ABSTRACT
Translating Zindaginama has been primarily about translating cultural codes. The whole dynamic rests on understanding the ethos of the region and the swing of its language. The space of its translation is the space where the composite culture – the unique language of each and every character and his/her religion and social status – come together and create a deeply resonant world out of this constant interplay. Any translation of Zindaginama has to keep these concerns in the centre, and work with them without ironing out details that make the fabric of the text. In the various editing sorties Zindaginama was subjected to, Masjid was replaced by Mosque while the two words have drifted apart in terms of hardening political-religious stance and connotations.
