Supposed to be attended by both translators, the critical session on Donoghue's "Room" was held in their absence and criticisms of Eshan Abbaslou as the sole speaker. Accusing both translators for their defected renditions, Abbaslou stressed that a third rendition is required.

IBNA: In the absence of invitees, Ehsan Abbaslou was the only speaker of the session. 

Less than a month ago, Emma Donoghue's "Room" was brought to the Persian book market by two different publishers – two completely different versions that did not accord even in how the author's name was pronounced. 

At the beginning of the session, Abbaslou regarded the publishers' competition as a positive act and then compared Javadi's and Ghane's versions of the original text. Javadi has translated the Room from the British version of the book, whereas Ghane has seen the American and that is why cover designs differ, he explained. 

Referring to the debate over the author's name, Abbaslou said: "Definitely the truest pronunciation is what the author has said, and since she has divided her name into three syllables in an interview, it seems that Amout's name is the most appropriate." 

He continued: "Both translations have some defects. It is stated on the back cover of Ghane's translation that Room is the winner of Orange Prize whereas it has just appeared on its shortlist. Javadi's book has claimed that the novel is based on the Austrian criminal's life that is not true." 

According to Abbaslou, 'personification' is applied to its perfection in this novel. Javadi has attempted to keep this effect - manifested in Jack's ascribing genders to the furniture – in his translation, while Ghane has omitted genders of the pronouns. 

He also considered Amout's act of omitting the introduction a negative decision. According to him, the defects of both versions are so much that a third translation of this novel is required. "With a problematic translation, criticism seems out of place as the critic has to assess what the translator gives him and not the original text," he added. 

Then Abbaslou offered a summary of the novel for the audiences. Referring to the significant role of television in this novel, he said: "The 5-year-old Jack's idea of the world around him is formed through what the television and his mother give him. Society is another key factor in this novel: Jack believes that in order to form a village or society only two persons are enough. And like the Little Prince, he feels much lonelier in society." 

Comparing the Room to Alice in Wonderland, Abbaslou termed it a language-oriented work and said: "In my opinion, the Room is rather influenced by Alice in Wonderland than by the Austrian criminal." 

"The story of the Room could be divided in two phases of before and after freedom. In the first phase, Jack and his mother seem to be captives while the rest of the world is free. The second phase shows us that the characters cannot feel free within the norms of the real society – a fact that makes Jack wish they would had never escaped the prison," he added. 

The critical session of the Room was held on Monday evening (2 January) in the absence of invitees at the House of Literati.

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