel about the permeability of borders — between countries, religions, genders, languages, ages, life and death — is transcending linguistic barriers, despite the obstacles.
“Language is not just a vehicle to convey a message, it’s a complete entity in its own right,” Shree said. “It has a personality, it has a cadence, and sometimes it has no message.”
