Books for Review

Punctured Lines is looking for reviews of the following recent titles. Reviewers should have some expertise in terms of their chosen work, engaging substantively with its themes and techniques and bringing in direct citation to back up claims. If you are interested in reviewing a work not on the list but that fits our overall themes of feminism, LGBT, diaspora, etc., please let us know. Thank you, and we look forward to working with you.

Fiction:

Alina Adams, The Nesting Dolls (Harper, 2020)***

Nina Berberova, The Last and the First, translated by Marian Schwarz (Pushkin Press, 2021)

Mark Budman, editor, Short, Vigorous Roots: A Contemporary Flash Fiction Collection of Migrant Voices (Ooligan Press, 2021)

Dewaine Farria, Revolutions of All Colors (Syracuse UP, 2021)

Alla Gorbunova, It’s the End of the World, My Love, translated by Elina Alter (Deep Vellum, 2021)

Kristina Gorcheva-Newberry, What Isn’t Remembered (The University of Nebraska Press, 2021) and The Orchard (Ballantine Books, 2022)

Olga Grushin, The Charmed Wife (Putnam Sons, 2021)

Lana Kortchik, Daughters of Resistance (HQ Digital, 2021)

Maria Kuznetsova, Something Unbelievable (Random House, 2021)

Muireann Maguire, trans., White Magic: Russian Emigre Tales of Mystery and Terror (Russian Life Books, 2021; includes three women writers)

Judith McCormack, The Singing Forest (Biblioasis, 2021)

Yelena Moskovich, A Door Behind a Door (Two Dollar Radio, 2020)

Irène Némirovsky, The Prodigal Child, translated by Sandra Smith (Kales Press, 2021)

Sofi Oksanen, Dog Park, translated by Owen Frederick Witesman (Knopf, 2021)

Ludmilla Petrushevskaya, The New Adventures of Helen, translated by Jane Bugaeva (Deep Vellum, 2021)

Maria Reva, Good Citizens Need Not Fear (Doubleday, 2020)

Teffi, Other Worlds: Peasants, Pilgrims, Spirits, Saints, ed. Robert Chandler, various trans. (NYRB Classics, 2021)

Sofia Tolstaya, Sofia Tolstaya, the Author: Her Literary Works in English Translation, compiled by Andrew Donskov, translated by John Woodsworth (University of Ottawa Press, 2021)

Oksana Zabuzhko, Your Ad Could Go Here, translated by Halyna Hryn (Amazon Crossing, 2020)***

Nonfiction:

Polina Barskova, Living Pictures, translated by Catherine Ciepiela (NYRB Classics, 2022)***

Caroline Eden and Eleanor Ford, Samarkand: Recipes and Stories From Central Asia and the Caucasus (Kyle Books, 2021)

Yevgeniy Fiks, The Wayland Rudd Collection (Ugly Duckling Presse, 2021)

Margarita Gokun Silver, I Named My Dog Pushkin and Other Immigrant Tales (Storyfire, 2021)

Yelena Lembersky, Like a Drop of Ink in a Downpour (Cherry Orchard Books, 2021)

Ludmila Miklashevskaya, Gender and Survival in Soviet Russia, translated by Elaine MacKinnon (Bloomsbury, 2020)

Masha Rumer, Parenting with an Accent: How Immigrants Honor Their Heritage, Navigate Setbacks, and Chart New Paths for Their Children (Beacon Press, 2021)

Karl Schlögel, The Scent of Empires: Chanel No. 5 and Red Moscow, translated by Jessica Spengler (Polity, 2021)***

Anna Starobinets, Look at Him, translated by Katherine E. Young (Three String Books / Slavica, 2020)

Julia Zarankin, Field Notes from an Unintentional Birder (Douglas & McIntyre, 2020)

Poetry and Drama:

Polina Barskova, Air Raid, translated by Valzhyna Mort (Ugly Duckling Presse, 2021)***

Taisia Kitaiskaia, The Nightgown and Other Poems (Deep Vellum, 2020)

Tatiana Klepikova, editor, Contemporary Queer Plays by Russian Playwrights (Methuen Drama, 2021)***

Valzhyna Mort, Music for the Dead and Resurrected (FSG, 2020)***

Maria Stepanova, The Voice Over: Poems and Essays, ed. Irina Shevelenko, various trans. (Russian Library, 2021)

Natalya Sukhonos, A Stranger Home (Moon Pie Press, 2020)

Verses on the Vanguard: Russian Poetry Today, various trans. (Deep Vellum, 2021; several women writers, including Vasyakina)

Scholarship:

Andy Byford, Connor Doak, and Stephen Hutchings, editors, Transnational Russian Studies (Liverpool University Press, 2020)

Katalin Fábián, Janet Elise Johnson, and Mara Lazda, eds. The Routledge Handbook of Gender in Central-Eastern Europe and Eurasia (Routledge, 2021)

Michele Leigh and Lora Mjolsness, eds. She Animates: Soviet Female Subjectivity in Russian Animation (Academic Studies Press, 2020)

Henrietta Mondry, Embodied Differences: The Jew’s Body and Materiality in Russian Literature and Culture (Academic Studies Press, 2021)

*** Indicates a reviewer has expressed interest in the book.

Video from our book release celebration of LOOK AT HIM by Anna Starobinets, translated by Katherine E. Young

On September 27, 2020, Punctured Lines hosted our first ever Zoom event dedicated to the publication of LOOK AT HIM by Anna Starobinets, translated from Russian by Katherine E. Young. The author and the translator were joined on Zoom by scholar Dr. Muireann Maguire from the University of Exeter, UK to discuss this important book and the what it has to give to its English-language audiences.

The video of the event is now online:

Buy the book from the publisher Three String Books / Slavica.

To keep up with the conversation about Look at Him, including interviews, reviews, and other links, please visit translator Katherine E. Young’s website.

Anyone interested in the cover artist can find Ghislaine Howard’s work on her website.

Book Release Event: LOOK AT HIM by Anna Starobinets, trans. Katherine E. Young

We at Punctured Lines are delighted to host our first public event via Zoom. We recently ran Svetlana Satchkova’s interview with Anna Starobinets about her memoir, and welcome an opportunity to continue this conversation. On September 26, we’ll be moderating a book release celebration for LOOK AT HIM by Anna Starobinets in Katherine E. Young’s translation. This event will begin at 3 pm EST.

About the Event:

In 2012, Russia-based writer and journalist Anna Starobinets was told in her sixteenth week of pregnancy that the baby she was carrying had developed a kidney defect incompatible with life. Following a dehumanizing experience in Moscow clinics, Starobinets traveled to Berlin, Germany, to undergo an abortion. In Berlin, Starobinets also discovered a level of medical support, including emotional support and counseling, that was practically unheard of in Russia at the time.

Starobinets wrote LOOK AT HIM on the heels of those events. Its 2017 publication in Russia was met with critical praise, including a nomination for the National Bestseller Prize, but the book also ignited a firestorm of condemnation. The author was blamed for breaking social taboos by discussing women’s agency over their own bodies and examining the lingering aftereffects of abortion and miscarriage on women and families—taboos that we, as feminists, believe needed to be broken. Beautiful, darkly humorous, and deeply moving, LOOK AT HIM explores moral, ethical—and quintessentially human—issues that resonate for families in the world beyond Russia.

Now Three String Books / Slavica Publishers has brought out Katherine E. Young’s English translation of LOOK AT HIM. Today we’re celebrating the publication of this book that expands the English-language literary canon with a powerful story, masterfully told. Young has captured not only the factual specificity of Starobinets’s experiences but has also emphatically conveyed their emotional intensity.

Join us for a reading from the book and a Q&A with author Anna Starobinets and translator Katherine E. Young. Dr. Muireann Maguire from the University of Exeter, UK, will comment. Hosting are Yelena Furman and Olga Zilberbourg from Punctured Lines, a feminist blog about post-Soviet literature.

*** A special publisher discount for purchase and free shipping (US) of the book will be available during the event. ***

*** This event will be recorded. ***

Register below or proceed to our Eventbrite to register.

RusTrans Award Winners for Russian-to- English Translations of Contemporary Fiction, 2020

Exciting news from the exciting RusTrans project. As its website explains, “’The Dark Side of Translation: 20th and 21st Century Translation from Russian as a Political Phenomenon in the UK, Ireland, and the USA’ (RusTrans for short) is a project funded by the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement no. 802437), and located at the University of Exeter. The project is led by Dr Muireann Maguire (Principal Investigator) and Dr Cathy McAteer (Post-doctoral Fellow).

What is the dark side of translation? Most of us think of translation as a universal good. Translation is valued, taught, and often funded as a deterrent to monolingual nationalism and cultural parochialism. Yet the praxis of translation – the actual processes of selecting and translating literary texts, and of publishing and publicizing translations – is highly politicized, often subverted by ideological prejudice or state interference. Translators necessarily have a personal agenda, as do editors, publishers, and other agents.  Every translation is an act of cultural appropriation, reinventing the thoughts of one language in the words of another.

[…] RusTrans investigates how individuals, and governments, exploit this ‘dark side’ of translation to reap cultural capital by translating lesser-known literature into global languages (and the reverse).

[…] The project’s main aim is to research why translators, publishers, and funding bodies support the translation of certain texts, and not others.” 

Ealier this year, RusTrans held a competition for funding English translations of contemporary literary fiction written in Russian and have just announced the twelve winning projects by fourteen translators (two are co-translations). The conditions for these awards, which will fund excerpts of larger works, are rather unique. RusTrans is asking the translators to keep them posted over the next two years about the process to secure publication for the works in their entirety: as they explain, “we plan to follow selected translators through the process of pitching and/or submitting a new translation to publishers in real time” to gain a fuller understanding of the “dark side” of translation, driven by politics, economics, and personal biases.

One of RusTrans’ stated criteria for picking the projects was diversity, and the final list has a number of women writers, a queer writer, writers from non-Russian parts of the former Soviet Union, as well as those who now live outside of the post-Soviet space. Punctured Lines joins RusTrans in congratulating the winners below (as listed on the RusTrans website) and looks forward to following this fantastic endeavor:

  1. William Barclay, with Bulat Khanov’s novel about an angry academic, Gnev.
  2. Michele Berdy, with various stories and a novella by Tasha Karlyuka.
  3. Huw Davies, with Dmitry Bykov’s historical novel June.
  4. Shelley Fairweather-Vega, with short fiction  “Aslan’s Bride” by Nadezhda Chernova and “Black Snow of December” by Asel Omar.
  5. Annie Fisher and Alex Karsavin, co-translating Ilya Danishevsky’s queer modernist experimental novel Mannelig in Chains.
  6. Polly Gannon, with Sana Valiulina’s Soviet-Estonian historical novel, I’m Not Afraid of Bluebeard.
  7. Lisa Hayden, with Alexei Salnikov’s debut novel The Department.
  8. Alex Shvartsman, with K.A. Teryna’s science fiction novella The Factory.
  9. Isaac Sligh and Viktoria Malik, co-translating Viktor Pelevin’s novel iPhuck 10.
  10. Sian Valvis, with Narine Abgaryan’s semi-autobiographical novel of an Armenian childhood, Manunia.
  11. Sarah Vitali, with Figgle-Miggle (Ekaterina Chebotaryova)’s novel You Love These Films So Much. 
  12. Lucy Webster, with Andrei Astvatsaturov’s satirical novel on Russian academia, People in Nude.

A recap of the Russian-language panels from the American Literary Translators Conference #ALTA42

At the beginning of November 2019, the American Literary Translators Association hosted its annual conference in Rochester, NY. This annual conference is a delightful opportunity to hear about issues that concern translators across the board, and also to dive deeply into conversations about specific language tracks. We asked Dr. Muireann Maguire and Dr. Cathy McAteer, attending from the UK, to share Twitter log of their conference experience.

Drs. Cathy McAteer and Muireann Maguire’s visit to the conference was in conjunction with the project they’re running at the University of Exeter. It’s called RusTrans: ‘The Dark Side of Translation: 20th and 21st Century Translation from Russian as a Political Phenomenon in the UK, Ireland and the USA’ (Horizon 2020, Grant Agreement No.: 802437). This project looks at the practice of translation as a political activity, “often subverted by ideological prejudice or state interference.” They are using very creative and unexpected ways to analyze this political side to translation, looking at the reception of Russian literature in (primarily) English-speaking countries.

To learn more, please visit their gorgeous website. Their project email is rustrans.exeter.ac.uk and twitter handle is @Rustransdark.

Friday 08th:

First #alta42 session of the afternoon: slavic bilingual readings. We’re kicking off with Jim Kates’s reading of Aigerim Tazhi’s Kazakh poetry.

Next up, Bulgarian. Izidora Angel reading her translation of Nataliya Deleva. Sounds fabulous in the original!

Tatiana Samsonova reading an excerpt and her translation of a novella by the Georgian-born, Canada-living writer Elena Botchorishvili

A vibrant, colourful reading. Feels like USSR meets Laura Esquivel. Excellent. I’ll look forward to reading more back home #ALTA42

Fabulous and courageous impromptu poetry recital, Chukovsky’s Мойдодыр becomes ‘Gotta Scrub’. Anna Krushelnitskaya, good luck with your pitch! #ALTA42

#ALTA42 cold readings at the Rochester spirit room bar

Saturday 09th day at ALTA42:

At the #ALTA42 independent presses’ round table with editors from (left to right from second left)@FeministPress @NewDirections @CatapultStory and@nyrbclassics. They all welcome direct submissions from translators – hoping they get out of this room alive!

Acquisitions editor for @nyrbclassics being honest – “interesting manuscripts come in every day. They are a joy, but we are few, and sometimes we just cannot make a decision quickly. It takes about two years just to fit a new publication into our schedule”.

Reminiscing the fall of the Berlin wall, a significant moment in our lives #ALTA42

And now it’s@OlgaLivshin‘s turn to take the stage with #translations of Akhmatova, Gandelsman and her own poetic treats. And the audience keeps growing! #ALTA42

It was great. Well done @bowlga! I loved the short story about you staying at your grandmother’s in Karelia 🙂 Lovely to have coincided with you here!!

Sunday 10th: A bumper day for Russian!

Gilded Cage tweets

And now for something really special! Russian fiction outside its gilded cage with @mbs51, @Hilah_Kohen, Shelley Fairweather-Vega, and Olga Bukhina. #russianliterature #translation #ALTA42

Intro by Marian Schwartz:

We (Russian literary translators) have very poor visibility, we don’t publish with the publishers that win prizes, our books don’t make it to the shortlists

Russian literature is a “goldmine, not a golden cage”, says Olga Bukhina (far right) at the #ALTA42 “Russian Fiction Out of Its Gilded Cage” panel. Shelley Fairweather-Vega (far left) is about to talk about Uzbek and Central Asian authors.

First up, Olga Bukhina discussing the explosion of #YAfiction in Russia in last 10yrs and its invisibility outside of Russia in #translation #ALTA42

Translation publishing of #YAfiction still can’t resist a #Russian stereotype even tho there’s a huge cohort of Russian writers for teens, writing about normal, everybody kids

And now Shelley Fairweather-Vega speaking about her work translating #Russian, #Uzbek, #Kazakh literature into English. Complexities include relay translation, language overlap, no publishing infrastructure (beyond a Sovietised Writers’ Union). Fascinating!

And now it’s @Hilah_Kohen speaking about new writers, new media: examining how we serve the writers we have, what writers publish outside of print, how they shape a persona digitally and using which media. An #alta42 tour de force!

The Politics of Being Heard

Our panel started by going back in time for an overview of who translated and published what and why and when. Muireann started proceedings: she examined the political reasons behind Ireland’s era of translating Russian literature into Irish in the early 20th century, and homed in on the translation career of a young Irish woman called Daisy Mackin who had spent time in Stalin’s Russia and translated Turgenev and Chekhov for the Irish Free State’s literary translation project An Gum.

Cathy shifted the historical focus to the mid-twentieth century, examining Penguin’s contribution to Russian literature in Anglophone translation. She introduced the Penguin Russian Review, with its pro-Russian sentiments, the Penguin Russian Classics and the translators who aspired to project a more accurate image of Russia abroad via translation, and Penguin’s role in publishing Soviet literature: the (expensive and hasty) race to publish Solzhenitsyn.

Boris succeeded in succinctly summarising all eras of Russian literature in translation(!), reminding us that the first copy of Gogol’s Dead Souls was wrongly but quite deliberately depicted as real life, and that the doyenne of Russian literary translation Constance Garnett herself had been galvanised to become a translator because of the highly politicised Russian company she kept in London. Boris neatly brought us back to the present day with his thoughts on where Russian literary translation is currently at, and how the translator (rather than the author) can be a vehicle for selling books; trust in the translator can be all the encouragement a devoted reader needs to try an author they’ve never read before.. which led nicely to Kate Young’s overview of the industry today…

Kate discussed her own proximity to the politics of being heard, touching on the role her translation has played in publicising Azerbaijani author Akram Aylisli’s Farewell, Alys. Kate had also gathered a breadth of views from (absent) Ruth Akhmedzai Kemp and Lisa Hayden who both had observations and questions about the Russian literary translation industry. Discussion ranged from extolling the good work of small publishers and exploring reasons why big publishers are cautious to commission contemporary Russian literature (it’s the Classics that keep on selling!); the role of agents, prizes, and how maybe the time has come for publishers to set aside some of the funds for supporting bigger translation samples, in other words: compensating translators while they prepare for a pitch.

The @ExeterModLangs #RusTrans team, Dr@MuireannMaguire and Dr@CathyMcAteer1, presenting on our panel #ThePoliticsOfBeingHeard at #ALTA42 with translator and editor Boris Dralyuk and panel organiser, poet & translator Katherine Young.