Cho Ramaswamy Books Free Download
Antenor Ketkaew
About Aditi Ramaswamy:
Aditi Ramaswamy is a software developer, amateur researcher, and avid consumer of baklava. Their favourite authors are Bapsi Sidhwa and Gabriel Garcia Marquez, although they have been known to resort to reading the backs of soap bottles and tissue packets on long boring drives. They are passionate about disseminating historical truths on their blog, especially when it comes to dispelling racist tropes and myths.
I also can't go without a mention of Octavia Butler. Her books are nothing short of genius. I remember picking up "Kindred" when I was in high school and putting it down without finishing, because it was so graphically disturbing. Recently I read "Kindred" and the "Earthseed" series properly, and was blown away by the sheer brilliance of her writing. Her talent for constructing complex plots and messages without coming across as tortuous or confusing is something I truly aspire to.
What advice would you give other writers?
This is clich, but don't stop writing, even if someone tries to discourage you. Write for yourself: create stories and characters YOU would love to read. And keep reading beautiful literature. I learn something about writing with every new book I read.
Discover the dread-inducing answers in this collection of 14 offbeat short horror stories. Fans of 1970s/1980s/1990s-style horror fiction may appreciate the modern spin presented in this book, which draws inspiration from classic comics, pulp magazines, and drive-in cinema.
The only one who believes her is FBI profiler, Eva Rae Thomas. She knows Sarah personally, and as she looks at the evidence in the case, she is convinced that Sarah is telling the truth, even though she was highly intoxicated when the event occurred.
Following a racially motivated rape by three Ku Klux Klansmen, 12-year-old Desiree Devine vows revenge. After eight years of training, now a strikingly beautiful assassin, she accomplishes her mission.
Along the way, they encounter serial killers, wife-beaters, actual and would-be rapists, gangsters, crooked cops, a kidnapper and a pedophile priest, as well as numerous women in desperate need of their help. Beneath all the action, though, is the blossoming of a most unusual love story.
Co-creation guru Venkat Ramaswamy and Kerimcan Ozcan call for enterprises to be mindful of lived experiences, to build engagement platforms and management systems that are designed for creative collaboration, and to develop "win more-win more" strategies that enhance our wealth, welfare, and, well-being. Richly illustrated with examples of co-creation in action, The Co-Creation Paradigm provides a blueprint for the co-creative enterprise, economy, and society, while presenting a conceptual framework that will guide organizations across sectors in adopting this transformational approach. Challenging some of our most deeply held ideas about business and value, this book outlines the future of "business as usual."
Venkat Ramaswamy is Hallman Fellow of Electronic Business and Professor of Marketing at the University of Michigan's Stephen M. Ross School of Business. He is co-author of the award-winning books The Future of Competition and The Power of Co-Creation.
I learnt about Manoranjan Byapari and his autobiography, Itibritte Chandal Jibon, via Facebook. I was able to contact him, and he informed me that his autobiography was already being translated by Sipra Mukherjee. He then gave me his long novel Chandal Jibon to translate. That had appeared in two parts in a Bengali magazine. With his consent, I applied for the Literature Across Frontiers fellowship in 2016 to take this up, and I was selected. I spent three months in Wales and completed a substantial part of the novel. And after I completed the first round of translation in 2017, Byapari informed me that there was more to the novel. Eventually this became the Chandal Jibon trilogy of novels. The first volume, The Runaway Boy, was published in 2020, and the second, titled The Nemesis, will be out soon.
So while it is chance, or circumstances that have determined the writers I have translated, there is something underlying, a perspective or outlook, a particular eye, and a quest for significant voices and works. So at particular moments, things come together, like two hands clapping! It is a literary eye, but also a social and political eye. I do not want to translate pleasing stories that rock you to a reverie! I want to rock the system!
I have become a full-time, independent translator of fiction, non-fiction and significant texts in Bengali. That is deeply satisfying. Also, when one translates a writer, and especially the kind of writers I chose to translate, a close tie is created with the author. That is special. Again, the nature of the tie with each writer is different. For instance, in the case of Zahir, the author is deceased; but he comes alive for me when I translate him, and I imagine I am in dialogue with him.
You came to translation via activism rather than an MFA programme, which is the route that is now available to younger translators. How did you learn to translate? Were there mentors or peers that you got feedback from?
I did not learn to translate. I simply began translating, without any sense of doubt or hesitation. I did have a small circle of friends with whom I shared my early work. Their feedback was positive. And I requested a friend to evaluate my initial work against the original, and he commented that it was good. That was it. I just kept on after that. In the process I grew beyond the person who began the work! I was fortunate to find a good publisher for my first book, which gave me the confidence to move ahead.
But perhaps most significantly, after I sent some of my Subimal Misra story translations to my late poet aunt, Revathy Gopal, she sent me the essay My Life with Rothman, by Michael Hofmann, the translator of the Austrian writer Joseph Roth. Reading the essay planted the seeds in my mind of a long-term Misra translation project.
Actually the Bengali title Ghar Palano Chhele is taken from the title I gave to the first novel of the Chandal Jibon trilogy. The original novel was first published in 2008 in the Bengali magazine Hatey Bajarey, and then as a book titled Chandal Jibon. Besides translating, I also edited and structured the original text, breaking up the mostly undifferentiated mass of text into paragraphs, sections, and chapters and books with names. That was also the case with the second part of the trilogy, The Nemesis, which is due to come out in early 2023. The newly published Bengali versions of these two books follow the structure of my English translation. I am yet to translate the third and final part of the Chandal Jibon trilogy.
Those who read The Runaway Boy would have invested and engaged a significant part of themselves in that reading experience. Given the kind of granular tour through oppression, indignity and violence that Byapari provides in this work, it has necessarily to be a long work, and hence it is a trilogy of novels. I expect that all those who read and liked The Runaway Boy would read the second and third parts as well. The later works may also find new readers who then look for the earlier books. Chandal Jibon begins with the birth of the Dalit boy Jibon in East Pakistan, and ends in Calcutta with the protagonist Jibon reaching the terminal point of the life trajectory that his birth and his personal choices resulted in. The trilogy is about the pre-life of the autodidact author Manoranjan Byapari, before he learnt to read and write, and thus eventually becomes a celebrated author and public figure.
With one book, then another, and on and on, I am trying to put out multiple voices. I would like to think that the presence of such a body of purposefully curated work is something important in the present juncture.
So yes, I am always keen to translate critical writing by women. Coming to LGBTQ, my own disposition is to try to understand people, to be in their shoes, as it were. So translating significant LGBTQ voices is something I would naturally gravitate towards. Perhaps the connection is waiting to be made!
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