Posts filed under 'russian literature'

Weekly Dispatches From the Frontlines of World Literature

July 12, 2024  |  in Dispatches, News, Weekly Roundup  |  by Alan Mendoza Sosa, Alton Melvar M Dapanas, and Christina Chatzitheodorou

The latest from the Latinx, Greek, and Filipino literary worlds!

This week, our editors direct us towards the profound and plentiful artistic productions emerging from border crossings, diverse encounters, and cross-genre interpretations. From a festival celebrating multicultural writings, novel adaptations of classic canons, and the newly elected fellows to a prestigious international residency, these developments in world literature remind us that within the schematics of difference, shared passions grow and proliferate to create unities.

Alan Mendoza Sosa, Editor-at-Large, reporting from the United States

Between June 21 and 23, Hispanic and U.S. literary enthusiasts gathered in San Francisco for the International Flor y Canto Literary Festival. Originally founded by Latinx poet Alejandro Murguia, acclaimed poet and professor at San Francisco State University, this year’s lineup featured a diverse variety of poetry readings, literary workshops, and movie screenings—all open to the public. Participants included Latinx and Mexican writers, poets, and directors dealing with topics such as identity, multiculturalism, language, and resistance. Most of the events took place at the legendary Medicine for Nightmare bookstore, a unique promoter of Latin American and Latinx literature in San Francisco.

One of the most exciting events was a poetry workshop led by the Mexican poet Minerva Reynosa. Titled “¿Quieres escribir pero te sale espuma?” (Do you want to write a poem but only foam comes out?), the workshop encouraged new writers to try out different techniques to overcome writer’s block. In another event, Reynosa read from her most recent book, Iremos que te pienso entre las filas y el olfato pobre de un paisaje con borrachos o ahorcados. The collection portrays life around the Mexico-U.S. border in the nineties, told from the perspective of a bicultural family dealing with gender violence. The works in the book are long poems of mostly short unrhymed verses, using colloquialisms endemic to the north of Mexico, in a fast paced and highly rhythmic prosody. They also include fragments from songs by the iconic Latinx singer Selena. In her reading, Reynosa usually sings these musical portions, highlighting the sonic elements in the poems and their cultural significance. READ MORE…

The Tragedy of the Present: Bryan Karetnyk on Translating Yuri Felsen

April 4, 2024  |  in Interviews  |  by Xiao Yue Shan

Though his writing may well ostensibly shun the “outside world”, Felsen was acutely conscious of what he termed “the tragedy of the present”.

A perilous question always hangs over the works of exiled writers: travelling amidst the turmoil of history, where is their place? For the Russian novelist and critic Yuri Felsen, who perished in Auschwitz in 1943, the Anglosphere’s answer only recently emerged by way of translator Bryan Karetnyk, who has lifted Felsen’s works from obscurity and translated them into English—for the first time into any language other than Russian. In a challenging, original trilogy that employs modernist aesthetics, intercultural crossroads, linguistic experiments, and the soul within time, Felsen layered a masterful prose over reality, beyond singular country or era. His place, it appears, can be located within the complexities of any contemporality intersecting with literature. The first novel of the trilogy, Deceit, was published by Prototype in 2022, and the second, Happiness, is due out in 2025. Karetnyk was awarded a PEN Translates award for the latter, and in this interview, he speaks to us on Felsen’s Proustian style, what these works demand of their translator, and how they resonate through the English language.

Xiao Yue Shan (XYS): One of the most striking aspects of Yuri Felsen’s work is his wield and command of the long sentence and his elaborate, crescendo-ing clauses. While translating, was there any element you prioritised—rhythm, texture, balance—in order to maintain the delicate construction and dexterity of the lines? What do you feel is the most important aspect to preserve in the movement from Russian to English?

Bryan Karetnyk (BK): I’ve lived with Felsen’s prose (and been haunted by it) for almost a decade now, and one thing I continue to be struck by, whenever I return to any one of his works, is his keen ability to make every sentence tell a story in itself. Russian literature of course is no stranger to long sentences, but what sets Felsen’s prose apart from others is the degree to which all his cascading clauses are so interdependent on one another. You just cannot break them down into smaller units, so he necessarily asks his readers to hold a considerable amount of information in their consciousness over the course of a single period. No matter whether he’s describing external events or the narrator’s inner world, each of his sentences has, as it were, a distinct, baroque narrative arc that follows the narrator’s intense ratiocination—the result of which is that his lines twist and turn in unexpected ways, creating a dynamic tension that is as much psychological as it is rhetorical.

As a translator, the primary duty, as I see it, is always to reproduce that carefully crafted narrative-psychological arc—the exposition, the conflict, the climax, the denouement, the segue into the next thought—all in a way that brings life to the soliloquy. Structurally speaking, one has to emulate the architecture of his phrasing by paying attention to rhythm, tempo, poise—the point and counterpoint of his rhetoric; yet, at the same time, that cannot distract from the demands placed on word choice, which presents its own set of challenges and is so vital in creating texture as well as meaning. Felsen’s narrator is always in search of the mot juste, and, together with a fondness for abstraction, he has a habit of using words idiosyncratically—impressionistically even, rarely in the straight dictionary sense. So often, the texts seem to strain at the limits of what is articulable (he seldom seems to find that mot—if it even exists), and you can never quite escape the sense that some shade of nuance remains forever just out of reach. But I think there’s a profound beauty in that. READ MORE…

The Richness of the Fragment: An Interview with Oksana Vasyakina and Elina Alter

February 21, 2024  |  in Interviews  |  by Jaeyeon Yoo

I don’t believe in wholeness and I don’t believe in Chekhov’s gun. Language . . . isn't enough to reflect the fullness of the world.

What does it mean to hold grief—to physically carry your mother’s death with you in daily life? 

Oksana Vasyakina’s Wound documents the journey of a queer poet as she delivers her mother’s ashes from Moscow to Siberia. Translated from Russian by Elina Alter, the novel is an auto-fictional exploration of processing grief through language, and also a meditation on the Russian lesbian lyric—a polyphonic conversation with feminist thinkers across time and space. While making her way across Russia, the narrator weaves together a cycle of poetry, composed of recollections of her past sexual experiences and fragmented essays. Wound then began as a few pages typed alone in the dark, when Vasyakina was writing during the pandemic, and this sense—of both intimacy and intensity—persists throughout the book. Vasyakina writes, as Alter puts it, with a brutality and directness that feels “exceptionally clear-sighted.”

Wound is Vasyakina’s first novel and the winner of the 2021 NOS Prize. Since then, she has published Steppe and Rose, books that also center on family figures. In addition, her works include two collections of poetry: Женская проза (Women’s Prose) and a cycle of poetic texts titled Ветер ярости (The Wind of Fury). 

Alter is the editor-in-chief of Circumference, a journal of international culture and poetry, and has also translated It’s the End of the World, My Love by Alla Gorbunova. Her translation of Wound has been listed as one of Nylon’s Must-Reads of the Month and LGBTQ Read’s Most Anticipated Titles of the Year. 

This interview, conducted with Oksana and Elina separately, has been edited for clarity.

Jaeyeon Yoo (JY): How did Wound begin? 

Oksana Vasyakina (OV): As I rode a bus through Volgograd while carrying the urn [containing my mother’s ashes], it occurred to me that I would never be able to describe this experience. It wasn’t because the situation was tragic; I just saw how complicated it was, and I felt that I wasn’t equal to the material. This was in early 2019. 

A bit later, in the summer, I wrote a cycle of poems—which are included in the book—called “Ode to Death.” I had the desire to write, but I understood that poetry wasn’t sufficient for the challenge I saw before me. And then the pandemic began. I was shut up in my apartment, all events were canceled, all work went on Zoom. One night, I opened up my laptop and wrote the first few pages of Wound. I was writing in the dark, because it wasn’t clear to me how to write long prose, and before this I’d only written short poems, I didn’t know how to put together a novel. A week later I pulled up my draft, reread it, and understood that this was what I wanted to do, that I had to continue. 

I’m superstitious, so when I start writing a text, I name the file with a random combination of letters, just in case I never finish. But as I continued writing, I thought that the novel needed a simple name. The simplest word. The first word a child utters when it learns to speak is mama, and that was the original title of the manuscript. But some time later, I thought that mama rhymes with the word rana [“wound” in Russian]. It’s just as simple, and contains many meanings. After I wrote the scene in which the mother is lying in her coffin, I renamed the file. Since then, the book has been called Rana: Wound. 

READ MORE…

There Must Be a Poem: A Conversation With Alí Calderón, Founder of Círculo de Poesía

February 1, 2024  |  in Interviews  |  by René Esaú Sánchez

. . . this is the best time for poetry: there were never as many readers as there are today. . .

Mexican poet and scholar Alí Calderón is one of the founders of Círculo de Poesía, an online poetry journal that celebrated its fifteenth anniversary in 2023. From the very beginning, the project aimed to diversify the cultural panorama of Mexico and has now established a publishing company that explores world literature. In this interview, I spoke with Calderón about the nature of translation, the importance of dialogue with other cultures, and how publishing can be an alternative to sustain literary projects. 

René Esaú Sánchez (RES): You have mentioned in other interviews that Círculo de Poesía was born as a project to perceive Mexican poetry from other angles. Why was that necessary?

Alí Calderón (AC): When we talk about Mexican poetry, it is a deceiving category; we think of it as something inclusive when it’s not. Just by analyzing the indexes of poetry anthologies or by seeing who receives certain scholarships, we realize that it is more of a cultural elite. 

In 2008, with the birth of the internet and other forms of media, we decided to reinvent culture from other sources. We started working against the tide, promoting poetry from other states of México, like Puebla, Sinaloa or Colima; we decentralized it.

That’s how the journal was born: with the intention of democratizing poetry and making it more visible. But we didn’t do it only with Mexican poetry: we included poetry written in other Spanish-language countries and, out of curiosity, in other world languages.

READ MORE…

The Edge of Understanding: An Interview with Robin Munby

July 12, 2023  |  in Interviews  |  by Michelle Chan Schmidt

It matters a lot as a translator that you trust in the author, and the writing.

As Charlie Ng writes in her essay, ‘Translating Whale-Song into Human Speech’, the poetic ‘Song of the Whale-road’ embodies the “primordial unity” of humans and nature in the timeless, ahistorical figure of the whale. Published in Asymptote‘s Spring 2023 issue, ‘Song of the Whale-road’ is a series of experimental excerpts from the novel Oceánica by Yolanda González, arranged and translated by Robin Munby. It navigates the ocean not only as a landscape but as a powerful “symbol of the collective unconscious”, juxtaposing the false narrative of human godhood we tell ourselves against the whales’ magnitude in our shared planetary experience of nature and time. In this interview, I spoke with Robin Munby about his role in shaping the gravity and pull of this text, as well as about his piece ‘A New Vocabulary of Translation’, also published in Asymptote‘s latest issue, in which a serpentine glossary helps guide a critic’s review of translations.

Michelle Chan Schmidt (MCS): Robin, you almost seem to have gone beyond the remit of a translator with ‘Song of a Whale-road’. Building on González’s approach to Oceánica, you’ve brought ‘Song of a Whale-road’ into your own experimental realm of language, structure and presentation by compiling the text yourself. What was the creative process behind the piece’s cohesive form?

Robin Munby (RM): The way the piece came about is quite straightforward. I’d read and enjoyed Oceánica and planned to do something with it down the line, but it was the call for the Asymptote animal-themed special feature that gave me the prod I needed. Because I was translating the piece with that goal in mind, it made sense to focus on the intercalated sections running through the novel told from the perspective of a pod of whales, as opposed to working on sections from the novel’s various other strands.

In the context of the novel, the sections which became ‘Song of the Whale-road’ function a little like the Greek chorus. For that reason, I wasn’t sure until I’d compiled them and really until after I’d had a go at translating them, whether they would work as a standalone piece; there’s something a little absurd about presenting the chorus without the play. But I felt there was an internal logic to them and a music that would hopefully come through even outside of their original context. Though translation always involves re-forming and re-contextualizing to varying extents, I’m sure I’d have made different decisions had these pieces been translated alongside the rest of the novel. In particular, the translation of the wider novel would likely have influenced my approach to these sections, and I’d have had to focus slightly less on their internal coherence and more on the points at which they resonate with and speak to the novel’s other strands. I’ll come back with a fuller answer if/when I translate the rest of the novel! READ MORE…

Hate Makes Us Weak

November 19, 2022  |  in Essays  |  by Vladimir Vertlib

We should never forget that this war is about defending freedom, democracy and truth against dictatorship, chauvinism and lies.

As Europeans try to make sense of the war on their doorstep, boycotts targeting Russia have reached past the country’s oil exports to its poets, painters and tennis players. The invasion of Ukraine earlier this year set off the largest refugee crisis in Europe since World War II; it also, according to past contributor Vladimir Vertlib (tr. Julie Winter), inspired a wave of “outright hostility” against Russian literature. This thoughtful essay by the Vienna-based Jewish Russian writer is an argument about the baby and the bathwater—Pushkin and Putin—and a strident call for nuance in wartime.

When I was a child, other people always knew who I was better than I did. One day my parents told me that I was Jewish. But I wanted to be a Leningradian because I was born in Leningrad, known today as St. Petersburg. My parents laughed. They said that you could be a Jew and someone from Leningrad, that was no problem, even if you lived in Vienna. I didn’t feel Austrian or Viennese at that time, although I was undoubtedly at home in our neighborhood Brigittenau. To this day, parts of this Viennese district, as well as the adjoining Leopoldstadt, have remained the only place in the world where I feel I belong.

This ambivalent identity confusion was soon as much a part of my being as was my accent-free German and everyone’s mispronunciation of my first name, which I accepted and eventually even adopted myself. For my Austrian classmates and teachers, however, the matter was perfectly clear: I was a typical Russian. Why I was “typical” was a mystery to me because whenever my classmates or teachers described something as “typically Russian,” they immediately said that they “of course” didn’t mean me.

Brigittenau, where I went to elementary school and later to high school, had belonged to the Soviet occupied zone in Vienna after the war; the memory of that time was still fresh almost fifty years ago when I started school. The “Russians” were said to be brutal and uncultured. They drank water from toilet bowls, screwed light bulbs into sockets that were disconnected from any source of power and then wondered why they didn’t light up, raped women en masse, stole, robbed, murdered and destroyed senselessly, simply out of anger and revenge. Russians are emotional, it was said. Sometimes they’re like children—warm, naive and helpful—but they could suddenly become brutal and unpredictable like wild animals. They were, after all, a soulful people, in both negative and positive respects. The latter was attributed to me. If my essays or speeches were emotional, it was said to be due to my “Russian soul,” and people thought they were paying me a compliment. I, on the other hand, was always unpleasantly affected by these attributions, because I knew, even in elementary school, that Jews and Russians were not the same thing. No Russian, my parents explained to me, would ever accept me as his equal. In the former Soviet Union, ethnic groups, which included Jews, were clearly distinct. So my supposed “Russian soul” was not only embarrassing, it was also presumptuous. I was assigned something that I was not at all entitled to, based on my ethnicity. READ MORE…

What’s New in Translation: November 2022

November 14, 2022  |  in New in Translation, Reviews  |  by Chinmay Rastogi, Laurel Taylor, and Samantha Siefert

New work from Danish, Chinese, and Russian!

In this month’s of newly released translations, we are featuring works that traverse across landscapes of psychology, politics, perspectives, and coastal enclaves. From a travelogue that corporealizes a vision into reality, a fragmented ghost story that equally interrogates readership with writership, and a psychically dense political fiction that follows the twists of truths into fictions, these works are full of metamorphoses, imaginations, and materializations—all that possible within the realm of the text.

alitw

A Line in the World, A Year on the North Sea Coast by Dorthe Nors, translated from the Danish by Caroline Waight, Graywolf Press, 2022

Review by Samantha Siefert, Marketing Manager

A line extends from Skagen, Denmark to Den Helder, Holland—a complex, jagged, six hundred mile stretch of coast. On a map, it is a fixed mark, something definite and present, representing a real place that exists today: the division between land and sea, a place of dunes and marshes, sweeping tides, surging storms, wind farms, gulls, and people. In A Line in the World, A Year on the North Sea Coast, celebrated Danish author Dorthe Nors asserts her dream for this line to be less static and more flexible, persistently animated, always moving, ever changing, evolving with its points marked in time just as much in time as they are in space. Her line reverberates heritage and memory, holidays, tragedy, Vikings, shipwrecks, disco ferries, and local gossip. In this first work of nonfiction, Nors brings Denmark’s western coast to life in fourteen essays, now available in a beautiful translation by Caroline Waight.

Each essay offers an exquisite, layered exploration of a different stretch of that wild North Sea coast, and the first one begins at the top. Nors is from west Jutland, but she has found herself living in Copenhagen, with a noisy neighbor next door and a hash dealer below, and she comforts herself there with sounds of the sea played through an app on her phone. She did not plan to write a book of essays (she was supposed to be working on a novel), but her publisher was insistent. They asked, and then they asked again.

I said, ‘I’ll have to think it over,’ and I did. Or I dreamt. In the dream, I was setting off across the landscape in my little Toyota. I saw myself escaping several years of pressure from the media by driving up and down the coast. Me, my notebook and my love of the wild and desolate. I wanted to do the opposite of what was expected of me. It’s a recurring pattern in my life. An instinct.

READ MORE…

Her Turn: The English and Russian Stories of Olga Zilberbourg, AKA Olga Grenets

August 3, 2022  |  in Essays  |  by Ian Ross Singleton

The Russian language, here, gifts its writer a context. . .

When a writer earns a second language, what does it mean to write in the distinct spaces within and between the two? In this essay on Russian writer Olga Zilberbourg, who also goes by Olga Grenets, nonfiction editor Ian Ross Singleton explores the various ways that language can reveal, point to, and emphasize in both originals and translations.

What does another language afford an exophonic writer—one writing in a language other than her native tongue? Olga Zilberbourg, also known as Olga Grenets in her Russian publications, is both translingual and exophonic. The English-language collection, Like Water and Other Stories, was published in 2019 after a trio of Russian books; then, in 2021, many of the stories from Like Water appeared in Russian as Задержи дыхание (Hold Your Breath). The stories of Like Water and its edited, translated successor open up the span of Zilberbourg’s/Grenets’ linguistic experience. The Russian iteration of the tales are not word-for-word translations, and, as with any translation, they present a reflection of the English-language original—no matter how close, even the strictest of translations alters a story. So, while Hold Your Breath may be a closely related work, it nonetheless stands as its own expression of (in this case) Grenets’ work.

Many of the stories in both collections present reflections on an immigrant’s experience. “Plastic Film With a Magnetic Coating” is about mixtapes, and the part they played in childhood romances and gender roles during the Soviet Union and the post-Soviet nineties. It is almost identical in both the English original and Russian translation, but in the English, the last sentence makes a disclaimer: “I’m speaking, of course, of a very different time and place.” What is significant about Zilberbourg’s work is that the two versions of this story span those two different times and places. In the Anglophone literary world, Zilberbourg is allocated under the umbrella of writers born in the Soviet Union, a clear mark of difference; to the audience of Like Water, then, this sentence is clear, intended to describe the exotic content of the story.

However, what might sound foreign to a reader of Like Water may, of course, be more commonplace to a reader of Hold Your Breath. The Russian translation of the story has a completely different ending, omitting this sentence entirely. Such a drastic change make sense; presumably, for the majority of those reading Hold Your Breath, the setting would not be a completely different place, and the narrative time is simply the not-so-distant past. In the English version, Zilberbourg’s narrator belongs to a generation that would recognize the romantic exchange of mixtapes in that time and place, and in the Russian version, the narrator adds a more specific, personal passage to their story, and it’s this reveal that concludes the Russian version of “Plastic Film . . .”

This passage in question specifies the narrator’s sexuality as one not necessarily falling within heterosexual norms: “Разумеется, когда через кассету я получила признание от девочки, я решила, что сообщение предназначено не мне, и ничего не ответила.” (“Of course, when, by cassette, I received a confession from a girl, I decided that the message wasn’t meant for me and didn’t answer.”) In English, the story can be intuited as relating to heterosexual relationships; in the Russian, there is a potential lesbian romance. In this case, the question of what an attained language can offer might be inverted to ask what a return to one’s primary language can afford. READ MORE…

What’s New in Translation: February 2022

February 14, 2022  |  in New in Translation, Reviews  |  by Alex Tan and Andrea Blatz

New work this week from Tunisia and Russia!

In this week’s selection of translated literature, we present Hassouna Mosbahi’s expansive, dreaming portrait of Tunisia through the recollections of one man’s life, as well as Nataliya Meshchaninova’s precise, cinematic cult classic of a young girl carving her own way through abuse and neglect in post-Soviet Russia. Read on for our editors’ takes on these extraordinary titles.

mobsani

Solitaire by Hassouna Mosbahi, translated from the Arabic by William Maynard Hutchins, Syracuse University Press, 2022

Review by Alex Tan, Assistant Editor

The essential core. The innermost heart. The pupil of the eye. The central pearl of the necklace.

These are epithets lifted from a tenth-century anthology of poetry and artistic prose by the literary connoisseur Abu Mansur al-Tha’alibi—a privileged arbiter of what counted as the era’s innermost heart. Determined to immortalise the remarkable cultural efflorescence of his contemporary Arab-Islamic world, al-Tha’alibi took upon himself the task of gleaning the anecdotes, biographies, epigrams, and panegyrics he deemed exemplary of his epoch: “sift[ing] our enormous rubbish heaps for our tiny pearls”, as Virginia Woolf once wrote.

Not for nothing did al-Tha’alibi name his compilation Yatimat al-Dahr fi Mahasin Ahl al’-Asr: “The Unique Pearl Concerning the Elegant Achievements of Contemporary People.” From the inheritance of this opulent work, the Tunisian writer Hassouna Mosbahi drew inspiration for his own dazzling, shape-shifting novel Yatim al-Dahr—cleverly rendered in English by William Maynard Hutchins as Solitaire. Hutchins contextualises the title in his helpful preface, explaining that “yatimat” refers to both a “unique, precious pearl” and “fate’s orphan.” “Solitaire” reflects these prismatic valences.

Solitaire, also, is a game one plays with oneself; Mosbahi’s book, in many ways, is a puzzle with no straightforward answers. It is encyclopaedic and uneven and oblique. Stories proliferate, nestled within other stories, structurally echoing the classic Thousand and One Nights.

On a first reading, it is easy to sink into the sediment of the novel’s non-linear chronology, before being pulled abruptly out of the seductive illusion and back onto the newly destabilised present. Mosbahi’s work dissolves temporal barriers, saturating the present with echoes of the past. It feels vertiginous to remember that all the action spans a single day, kaleidoscoped through the mind of the eponymous orphan-protagonist Yunus and taking place mostly along the coast, at the threshold of sea and sand. Language arrives on the page like slips of paper curled up in glass bottles: Sufi prayers, journal entries, newspaper articles, quotations of verse, orally transmitted tales, autobiographical monologues—shored up in their rawness. Digressions expand, often without warning, to constitute entire chapters. Hutchins’ translation captures these tonal shifts impeccably. READ MORE…

What’s New in Translation: February 2021

February 22, 2021  |  in New in Translation, Reviews  |  by Andrea Blatz, Darren Huang, and Thuy Dinh

Please join us in celebrating three new translations this month from Russia, Mozambique, and Spain!

Amongst the great gifts that translation brings us is an awareness to the alternation and variegations of perspective, informed by ever-shifting factors of fact, selfhood, relationships, and hearsay alike. In this month’s roundup of excellence in world literature, our selection of texts brings expansive voices to light in exquisite explorations in what it means to remember, comprehend, and believe: a luminous text on family history from Maria Stepanova, the reimaginings of folktales by Mia Couto, and a deft fiction on self-deceptions by Sònia Hernández. 

in memory of memory

In Memory of Memory by Maria Stepanova, translated from the Russian by Sasha Dugdale, New Directions, 2021

 Review by Darren Huang, Editor-at-Large for Taiwan

In W.G. Sebald’s final novel Austerlitz, the protagonist Jacques Austerlitz—an art historian who arrived in Britain as an infant refugee from Czechoslovakia in the Kindertransport—searches for the fate of his parents, who were displaced and lost amidst the Holocaust and the Second World War. The novel is a poetic and digressive excavation of family history through the innovative hybrid of photography, travelogue, history, art criticism, and fiction, as well as a meditation on the horrors of the twentieth century, the unreliability of memory and memorialization, and the weight of the past on the present. This unique, peripatetic narrative method of ruminating over the past, which Sebald described as “documentary fiction,” is adapted by the highly acclaimed Russian novelist, poet, and essayist Maria Stepanova in her autofictional, essayistic memoir, In Memory of Memory, elegantly translated by Sasha Dugdale for New Directions. Like Sebald, and Theresa Hak Kyung Cha in her multi-genre novel Dictee, Stepanova adopts an oblique, multifaceted approach towards her central project of assembling a family history dating from the late nineteenth century. She lodges memoir like a puzzle box within cultural commentary, historical documents from her ancestors, philosophical discourse, and literary criticism; the result is a densely textured memoir-in-fragments that is alive to the limitations of its project—the lack of historical evidence, the inaccuracies in memory, the fraught relationship between the storyteller and her subjects, and the inevitable incompleteness of the family narrative.

The text is deliberately structured into three distinct portions: the first two sections alternate between cultural criticism, personal anecdotes, and historical documents. Certain “chapters,” wryly entitled “Not a Chapter,” are entirely composed of letters from her forbears, including her maternal great-grandparents, Sarra Ginzburg and Mikhail Fridman, her maternal grandparents, Lyolya and Lyonya, and her paternal grandparents, Nikolai Stepanov and Dora Stepanova, among others. The letters, chronologically arranged from 1942 to 1985, offer intimate glimpses into the personal lives of Stepanova’s family, and serve additionally as pieces of cultural history. They are redolent of a particular place and time, evoking what Stepanova calls “a feeling for the age.” Each epistolary “chapter” is accompanied by minimal context or commentary and separated from each other by essayistic inquiries into memory—ranging from such subjects as the photograph, Charlotte Salomon and her epic novel Life? Or Theatre?, Sebald and his writings on history, and the memory boxes of Joseph Cornell. In the first two sections of the text, this digressive arrangement interrupts the family narrative so that it only appears in decontextualized fragments. The effect of this bifurcated structure is that the family narrative remains mostly unexplored until the end of the second section and the third section, which consist of more conventional biographical accounts of family members. Stepanova’s delay in directly grappling with both her personal and family history reflects her anxieties about writing on the past. For example, she cites Marianne Hirsch’s concern that inserting archival photographic images might de- or re-contextualize them and distort their original realities. Therefore, the sections of cultural criticism represent the author’s hesitant, fitful attempts at approaching the past, which she finally accesses in the final third of the novel. In these critical chapters, Stepanova admits to “picking through different approaches to the past, as one might pick through dried peas, in search of one that might work.” READ MORE…

Translation Tuesday: “Sleight of Hand” by Arkady Averchenko

November 24, 2020  |  in Translations  |  by Siân Valvis

I felt like a fraud in front of this honest person, who with the purest of hearts believed my phoney hand.

A palm-reading leads a man to rationalize his life into absurdity in Arkady Averchenko’s satirical short story “Sleight of Hand,” our pick for this week’s Translation Tuesday. First published in Russia in 1912, the story follows a credulous yet self-assured man as he entertains one ridiculous conclusion after another while visiting a palm-reader. Our protagonist’s tone fuels much of the comedy, lending an almost fabulist tone that would seem cartoonish if our protagonist’s gullibility weren’t so commonplace. In a world of conspiracy theories and “alternative facts,” Averchenko’s century-old story probes a genuinely timeless phenomenon with his trademark sardonicism, an attempt at what we might call “epistemological humor.”

“You absolutely must visit this palm-reader” said my uncle. “He can tell your past, present and future—and he’s surprisingly accurate too! He told me, for example, that I would die in fifteen years.”

“I wouldn’t call that ‘surprisingly accurate,’” I objected. “We’ll have to wait and see, won’t we?”

“Wait for what?”

“Well, wait fifteen years. And if he does turn out to be right, then I certainly will have to visit him.”

“Ah, but what if he dies before then?” asked my uncle.

I paused for thought. Indeed, the death of this extraordinary person would leave me in something of a bind . . . If he were to kick the bucket, I’d find myself “blind”: unable to see into the future, and unable to remember my distant or even recent past.

Besides which, I thought, it’s in my interest to learn the time of my own death. I mean, what if I only had three weeks left to live? Who knows, I might even have a good thousand rubles sitting in the bank. I could be putting this to proper use—spending my last days on Earth living it up in style!

“All right, I’ll go,” I agreed.

The palm-reader turned out to be a wonderful fellow—devoid of any pride or arrogance, just as you’d expect from a person marked by God.

He bowed modestly and said:

“Although the future is hidden from our prying gaze, the human body does contain a certain document, which the experienced and knowledgeable eye can read like a book . . .”

“Is that so?!”

“This document is the palm of your hand! Each palm is unique, and she uses her lines to tell us everything—every detail of the person’s habits and character.”

My heart skipped a beat. READ MORE…

The Two Plagues of Evgeny Vodolazkin

July 6, 2020  |  in Essays  |  by José Vergara

Vodolazkin can imbue the plague with the metaphysical import and apocalyptic logic necessary to his tale.

As the COVID-19 pandemic rewrites our realities, so do writers around the world take up their instruments to render the new world into text. In the following essay, José Vergara discusses the newest work by Russian author Eugene Vodolazkin, Sister of the Four, a existentialist-absurdist play that cohere’s the writer’s familiarity with the pandemic as subject, and the unprecedented facts of what we face today.

This isn’t Eugene Vodolazkin’s first pandemic.

The author’s initial encounter with a brutal, contagious disease took place across fifteenth-century Russia and Europe, the setting of his acclaimed novel Laurus (2012). In it, Vodolazkin chronicles the life of a healer turned holy fool, pilgrim, and monk; Arseny, as he is called in his youth, first loses his parents to the plague, and after training as an herbalist under his grandfather, falls in love with the sole survivor of a village that succumbed to the same pestilence. He then spends his days atoning for what he considers his sins by serving God and miraculously curing the ill. Disease is omnipresent, as Arseny walks fearlessly into plague-stricken homes to do his work. For him, as it is for his world, this illness is something entirely familiar—it is part of everyday life and has its own traditions of suffering, prayer, and death, imbuing the book with a well-suited sense of apocalypticism. Likewise serving as a plot device, it also draws Arseny into the orbit of various characters.

Now, in the midst of the COVID-19 crisis, the award-winning Russian author and specialist in Old Russian Literature has returned for another round. In doing so, he propels us into the era of corona-literature, a subgenre which is sure to spike in popularity in coming years. Published as the first in a series of four separate plays released weekly as audiobooks and e-books starting May 18, 2020, Sister of the Four is Vodolazkin’s attempt to make sense of our shared descent into this surreal existence. The play focuses on the titular four: a group of patients being treated for COVID-19 at the Albert Camus Hospital for Infectious Diseases, an imagined setting whose name immediately establishes Vodolazkin’s wry humor and self-awareness when it comes to literary precedents. The main characters consist of: a pizza delivery impresario with delusions of grandeur who goes by the name Funghi; a writer who has been having trouble producing original work for a decade and a half—totally unlike Vodolazkin with his impressive output; a man who claims to be a parliamentary deputy; and last, the chief doctor who eventually catches the virus himself and, in an apparent reference to Anton Chekhov’s “Ward No. 6,” becomes part of the very ward under his supervision. To round out the primary cast, the playwright includes a nurse, who, at the end of the first of two acts, announces herself to be Death incarnate.

This motley set of characters, the circumstances that bring them together, and plenty of alcohol contribute to Sister of the Four’s carnivalesque atmosphere, where the specter of death—both theoretical and apparently embodied in the Nurse—motivates discussions on everything from marriage and the qualities of a life worth living to pizza toppings. In the face of their impending end, the characters feel compelled to play a game of confessions, resulting in several reveals in the play’s latter half. All the while, the disorder of the day muddles the characters’ ability to communicate effectively. The addition of a French cognac at the end of act one doesn’t help, even if distracts the heroes from their condition. READ MORE…

Translation Tuesday: “Going off to America” by Irina Mashinski

May 5, 2020  |  in Translations  |  by Irina Mashinski and Maria Bloshteyn

. . . nothing in this world could ever be as lonely as that fall, dry firing a sweep of its cerulean blue leaves across the crumbling ochre sky.

In this week’s Translation Tuesday, writer and translator Irina Mashinski presents a lyrical and impressionistic account of finding new sanctuaries in “Going off to America.” Through a quasi-epistolary stream-of-consciousness, our narrator adopts logical wordplay to reorient a new life, illustrating the otherworldliness of an immigrant experience through the inherent strangeness and malleability of language. Words are dissected and negated, leading to a string of neologisms which hint at death, negation, and rebirth: “Amortica,” “A-merica,” “Unmerica.” These altered words speak to a sense of spatial inversion as our speaker confesses to the loneliness of living in a seemingly inverted world, and how one can find a parallel home in its seemingly foreign comforts.

Dear friend—well, yes, of course, that possibility always remains: to go off to America (if only you’re not there to begin with). When even the Symphonie fantastique sounds predictable—then, maybe, yes, the time has come. Then you can hang down, head first, press your ribcage painfully against the metal ribs of the bedframe, lean against the mattressed matrix of the elevator, peer into the elevator shaft in that far—faaar—away entrance, which smells of the shoe cabinet and someone else’s cooking, and to guess at the hammock sagging into the netherworld below, that’s right, to guess rather than see—all of it, to the overturned concave horizon, the unfamiliar underside of the world, with its excruciatingly embossed rhomboid plexus, all the sea stripes, interlaced with terra incognita or tabulae rasae, and black birds with their uneven jagged edges, hollering in the language that you’ve yet to learn—and only then can you cautiously touch the stiff satin dome, punctured by the pattern of beaks and knots. You won’t believe how quickly things will start to happen then, how nimbly the glinting sun will twist and turn to face you, like a polished coin’s head, balancing on its ribbed edge, and the next moment the sailors are already peering mistrustfully into your documents, as if they’re looking out at some finely enamelled horizon, and then the timeworn propeller winds up, and the movie projector begins to whir, and then the phantom called city M disappears in the foam of salty snow whipped up by the trolley buses.

Of course, it’s entirely possible to revive in Amortica, to begin anew and never be reborn again. What you are asking about, what you are calling A-merica is neither this, nor that, nor the other, but a trying of the otherness, which is a priori impossible. Believe me, the negating A- is not accidental—it’s that ironic little taglet, a tag that chases you right into the heart of the nonexistent. Should you also try all that happened to me and to others like me—with my family, dragged to the other side, with a guitar made in a small Russian town with blue shutters and abnormally large apples, and, most vitally, with a carefully selected load of dusty vinyl records, oh, yes, and with another possession: a portable Yugoslavian typewriter with its now forsaken Cyrillic and broken memories? You’re thinking that to go off to America means to return all the cards to the dealer and to take new ones from the deck that contains everything, as we know, except cabbages and kings, including a river that flows through its improbable south and contains more s’s than any other word. That’s why (you’ve heard) the poet gave the name to the cat—the poet is dead, but Morton Street is there, with a symmetrical No.44 at its bended elbow—and there you are, starting from scratch.    READ MORE…

Intimate Work: Lisa C. Hayden on Translating Narine Abgaryan

April 23, 2020  |  in Book Club, Interviews  |  by Josefina Massot

Translation is a very intimate line of work and translating an author’s text tells you a lot about them as people.

Of her award-winning novel, Three Apples Fell From the Sky, Armenian-Russian author Narine Abgaryan said: “I wanted to write a story that ends on a note of hope.” We at Asymptote were proud to present, as our March Book Club selection, this magical realist folktale exploring both the merciless procession of worldly tragedies and the human capacity for courage and imagination. In the following interview, our own Josefina Massot speaks to Lisa C. Hayden, the translator of Three Apples Fell From the Sky and other renowned Russian fictions, about the book’s internal logic, the relief of routine amidst a global strangeness, and the instinct of switching between narrative voices.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD15 per book; once you’re a member, you can join the online discussion on our Facebook page! 

Josefina Massot (JM): You’ve made a point of only translating books you love, and many of them delve into the concept of history. Vladislav Otroshenko’s Addendum to a Photo Album and Marina Stepnova’s The Women of Lazarus seem to specifically explore it through the lens of family, which is also the case with Abgaryan’s Three Apples Fell From the Sky—the story of Maran is reflected in a series of family sagas: Anatolia’s, Vasily’s, Vano’s, and Valinka’s, etc. Tolstoy’s own War and Peace, which you’ve referred to as your favorite novel, chronicles early-nineteenth-century Tsarist society by honing in on five aristocratic clans . . . Could you elaborate on why you’ve been so consistently drawn to the theme of family history, and whether there’s something eminently “Russian” about it?

Lisa C. Hayden (LCH): I’m not sure I have a good direct answer to your questions! I’ll try to approach them from a slightly different angle, though. One of the elements I look for in books is a solid sense of internal logic: ideally, I want each piece of a novel, each layer, each word, to fit together harmoniously. That doesn’t mean they can’t be chaotic, but the chaos should fit the book’s logic. I wonder if perhaps fictional families—be they functional or dysfunctional, chaotic or calm—inherently bring a natural order to a novel. And if that order, which may at least hint at genre- and/or family-related hierarchies, structures, and motifs, might give the novelist a sort of head start on writing a book where all the pieces fit together. All that said, other aspects of novels draw me, too. Psychology and even a certain voyeurism are important to me as is (always!) interesting writing that innovates without becoming overwritten, purple prose.  READ MORE…