The shortlist for the Rossica Translation Prize was announced today and features five works translated from Russian into English: The Cathedral Clergy: A Chronicle by Nikolay Leskov, translated by Margaret Winchell; Petersburg by Andrei Bely, translated by John Elsworth; The Road by Vasily Grossman, translated by Robert and Elizabeth Chandler with Olga Mukovnikova; The Village by Ivan Bunin, translated by Galya and Hugh Aplin; and The Golden Calf by Ilya Ilf and Evgeny Petrov, translated by Konstantin Gurevich and Helen Anderson.
I’d like to take a moment to publicly congratulated Helen and Konstantin on this nomination. It was a wild set of coincidences that set this project in motion, and it’s been amazing working with the two of them on all facets of the publication of this book—the conception of the project, the translation itself, and the promotion of the book post-publication. And although I know all five books are great, I really really really want The Golden Calf to win. It would be great for the book—which is absolutely 120% brilliant—and for Open Letter, but especially cool for Helen and Konstantin, considering that this is their first book-length translation to be published. Based on the time and attention given over to this translation, they absolutely deserve to start out on top . . .
And not to draw attention away from their accomplishment in and of its own right (which is a prefatory statement to stealing attention away from their accomplishment in and of its own right), but it’s very gratifying that their translation beat out the other new translation of The Little Golden Calf. Some of you might remember the little controversy surrounding the near simultaneous publication of these two new translations.
I don’t want to get into the whole thing again—basically, the rights holder sold the rights to this book to two separate publishers, and the other one tried to diss ours for all sorts of totally absurd reasons—but since this is one of the few truly funny things I’ve ever written, and since this nomination feels so satisfying, I just had to at least reference it.
Anyway, read The Golden Calf. It may well be the funniest book I’ve ever published.
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
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The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .