English fiction is intriguing, especially when infused with one’s native language. Some readers find it interesting, while others prefer English books to remain distinctly English. As a writer, balancing reader satisfaction and portraying my language and culture in my writing is often a struggle for me.
Over the years, I’ve gained insights into how readers respond to the use of native language or context in books. The Western audience tends to meticulously critique grammar and language, highlighting the unconventional use of words and terms by non-native English fiction writers. Once, one of my American readers pointed out that they don’t use the term ‘shift’ to show a move from one place to another. This minor detail seemed insignificant to me, but such linguistic liberties can make it challenging for readers to adapt, especially when authors integrate their native languages into their stories.
Contemporary writers in South East Asia, like Yangsze Choo with her novel, The Ghost Bride, often incorporate local practices into their works. Set against Chinese colonialism in Malaysia, the young-adult historical fantasy surprised me with its extensive use of Chinese words.
Exploring Bangla literature, specifically Sharat Chandra Chattopadhayay’s novel Porineeta, broadened my perspectives. Despite the challenging language of the early twentieth century, this book marked my initial exploration into the intricacies of women and their desires in Bangla literature. I never realised how beautiful my mother tongue is until I read this book. It sparked my interest in other Bengali authors as well as English translations of Bangla novels, leading me into the fascinating world of linguistics.
Renowned writer Monica Ali skillfully merges native language and British English in her works, notably Brick Lane. The fluid transition of language adeptly portrays the challenges faced by a Bangladeshi woman, married to an older immigrant, navigating a new world while holding onto her traditional values. Ali introduces Bangla words into the narrative, constructing the setting of Brick Lane in a way that does not perplex readers, thanks to simple contextual explanations.
The Western audience tends to meticulously critique grammar and language, highlighting the unconventional use of words and terms by non-native English fiction writers.
Contemporary writers in South East Asia, like Yangsze Choo with her novel, The Ghost Bride, often incorporate local practices into their works. Set against Chinese colonialism in Malaysia, the young-adult historical fantasy surprised me with its extensive use of Chinese words. The story is about Li Lan, a young woman who is forced into an engagement with a deceased man – a practice from Ancient China. Confronting the vengeful spirit of her dead fiance, Li Lan ventures into the World of the Dead to protect herself and her family. Choo skillfully explains the Chinese terms, preventing reader confusion while immersing them in the cultural intricacies. Furthermore, the native language elevated the story, helping readers to visualise the vivid descriptions. It hovers between the living and the dead world, integrating a forgotten part of Chinese culture while introducing the many wonders of how life and death are symbolised in China.
However, at times, the execution can be patchy. I faced this issue while reading Cho Nam-Joo’s Kim Jiyoung, Born 1982. Despite being a devoted fan of Korean dramas and pop music, I struggled with certain terms in the book. The author’s use of dialect was unfamiliar, requiring me to go back and forth to grasp the context of certain words. This affected my reading experience, and though I liked the book, I’m hesitant about trying another one by Nam-Joo. It is unfortunate because the book is immensely popular, but the incorporation of Korean language into the English translation lacked smoothness. Writing books is a complex art, and a writer’s ability to manipulate words is a challenging skill.
While many non-native writers concede to writing full length English novels, others prefer to add their own language and culture to their stories. Readers get a perspective of how things are in other parts of the world. If we open our minds to new styles of writing and accept the beauty of diverse linguistics in fiction, we will get to experience stories which will resonate with us. So, let us widen our scope and let beautiful stories, whether in English or not, enrich our lives.