What’s in the Brown Paper Bag? Just Some Dostoevsky, Chekhov and Karamzin.
A media fascination with works of Russian literature delivered to Edward Snowden, the American NSA analyst turned leaker/defector, burst forth today with speculation as to why certain books were included, and what Snowden might take from reading them. I feel compelled to join the fray, mainly to point out some important elements of this story that have, as far as I’ve read, been missed. Continue reading →
Daniel Radcliffe and John Hamm in the bathtub scene from ‘A Young Doctor’s Notebook.’
Bulgakov’s A Young Doctor’s Notebook to be aired in the U.S. on the cable channel Ovation.
An article in The New York Times today (July 14, 2013) announced that the British four part mini-series of A Young Doctor’s Notebook, based on the stories of Mikhail Bulgakov and starring John Hamm and Daniel Radcliffe, will air in the U.S. this Fall on the cable channel Ovation. This is especially good news for me as I had managed to view the first episode, but have been unable to find any version, paid or free, of subsequent episodes. Hopefully I will be able to view this series from Ovation’s website, and not have to get cable TV.
Previous to hearing about this production last year, I had not read the collection of Bulgakov’s stories that inspired it—Notes of a CountryDoctor. Having decided to read an English translation of this collection before viewingA Young Doctor’s Notebook, and now having seen the first episode, I am more eager than ever to watch the rest as I am interested in how they handled Bulgakov’s unexpectedly dark, and deeply disturbing conclusion. I don’t know what to expect, really, as this production introduces the new and significant element of having the older doctor (Hamm) visiting and engaging with his younger self (Radcliffe) as he stumbles through his first assignment as “a real doctor” in a hospital in remotest rural Russia.
Andrey Dmitriev’s character, Panyukov, marks time according to the life-cycle of his televisions
‘Sunrise’-Soviet Television Set
I have shifted back into translating prose for the time being. The poetry break was nice, but I want to try to actually finish a novel at some point. One of the attractive things about translating a poem, excepting epics like Pushkin’s Evgenii Onegin, is that it can be started and finished in a few days, maybe even just one. A novel, on the other hand, is a long term project.
I will present here another passage from The Peasant and the Teenager(Крестьянин и Тинейджер), by Andrey Dmitriev. As mentioned in an earlier post, this novel begins with the introduction of Panyukov, a man living in a village in rural Russia. Panyukov’s character is initially described through his own reflections on his past, on the “best of times” he had enjoyed when his friend Vova still lived across the road and they worked together raising livestock and growing food in their private gardens and greenhouse. The excerpt below hints that the passage of time for Russians living in farm country could be marked by the life-cycle of televisions. It is funny, poignant and sad in a way that only the relatively minor misfortunes of others can be. Continue reading →
Khlebnikov’s century-old poem resonates with the Russia of today.
I do love translating poetry, agonizing as it can be sometimes (see previous post- It Has to Be “Love”). My latest effort puts into English a poem written by one of the founders, and leading lights, of the Russian ‘Futurist’ movement, Velimir Khlebnikov (Viktor Vladimirovich; “Velimir” was his pen name). Below is my translation of Не Шалить (pron.-Ne Shalit’!= Don’t Be Bad!), followed by a discussion of Khlebnikov, the futurists and the resonance of this poem with Russian society today.
Don’t Be Bad!
Hey, cut-throat racketeers, Heads full of sludge! In old Cossack leathers Through Moscow I trudge! Not for its grandeurs Is truth on our side, So that in rich furs We may haughtily ride. Not in that strife Did blood flow without check, So that each merchant’s wife Could wear pearls round her neck. It’s no good to rail All the night long I will sing, I will sail The Volga, the Don! I will go tonight Ahead where fate tends Who’s with me in flight? There are with me–my friends
A Translation of Boris Pasternak’s poem, ‘A Winter’s Night’
Feeling the need to take a break from translating prose, I decided to finally make an attempt to translate a Boris Pasternak poem that, while not seasonally appropriate in May, is one of my favorites—’A Winter’s Night’.
A Winter’s Night
The blizzard swept over all the land Beyond the furthest road A candle glowed near at hand A candle glowed Continue reading →
Andrei Viktorovich Dmitriev’s Крестьянин и тинейджер-The Peasant and the Teenager: A view of Russia in its last decade as a Republic of the U.S.S.R.
Recently I have been engaged in translating and studying certain novels that have won the Russian Booker Prize, an award presented yearly since 1992 to honor outstanding Russian fiction . With this exercise I seek to gain a broader understanding of contemporary Russian thought and culture. My primary interest is in how Russians today view their own history, especially that of the Revolution of 1917 and the Soviet period.
The two works I’ve looked at most recently serve to bookend this period: Казус Кукоцкого (Kazus Kukotskovo = ‘The Extraordinary Case of Kukotsky’), by Lyudmila Evgenyevna Ulitskaya, and Крестьянин и Тинейджер (Krest’yanin i Tinyedzhyer = ‘The Peasant and the Teenager’), by Andrei Viktorivich Dmitriev. In a recent post (‘Казус Кукоцкого’) I examined Ulitskaya’s novel as to how it portrays the Revolution and its aftermath, finding her views consistent with my own narrative of this period. Turning to Dmitriev’s ‘The Peasant and the Teenager,’ I was delighted to find not only a portrayal of Russia in the decisive last decade of the U.S.S.R., but one from the perspective of rural, ‘collective farm’ Russia. Continue reading →
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 ‘Playhouse Presents’ Production, ‘A Young Doctor’s Notebook,’ Based on Mikhail Bulgakov’s ‘Notes from a Country Doctor’
I was not sure what to expect from a British TV production of a series based on the semi-autobiographical sketches of Mikhail Bulgakov, written in the mid-1920’s in Russia (see earlier post—‘Harry Potter and Don Draper do Bulgakov’). This four-part Playhouse Presents production, ‘AYoung Doctor’s Notebook’, was initially aired at the end of 2012 on Britain’s Sky Arts network. On viewing the first episode, I was not surprised to find it to be very British in many ways, but with an impressive stock of allusions to Russian literature and culture. A great deal of effort seems to have been spent to get a lot into the seemingly simple story of the arrival at an isolated, seriously understaffed rural hospital, of a newly graduated medical student from Moscow. Continue reading →
Who the hell is Archibald Archibaldovich? And what is with that name? The introduction of this particular character in chapter V of Master and Margarita is so clever, and fun, that I am awed by it. The process goes something like this: the name is casually dropped, and quickly forgotten; later, a rather striking figure is described, but not given a name; toward the end of the chapter the person and the name come together, and the context is surprising. Continue reading →