Embattled Homeland: Readings by Authors Born in Ukraine, Russia, and Moldova

Punctured Lines is happy to announce an in-person reading by seven women writers who emigrated from the former Soviet Union and now live in (or in one case, coming to visit) Los Angeles. This event follows the original Embattled Homeland reading during LitCrawl in San Francisco in 2022, with ex-Soviet immigrant writers living in the Bay Area. Like its San Francisco predecessor, the Los Angeles event is in support of Ukraine, which has been defending itself against Russia’s unprovoked attack for nearly a year. While the reading is free, we encourage people to donate to the vetted organizations below. Many thanks to Sasha Vasilyuk for organizing this event.

The reading will take place on Friday, January 20, 2023 at 7 pm at Stories Books & Cafe (1716 W. Sunset Blvd.). Please RSVP here.

Our performance is free, but please consider supporting these organizations:

Please read more about the writers below:

Julia Alekseyeva was born in Kyiv in the former USSR and emigrated to Chicago in childhood. She is an assistant professor of English at the University of Pennsylvania, as well as a graphic artist specializing in non-fiction comics. Her first full-length graphic novel, a nonfiction historical memoir entitled Soviet Daughter: A Graphic Revolution, was published by Microcosm in January 2017 and won the VLA Diversity Award. She has published non-fiction graphic essays in The Nib, Jewish Currents, Paper Brigade, World Literature Today, and Lilith, and was one of the guest editors of the Soviet Issue of Jewish Currents in Winter-Spring 2022. www.jalekseyeva.com and @thesoviette on socials

Katya Apekina is a novelist, screenwriter and translator. Her novel, The Deeper the Water the Uglier the Fish, was named a Best Book of 2018 by Kirkus, Buzzfeed, and others, was a finalist for the LA Times Book Prize and has been translated into Spanish, Catalan, French, German and Italian. She has published stories in various literary magazines and translated poetry and prose for Night Wraps the Sky: Writings by and about Mayakovsky (FSG, 2008), short-listed for the Best Translated Book Award. She has done residencies at VCCA, Playa, Ucross, Art Omi: Writing and Fondation Jan Michalski in Switzerland. Born in Moscow, she immigrated to the U.S. in 1986. www.apekina.com

Inna Effress is a speechwriter, fiction writer, and poet who emigrated from Ukraine to the United States as a child. Her work appears in numerous publications, including CutBank, Air/Light Magazine, Santa Monica Review, Swan River Press’s Uncertainties series, and Strange Tales at 30 (Tartarus Press). Inna writes for grassroots organizations and leaders in California that are working to bring equitable outcomes to their communities. www.innaeffress.com / @InnaEffress on Twitter

Yelena Furman was born in what was then Kiev, the Soviet Union and is now Kyiv, Ukraine. She lives in Los Angeles and teaches Russian literature at UCLA. Her fiction has appeared in Narrative and the Willesden Herald, book reviews in the Los Angeles Review of Books and The Baffler, and academic articles in various venues. She and Olga Zilberbourg co-run Punctured Lines, a feminist blog on post-Soviet and diaspora literatures. Twitter @YelenaFurman

Rimma Kranet is a Ukrainian American writer with a Bachelor’s Degree in English from University of California Los Angeles. Her work has appeared in Across The Margin, Brilliant Flash Fiction, Construction Lit, EcoTheo Collective, Fence, The Common Breath, Door Is A Jar Magazine, and others. Featured in The Short Vigorous Roots: A Contemporary Flash Fiction Collection of Migrant Voices and the IHRAF Ukrainian Voices Anthology. She resides between Florence, Italy and Los Angeles, California. Twitter @ RKranet

Ruth Madievsky is the author of a debut novel, All-Night Pharmacy (Catapult, 2023) and a poetry collection, “Emergency Brake” (Tavern Books, 2016). Her work appears in The Atlantic, The Los Angeles Times, Harper’s Bazaar, Tin House, and elsewhere. She is a founding member of the Cheburashka Collective, a community of women and nonbinary writers whose identity has been shaped by immigration from the Soviet Union to the United States. Originally from Moldova, she lives in Los Angeles, where she works as an HIV and primary care pharmacist. www.ruthmadievsky.com / @ruthmadievsky on socials.

Sasha Vasilyuk is a journalist and author of the novel Your Presence Is Mandatory, set between Hitler’s Germany and post-war Ukraine. It will be published in the U.S., Canada, France, Germany, Italy, Finland and Brazil in 2024. Sasha’s writing has been published in The New York Times, TIME, NBC, Harper’s Bazaar, BBC Radio, USA Today, The Telegraph, Los Angeles Times, and Narrative. Sasha grew up between Crimea, Moscow, and San Francisco. She currently lives in San Francisco with her husband and children. www.sashavasilyuk.com / @sashavasilyuk on socials

Secrets: An Excerpt from Nataliya Meshchaninova’s Stories of a Life, translated by Fiona Bell

Nataliya Meshchaninova is Russian filmmaker. In 2017, she published a book of autobiographical short stories that resonated with her audience, in part, because they supported the Russian #metoo movement. In February 2022, Deep Vellum brought out Fiona Bell’s translation of Meshchaninova’s book under the title Stories of a Life. We are honored to share with you an excerpt from this book, a section from the fourth chapter, “Secrets.”

The book centers on Meshchaninova’s complex relationship with her mother and her mother’s lovers and includes troubling depictions of abuse. Punctured Lines asked Fiona Bell to tell us about her experiences translating this book, and she generously responded:

The breezy, tongue-in-cheek style that Meshchaninova uses to narrate the horrifying events of her childhood [was the most challenging and the most rewarding aspect of this translation project]. To translate someone else’s trauma is hard enough—adopting the survivor’s “I” when none of this had happened to me—but to do it in a joking tone was even more complicated. But this is the incredible appeal of Stories of a Life. Although we don’t associate trauma narratives and humor, Meshchaninova gives us both. She is somehow swaggering in her vulnerability.

Please enjoy the excerpt and buy this book to read the full, gripping story of one remarkable woman’s childhood.

Secrets

by Nataliya Meshchaninova, translated by Fiona Bell

My parents got divorced when I was five. That’s why I remember my father as a father only very hazily. I have a few memories. The first: I’m standing in the mudroom dressed in my winter clothes, ready to go outside, and I see my mom screaming hysterically, her arms raised, my two older sisters clinging to her like branches to a tree. My father’s standing in the doorway, saying something like, “Oh, come on, Katya!” That was a weird moment. The second: my father is sitting on the couch, munching on sunflower seeds, and I’m on the floor by his legs, waiting for him to split some open and stick a handful of shelled kernels into my mouth. The third: my father asks me to bring him his slippers, and I say, “No, no, a nightingale never sings for a pig, ask a crow instead!” The fourth: I watch in horror as my father covers the kitchen floor with plucked chicken carcasses. The whole kitchen—the entire floor: carcasses. Nowhere to stand. As soon as he turns his back, I start frantically throwing the carcasses out the window, hoping I could still save them.

There you have it, all my memories. I’m not even sure they’re real, they might just be imaginings based on my mom’s stories.

Anyway, when I turned five, they got divorced, and I wasn’t too upset because my mom, in celebration of her freedom, planned a nice trip to Taman and took me along. Sometimes I’d ask, “Mom, where’s Dad?”

“What do we need Dad for?” she’d say cheerfully, bobbing in the sea, “We’re having fun all by ourselves!”

I agreed—it wasn’t bad without him around—and I stopped asking.

My father started living with another family pretty quickly, and soon there was a new girl calling him “Dad” without a twinge of conscience. None of it made sense anymore, and I stopped thinking of him as my father. I suddenly realized that being a dad was a bullshit temp job, that you could quit or pick a new daughter whenever you wanted.

My father loved my older sisters, but me, not so much. Probably because they were already wise and grown-up. They visited him a lot, but whenever I went, I just got fed and then sent home. They always had the best chicken at his place.

After the divorce, we never had chicken at my house. Clearly, my father considered it his sacred duty to feed me once a week. Soon, his new wife got sick of these feedings, and I could tell, so I stopped coming over for chicken. That’s pretty much the whole story of our relationship, me and my father’s. I didn’t know him, never really had the chance.

My mom loved to sit me on her lap and ask, “Natashenka, what’s your relationship like with Vitka?” That’s what she called my father, short for Viktor. I’d say, “Well, what kind of relationship could I have with Vitka, since he got stingy with the chicken and gave me second-hand underwear for my birthday?”

“There,” my mom finally said, satisfied, “you see! He’s a pig! He’s always been a pig! Now, I’m going to tell you something, but you can’t tell anyone . . .”

Then she’d tell me some secret from their married life. My father had always been a horrible pig, he’d done some really awful things.

“Once,” my mother said tragically, “Vitka lost some money to Polikarpych in a game of dominoes. To pay the debt, he said, ‘Go to my place, Katerina will give you . . . well, she’ll sleep with you.’ So, Polikarpych came over, and I’m thinking, Whoa whoa whoa, whats he doing here? And he starts coming on to me! Right in front of you guys. But you weren’t born yet. So, in front of Lena and Oksana. He started grabbing my breasts! I said, ‘Have you lost your mind? Vitka will kill you!’ But he said, ‘Vitka’s the one who sent me!’ Well, I grabbed you kids and locked us all in the bathroom. He tried to force his way in but gave up after a while and, out of spite, locked us in from the outside. So we spent an entire day locked in the bathroom, hungry, with only tap water to drink. Then Vitka got home, unlocked the door, and told me to laugh it off!”

Wide-eyed with horror, I looked at my mom and thought to myself, My father isnt just a pig, hes the ringleader of all the pigs in the world.

God, Mom, no one asked for your fucking secrets!

But I understand how important it was for you to tell these stories. You needed an ally in that war. My older sisters were a lost cause—they loved their father. But I hadn’t had the chance. That’s how I became the Louise to my mom’s Thelma. Even to this day. That’s how intense and enduring these secrets have been.

Although now I realize how hard that senseless marriage was on both of them.

Here’s the story: My father had a girlfriend he was head over heels in love with. She cheated on him, or planned to, so he lost his mind and decided to teach her a lesson by marrying another woman. That other woman was my mother. That’s it. When I asked my mom why she married him, she said, “Vitka was tall and handsome and, besides, I wasn’t getting any younger.”

The night before the wedding, my father’s girlfriend called him in tears and begged him not to get married, to forgive her. But, like I said, my father had lost his mind. That’s where stupidity gets you: married.

To continue reading, please buy the book.

Fiona Bell is a literary translator and scholar of Russian literature who is committed to sharing the voices of contemporary female and nonbinary Russian writers with anglophone audiences. Bell’s essays have appeared in Full Stop, The Los Angeles Review of Books, and elsewhere. She is from St. Petersburg, Florida, but currently lives in New Haven, Connecticut while earning a Ph.D. in Slavic Languages and Literature at Yale University.

Q&A with Lara Vapnyar: Divide Me by Zero (Tin House Books, 2019)

Punctured Lines is thrilled to present a Q&A with Lara Vapnyar, Russian-American writer and author of six works, including her latest novel, Divide Me by Zero. This is also personally meaningful, as I have been reading and writing on Russian-American fiction, very much including her work, for several years. Many thanks to Masha Rumer, whose Q&A we featured previously, for helping facilitate this exchange. Lara answered our questions by email.

Punctured Lines: Divide Me by Zero is your sixth book. In an interview with Svetlana Satchkova forThe Rumpus, you’ve called it your most intimate and biographical. Has your writing process changed during your work on this novel?

Lara Vapnyar: There is a scene in a Nancy Meyers’ film Something Gotta Give, where the main character played by Diane Keaton is working on a play, typing and sobbing, typing and sobbing… That’s how it went for me, except that I had long periods of just sobbing, and longer periods of paralyzing self-doubt – Is this even a novel? What if this is just a self-indulgent mess?

PL: English, the language of your stories and novels, is your second language, acquired later in life. In her essay for the New Yorker, “To Speak is to Blunder,” Yiyun Li, a writer whose first language is Chinese, talked about how “language is capable of sinking a mind.” “One’s thoughts are slavishly bound to language,” she wrote, and went on to talk about the difficulties she has articulating her feelings. “It is hard to feel in an adopted language, yet it is impossible in my native language,” Li says. In your essay, “The Writer as Tour Guide” in an anthology of contemporary Jewish exile literature, The Writer Uprooted, you said, “By the time I approached writing, I had been reading in English a lot, and whenever I thought about creating something of my own, I caught myself putting my images into words of the English language. I felt most comfortable when writing in English, even though I had to struggle with grammar and vocabulary […] I would even say that I wrote in American, which for me was the language of immigrants.” What opportunities has English provided you with that wouldn’t have existed in Russian?  Alternatively, do you ever find English limiting?  Do you negotiate the space between Russian and English when you write?

LV: English is my first “writing” language. Even though I only started to learn English as an adult, my first attempts to write fiction were in English (I’ve never written anything in Russian), so it feels completely natural. The only situation, when I feel frustrated, is when I have to translate speech from Russian into English. For example, I remember a specific joke my mother made in Russian, and I want to translate it and give it to my character, but it’s just not that funny in English!

PL: The relationship between mother and daughter that you describe in this novel is very touching yet clearly a very demanding one. The cultural conflict is not obviously stated, but it seems to define Katya’s judgment of her ability to mother her children. In Soviet households it was common for grandparents to participate fully in the everyday duties of raising children—and Katya herself grew up in a household presided over by her grandparents. Do you feel that life in the United States has affected Katya’s and her mother’s expectations of each other?

LV: In Soviet households it was common for grandparents to participate fully in the everyday duties of raising children –Absolutely! Katya would’ve probably felt less conflicted, if she was raising her children while relying so much on her mother’s help in Russia.

PL: Unlike works by many other Russian-American writers, male or female, your work directly engages with ideas of gender and feminism. Your novel Memoirs of a Muse charts the transformation of its female protagonist from subservient muse to her writer boyfriend to an independent woman engaged in artistic production; and while Dostoevsky is a key fictional figure in this work, the focus is on his lover, Apollinaria Suslova, herself a writer. Ružena in “Slicing Sautéed Spinach” in your short story collection Broccoli and Other Tales of Food and Love is a doctoral student in Women’s Studies. Your essay “Hillary’s Underpants: The Sad Tale of ‘Clintonsha,’ or She-Clinton” in Thirty Ways of Looking at Hillary directly calls out traditional Russian gender assumptions. How do you relate to feminist ideas and navigate the gap between the different gender expectations in American vs. Russian cultures? Do you see any shift of Russian gender norms in the diaspora?

LV: I was brought up in the Soviet Union, where accepted gender roles differed greatly from what we see in the US and contemporary Russia. Soviet Union was both a feminist and a deeply patriarchal society, where men had all the power, but women did all the work, but still longed for a man in the family like this prized object. My mother, a strong independent woman who made her career and brought me up all on her own, kept telling me that ANY husband is better than no husband.

I think there is a shift of gender norms [in the diaspora] toward the ideal situation, where men and women in the family are equal partners who depend on each other for support and understanding.

PL: As a writer one of whose major topics is immigration, do you find yourself working against Russian cultural stereotypes?

LV: Probably… But in this novel, I feel like I’m working with a Russian cultural stereotype – that you absolutely need true romantic love, that you can’t live without it – against a more pragmatic American view that romantic love is far from being the most important thing in life, and chasing after love is selfish and childish.

PL: Who are some of the writers that inspire you? Do you find yourself connecting with other diaspora writers?

LV: There are so many writers I deeply admire within the diaspora and beyond. But for this novel, the most influential was Elena Ferrante. She taught me how to turn yourself inside out for the sake of larger truth.

English PEN Translates Awards 2019

Punctured Lines congratulates Lisa Hayden, whose profile we featured on the blog previously, for being among the winners of the English PEN Translates award for her translation ofThree Apples Fell from the Sky by Narine Abgaryan from Armenia (the novel is written in Russian). The translation is forthcoming from Oneworld in May 2020.

“‘English PEN has long argued for the broadest possible internationalism in our publishing world, not as a niche interest or a luxury, but as a cultural necessity,’ Daniel Hahn, Chair of the PEN Translates Selection Panel, said. ‘With each round, this our fifteenth, PEN Translates receives an ever-greater number of more competitive, more promising, more diverse submissions, from terrific publishers of all sizes who, even in a risk-averse business, continue to look out at the world with ambition.'”

The complete list of the winners, including for translations from Georgia and Bulgaria, is here: http://georgiatoday.ge/news/18853/One-of-20-PEN-Translates-Awards-Goes-to-a-Title-Translated-from-Georgian