In the 1990s, Else R. P. Vieira proposes a ＂fictional turn＂ in translation studies to mean ＂the incorporation of fictional-theoretical parameters as a source of theorization on translation.＂ Adriana S. Pagano goes one step further to argue that the fictional turn contains features in dual dimensions: (1) the fictionalization of translation; (2) fictions as a source of translational theorization. Following first Vieira and Pagano's ＂fictional turn＂ and then André Lefevere and Susan Bassnett's notion of ＂negotiation,＂ I argue that Amitav Ghosh's The Hungry Tide showcases the livelihood of the locals in the Sundarbans, which is seen as a good example for translational process. There is translation and negotiation among the three main characters-Piya, a cetologist as well as an Indian-American who has no mastery of local languages of India; Fokir, an illiterate fisherman of the Sundarbans who boasts his knowledge of the local environment; and Kanai, a businessman from Calcutta fluent in several languages, who comes to the Sundarbans to collect a parcel his late uncle has left for him and coincidentally becomes the translator between Piya and Fokir. I first examine the shift from ＂fictional turn＂ to translational turn and then analyze Ghosh's The Hungry Tide as a ＂translational fiction.＂ For my part, Ghosh's translational process in fiction consists of various layers of power relations imbedded in the novel, which reveals an in-depth dimension of its translational value