A View of the Revolution and its Aftermath in Contemporary Russian Literature
I recently started translating a novel called Казус Кукоцкого (pron.-Kazus Kukotskovo) by Lyudmila Ulitskaya, who won the Russian Booker Prize for this work in 2001. This novel, whose title I’ve chosen to translate as The Extraordinary Case of Kukotsky, begins with a focus on the life of one Pavel Alekseyevich Kukotsky, who is, at the beginning of the book, a boy coming of age at the time of the Revolution of 1917. Not having any idea what this story was about before I started working on it, I am surprised and excited to find that, in addition to presenting some juicy translation problems, it addresses questions that I hope to find answers to in contemporary Russian literature: how do today’s Russians view the Revolution of 1917, the history of Communist Party rule, and life in Russia, generally, in the Soviet period? Here I will discuss one early passage from the novel in terms of both its challenges to translating it into English, and how it speaks to these questions.
The two paragraphs I will look at come at a point in the story when Pavel is of an age to attend university. It is just after the Revolution, and the Civil War is on. (These paragraphs are separated by one short one discussing Pavel’s character as a student, which I will not include here): Continue reading →
A Look Back at Abram Room’s Classic Film, Третья Мещанская: a picture of life in Moscow after Lenin, but before the full force of Stalinism.
The focus of my Russia studies has recently turned, through no conscious design of my own, to the period between the two World Wars, in the first half of the twentieth century. This may be no accident, though, as I am deeply fascinated by the unprecedented levels of dynamism, change, brutality and vision of Russian society in the decades after the Revolutions of 1917. My translations of Bulgakov and Mandelstam, my examination of the Soviet Five Year Plans, and my review of Douglas Smith’s book Former People all relate to this era when the revolution was still finding its way (see earlier posts- ‘The Old-Timers of Moscow Will Remember,’ ‘Leningrad,’ ‘All According to Plan,’ ‘Former People’). Deciding to continue in this direction, I thought I should take another look at a Russian silent film from 1927, variously called ТретьяМещанская (Tret’ya Meshchanskaya), Любовьвтроём (Lyubov’ Vtroyom), Three in a Basement (in Germany) and Bed and Sofa (in English speaking countries). I was introduced to this film as an undergraduate in a class on Soviet film, but watching it again, investigating its history and looking at some of the reviews published in Russia when it first came out, highlight for me the tasks Russians faced in trying to create a new society after the shattering of old social conventions, and the efforts of the Communist Party to define new ones. With this in mind I will offer my own review. Continue reading →
In a previous post I commented about use of comedy, satire, absurdity and fantasy in Russian literature to mask political or social commentary, and hopefully avoid censorhip. I found in the first chapter of Master and Margarita what could be read as a critique of policies that were at the foundation of the Communist Party’s attempt to realize a socialist/non-capitalist economy in the Soviet Union—the Five Year Plans.