Favorite Russian Writers from A to Я: Х Marks the Spot

It’s been years, literally years, since I’ve written an alphabet post: I left off with the titanic letter T in July 2014. And then I struggled with the letter У/U, just as I had struggled with O earlier, because I simply didn’t have enough favorite authors to compile a post. I decided to skip a few letters after one of you asked me last week when there would be another alphabet post: since I’d already skipped O (and something else, too, I think…), I decided not to bother with У/U or Ф/F, either, at least for the time being. Hence we’ve arrived at Х, the letter often represented in English as Kh.

And what a productive letter Х/Kh is! My first Kh author to mention is Mikhail Kheraskov, an eighteenth-century writer I studied in grad school. It wasn’t Kheraskov’s Rossiad—a classic epic poem that was/is evidently in school curricula—that drew me, though, but his plays, which Wikipedia rightfully says have been “neglected by posterity.” Kheraskov’s Гонимыя (in the old orthography; I called it The Persecuted in English) was not only the reason I learned how to use a microfiche machine: it was also a good lesson about the literary transition from sentimentalism to classicism. And literary influences. Kheraskov contributed to my love of sentimentalism—The Persecuted’s title pages call it a “teary drama”—and it was his work that got me interested in analyzing literary genres. That’s more than enough to make him a favorite.

One of my favorite contemporary authors, Margarita Khemlin, who died a very young death in autumn 2015, is the first writer whose work I loved so much I had to translate it. I’ve enjoyed her long and short stories, and her novels, too, and am very happy I’ll be starting work on her Klotsvog (previous post), for the Russian Library at Columbia University Press, in June. I’ve always admired Margarita’s ability to write about the damage of World War 2 and Jewish heritage with humor, grit, and grace. And I can’t wait to create an English-language voice for Maya, the narrator (and title character) of Klotsvog, my favorite of Margarita’s novels. (Favorite that I’ve read at this writing, anyway: a new one was recently published posthumously.) I missed her terribly when I was in Moscow last fall and think about her constantly: her trust in me years ago means a lot to me as a person and as a translator. And I always loved her sense of humor as a person. (Her husband and sister both took to calling me Becky Thatcher, too.) Melanie Moore translated The Investigator (Дознаватель), which earned excellent reviews and was published by Glagoslav.

Khlebnikov's grave, Moscow, November 2012, my fuzzy photo

And then there are three that I always enjoy reading but don’t have such personal feelings for… There’s the wonderful Daniil Kharms, whom I took a liking to in the early 2000s after reading Старуха (The Old Woman): Kharms is always good for some absurdity: I bought a compact 1991 edition with prose, poetry, drama, letters, and art when I lived in Moscow and enjoy picking it up every now and then for a little weirdness. Kharms has grown on me over the years, like a cucumber. There’s lots of Kharms available in translation, including Matvei Yankelevich’s Today I Wrote Nothing, from Overlook Press (2009), and Alex Cigale’s Russian Absurd, from Northwestern University Press (2017). That “three” includes two poets: Vladimir Khodasevich and Velimir Khlebnikov, neither of whom I have read methodically or even broadly but both of whom I love reading when references or mentions pop up. I’ve always had a thing for futurism so enjoy Khlebnikov for that. And, of course, for his “Incantation by Laughter,” which is mentioned in this fun post (and my comments) about Khlebnikov on Wuthering Expectations. I’ve read less of Khodasevich but he keeps turning up, both at translator conferences (represented by his translators, of course!) and in quotations in fiction. Since I’m utterly inept at writing about poetry, I’ll leave this one to Wuthering Expectations, too, since there’s this post about Selected Poems, which contains Peter Daniels’s beautiful translations. Here’s a sample of Peter’s work, from theguardian.com’s “Poem of the Week” feature. Peter’s collection, by the way, was published by Angel Classics in the UK and Overlook in the US.

Х is an unusual letter for me because nearly all the Kh authors on my shelf are favorites. The only writer left unread is Boris Khazanov: I have a collection that a friend borrowed and enjoyed very much.

Up Next: An Afanasy Mamedov novella set in Baku. Kir Bulychev’s Поселок (known in English as Those Who Survive): I read very little science fiction (I’ve failed on nearly every attempt at reading the Strugatsky Brothers) but enjoy it when I find something that suits my taste. This Bulychev book feels like a perfect fit for a very frenetic time. I’ll also be doing some preparatory reading before participating in Russian Literature Week events in early May. And I’m still plugging away with Crime and Punishment, though may switch to Oliver Ready’s translation of the novel, which I enjoy reading much more than Dostoevsky’s original, which I’ve been rereading as a remedial measure and as a prelude to reading Robert Belknap’s Plots, which discusses C&P as well as King Lear…

Disclaimers: The usual, including knowing the translators mentioned in this post.

2016 National Bestseller Award Short List & The Penguin Book of Russian Poetry

The National Bestseller Award announced its short list this week. Here’s the list of five finalists—one short of the usual six—with the number of points each was awarded in the first round of voting. Comments on the finalists and the process, written by Vadim Levental, the NatsBest secretary, are online, as are jury members’ reviews and votes.

• Leonid Yuzefovich’s Зимняя дорога (excerpt 1) (2) (3) (Winter Road) (12 points). I’ve been looking forward to Winter Road—which describes itself as a documentary novel—ever since it arrived at my house a month or so ago: I feel like I can’t go wrong with the combination of “documentary” and “novel” as well as, of course, Yuzefovich, Civil War figures, and Yakutia, a place I once spent several very wintery days.
• El’dar Sattarov’s Транзит Сайгон-Алматы (literally Transit Saigon-Almaty) (9 points). Sattarov’s apparently a fairly unknown writer from Kazakhstan: the book looks at the history of Vietnam during 1930 through the 1990s, apparently through the story of a partisan.
• Aglaya Toporova’s Украина трех революций (excerpt 1) (2) (3) (very literally Ukraine of Three Revolutions) (8 points). Levental notes Toporova’s “centrist position” and “calm ironic intonation” in describing events in Ukraine in recent years.
• Maria Galina’s Автохтоны (part 1) (part 2) (Autochthons, I guess) (7 points). Autochthons sounds like a Galina-esque combination of phantasmagoria, magical realism, history, and a regular-guy hero. I’ll be starting on this one soon, too.
• Mikhail Odnobibl’s Очередь ([The?] Line) (5 points). Even Levental calls this one mysterious; he also describes the book as “Kafkaesque fantasy.” Beyond that, it’s unclear who Odnobibl really is. (An all-too-quick-because-it’s-a-sunny-day search for descriptions popped this piece, which I may take a better look at when the sky’s cloudier.)

Levental also mentions notable authors who missed the short list… picking up many of the same names I did: he praises Alexander Snegirev’s collection of short stories (which Snegirev sent to me and which looks very good), and Anna Matveeva’s novel but said he breathed a sigh of relief that Petr Aleshkovsky and Anatoly Kim missed out. I, too, was surprised that Andrei Astvatsaturov and Dmitrii Danilov received only one point each.

The NatsBest winner will be announced on June 5.

Bonus: A Rambling, Non-Scholarly, and Occasionally Gushy Translated Book Note. I finally (finally!) ordered up a copy of The Penguin Book of Russian Poetry, edited by Robert Chandler, Boris Dralyuk, and Irina Mashinki, and containing translations by the editors plus a stellar list of several dozen additional translators, beginning, alphabetically, with Alexandra Berlina and ending with Katherine Young. I bought the anthology for what might be called “business with pleasure” reasons: for one thing, Russian novels often contain lines from well-known Russian poetry, transforming anthologies into reference books for me. For another, I like anthologies with introductory notes about authors and this book’s notes, written by Chandler and Dralyuk, are lively and informative. I also feel a special connection to the book after hearing related translator readings and conference presentations in June 2013 (previous posts).

Though I’ve only puttered with the book a little since I bought it on Tuesday—flipping to random pages and poets as I’m wont to do with collections like this and floating off on happy little tangents—I did take a closer look at one poem, Velimir Khlebnikov’s “Заклятие смехом,” which Christopher Reid’s “after Khlebnikov” interpretation renders as “Laugh Chant.” And which I liked very much because it tied my tongue and made me laugh, just like the original does when I read it aloud. I zaumed in on “Laugh Chant” thanks to Amateur Reader (Tom), who blogs at Wuthering Expectations, and who happens to be on a Russian poetry tear that’s included a recent post about The King of Time: Selected Writingsof the Russian Futurian, a 1985 volume with poems translated by Paul Schmidt. Although the beginning of Schmidt’s version of Khlebnikov’s laughter poem didn’t catch my feel for the poem like Reid’s does, the beautiful incantatory effect of Schmidt’s neologisms, rhyme, and even shifted hyphens (!) in a chunk of Khlebnikov’s play-that's-more-than-a-play, Zangezi, that appears in the Penguin collection bewitched me completely. Zangezi, by the way, was performed in the late 1980s; read about it in The New York Times, here. For a comparison of these same two versions of the laughter poem (as well as mentions of other humorous poems) see Alice E.M. Underwood’s Russian Life article, here.

Disclaimers: The usual as well as warm collegial/professional/personal relations with the editors of the Penguin book and many of the translators therein. I’ve translated excerpts of books by Galina as well as Vadim Levental’s entire novel Masha Regina, which is just out from Oneworld Publications and has even been spotted in the wild at McNally Jackson Books in New York City!

Up Next: Eugene Vodolazkin’s The Aviator, which I just plain loved. Alexander Snegirev’s Vera, which I may yet call Faith. Translations due out in 2016—send in those entries!

Ragweed Season Miscellany

With ragweed season in full swing here in my part of the world, I was glad to find a few bits of news to post this week rather than trying to write anything coherent about Vadim Levental’s Masha Regina. The book deserves a lot better than what I could write up between my alternating urges to sneeze (from the pollen) and snooze (from the allergy pills). So, a few bits of news and comment…

First off, what could be a better birthday present for Lev Tolstoy than his very own (online!) portal, at (where else but?) Tolstoy.ru. The site plans to offer “Весь Толстой в один клик” (“All of Tolstoy in one click”)… ninety volumes of Tolstoy online. Only a little bit is available so far—the project just got started in mid-June—though a few PDFs are up and ready for downloading. Future formats will include .fb2 and ePub. There are already sections with photos and biographical information, though the English-language version of the portal is under construction. Also: The project is apparently still looking for volunteers. Information here.

Book of the Year awards were handed out last Wednesday—coinciding with the opening of the Moscow International Book Fair—to writers including Yevgeny Yevtushenko and Alexander Arkhangelsky. Yevtushenko won Book of the Year for Поэт в России — больше, чем поэт. Десять веков русской поэзии (A Poet in Russia Is More Than a Poet. Ten Centuries of Russian Poetry), a five-volume anthology; it appears that only the first volume is out. Arkhangelsky won Prose of the Year for his novel Музей Революции (Museum of the Revolution) and the “Poet” series of books from Leninzdat won the Poetry award. A full list of winners is available on the site of the Russian Federal Agency for Press and Mass Communication, which organizes the awards and the book fair. The FAPMC piece noted that this year’s entertainment included ballet… it’s always sounded to me as if Book of the Year is the book award with the most lavish floor show. (And yes, it feels odd to even write that…)

Khlebnikov's grave, Novodevichy Cemetery, Moscow.

I saved the best for last! It was a pleasant surprise to find a copy of Modern Poetry in Translation in my mailbox last week… and especially pleasant to have “Khlebnikov & Birdsong” catch my eye as soon as I unwrapped the journal. “Khlebnikov & Birdsong” is a lovely clutch of pieces that begins with MPT editor Sasha Dugdale’s “Transcribing Birdsong,” an introduction that includes a chunk of an essay by Alexander Ilichevsky about Velimir Khlebnikov, bird sounds, zaum, and language. Sasha’s introduction is followed by two translations of Khlebnikov’s “Там, где жили свиристели”: Peter Daniels’s “Timelings” and Edwin Kelly’s “Waxwings.” (“From the Ends to the Beginning” includes the original and another take on the poem here.) I particularly enjoyed the momentum, rhyme, and rhythm of Peter Daniels’s version, which feels very much like the original to me in both form and content, beginning with “Where the waxwings once were living.” Perhaps best of all, it read wonderfully to me on its own even before I looked up the original.

The two waxwing poems are followed by two more translations of Khlebnikov, also with introductions: Robert Chandler’s “Night in Persia” (“Ночь в Персии”) and Edwin Kelly’s “Garden of Animals” (“Зверинец”). I’ve always had a special fascination for Khlebnikov because I’ve always had a soft spot for zaum. Khlebnikov’s famous “Заклятие смехом”/“Incantation by Laughter” is probably as a good place as any to start reading him if he’s new for you. Back to MPT: this issue (no. 2, 2013) includes loads of other poems, featuring a “Romanian Focus” section, plus reviews, including James Womack’s piece about G.S. Smith’s As I Said, a translation of Lev Loseff’s Как я сказал.

Finally, an administrative note. Those of you who subscribe to my blog feed (by e-mail or blog/feed reader) might have noticed that you received three posts last week: there was a feed problem, which I fixed, so things should now be back to normal. I’m very grateful to the reader who sent a note last week asking why the feed hadn’t been updated since July. I usually monitor the feed more closely but, well, it’s been summer... I sometimes consider setting up a Facebook page to post links to new entries—is this something that (m)any of you would find useful, as an alternative to e-mail or blog/feed reader subscriptions?

Disclaimers. I’m translating a brief excerpt of Vadim Levental’s Masha Regina. I work on projects for Read Russia, which is funded by FAPMC. And I thoroughly enjoyed spending time with Peter Daniels, Robert Chandler, and Sasha Dugdale in Oxford and London this past June. A very special thanks to Sasha for the copy of Modern Poetry in Translation!

Up Next: Levental’s Masha Regina and then Oleg Zaionchkovskii’s Petrovich, a low-key novel-in-stories about a boy.