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.

Archipelagic Model of Global post-Soviet Cultures (*)

About a year ago, when Yelena Furman and I decided to get serious about our ongoing Twitter conversation about Russian literature and to start this blog, I read Maria Rubins’s essay “A Century of Russian Culture(s) ‘Abroad’: The Unfolding of Literary Geography,” published in Global Russian Cultures (edited by Kevin M. F. Platt; a volume in which Yelena Furman’s own essay “Rewriting Gender: Russian-American Women Writers and the Challenge to Russian Femininity” also appears). In this programmatic essay, Rubins argues that “A polycentric, nonhierarchical model of global Russian cultures may be visualized as an archipelago, a chain of islands that appear independent and isolated but in fact are interconnected in space, as well as time, often owing their origins to a series of volcanic eruptions.” In this model, Rubins argues, “the metropolitan Russian ‘continent,’ … can be seen as just the largest island within the global archipelago of Russian culture.”

Prior to encountering this essay, I had heard of archipelagic studies from a friend and a colleague, Olga Blomgren, who is working on her dissertation in Comparative Literature. Olga pointed me toward this theory and to the ideas of de-colonization, as distinct from post-colonization, as promising ways of conceptualizing literatures born of multiple languages and cultural influences. In her own work, Olga discusses the writing of the multilingual authors from the Caribbean, Rosario Ferré and Edwidge Danticat. The notion of an “archipelago” offers a compelling vision and a path to undoing the hierarchies of values imposed by colonial regimes. “Landmasses traditionally conceived of as continents may be reframed as islands that are constituent parts, rather than continental administrators, of the global meta-archipelago,” write scholars Brian Russel Roberts and Michelle Stephens in their essay “Archipelagic American Studies and the Caribbean.” Just because a traditionally conceived continent is physically larger than an island, its claim on culture and influence isn’t more valid than that of an island.

Rubins applies these ideas to Russophone literature, including in Paris during the interwar period, literature created in the US during the Cold War Era, and in Israel in the more recent times. She quotes from the famed theorist Homi Bhabha, who argued in his book The Location of Culture that “peripheral locations are rich in innovation and can destabilize and refashion stagnating ‘centers’.” In fact, with the introduction of the archipelagic model, the very terms for “center” and “periphery” (so important to the 19th Century Russian writers, from Gogol to Chekhov) may become obsolete. “Diasporic authors and communities contest their alleged marginality and assert their hybrid character. Yet diasporic consciousness and patterns of writing inevitably spill over into the metropolitan world, eroding monolithic identities and discourses even as they participate in transnational literary systems,” Rubins suggests.

These ideas deeply influenced my thinking about what I wanted to accomplish with Punctured Lines, and it was exciting to find that Yelena was thinking along the same lines. In her draft of our mission statement, she wrote that we want to amplify the traditionally underrepresented voices from the post-Soviet diasporas. If I were to translate this into the language of the archipelagic theory, the idea is to unsettle the colonial maps of literary value that tend to place Russia at the center of the Soviet literary space and that of the Russian Empire, and to treat Russophone literature as one island among many of the metaphorical post-Soviet archipelago. This work feels all the more necessary to me on the personal level because in the earlier draft of this post (displayed in the comments), I have unconsciously defaulted to the colonialist language while actively seeking to avoid it. I’m very grateful to the comments that Shelley Fairweather-Vega, Christopher Fort, Mirgul Kali, and Kevin M. F. Platt offered on this post that helped me to unpack my own unconscious bias and tendency to conflate “Russia” and “the Soviet Union.”

(*) Title and content have been edited; the original version is in the comments below.

Moving from theory to practice, here’s a few recently published and upcoming books from the post-Soviet archipelago to read this summer.

Night and Day by Abdulhamid Sulaymon o’g’li Cho’lpon, translated from Uzbek by Christopher Fort. This novel comes to us from the 1930s and is set at an earlier time, in Turkestan under Russian Imperial rule. “Despite increasing censorship and previous arrests by Soviet authorities, Cholpon subtly employs a variety of techniques including satire and farce to undermine the legitimacy of the Soviet government that was being established around him. Bitterly portraying the hypocrisy and collusion of jadid reformists, Muslim clerics and local Russian officials, this unfinished novel, which was halted by the author’s execution in 1938, remains as one of the darkest comments on Soviet Central Asian history in the Uzbek language,” wrote Shawn T. Lyon about this novel. An illuminating interview with the translator aired on a podcast New Books Network.

Pub Date: November 26, 2019
Publisher: Academic Studies Press

Translated from Uzbek by Shelley Fairweather-Vega, Hamid Ismailov’s GAIA, Queen of Ants is set in England in the milieu of Central Asian immigrants. ” The pivotal relationship in the novel is that between septuagenarian Uzbek émigré Gaia and Domrul, her young Turkish carer. Readers may recognize hints of Harold and Maude,” writes Joshua Bird in a review of this novel. “Contact with Gaia brings up [for Domrul] conflicting feelings of lust, shame and longing, and through their complex relationship, Gaia draws the young man into her dark world of infidelity, sexuality and secrets.”

Pub date: February 11, 2020
Publisher: Syracuse University Press

Good Citizens Need Not Fear is the first book by Maria Reva, who was born in Ukraine and grew up in Canada, and has published a number of the stories from this linked collection in the most prestigious journals of the English-language world, including Electric Literature, Granta, McSweeney’s, The Atlantic, and others. “Set in the Ukrainian town of Kirovka in the 1980s and starring a set of characters who live in the same block of flats, Maria Reva’s enthralling debut of interlinked short stories achieves the double effect of timelessness and timeliness,” Kapka Kassabova writes in The Guardian.

In addition to her fiction writing, Reva translates from French and writes opera libertti!

Pub date: March 10, 2020
Publisher: Doubleday Books

Nino Haratishvili’s The Eighth Life, translated from German by Ruth Martin and Charlotte Collins has been probably the best publicized book on my list. It is currently listed as #11 in “Russian Literature” on Amazon — woo hoo! This book opens in contemporary Berlin, but the family saga begins in Georgia, at the turn of the 20th Century, and follows the central characters to St. Petersburg during the Russian Revolution, and then on through time and geographical locations. “The Eighth Life is narrated by Niza Jashi, a Georgian expatriate living in Berlin, as she writes a history of her family for Brilka, her niece. The novel explores the ways that various characters are fated not only by the political tumult and government brutality of 20th-century Georgia but also by the legacy of a family curse,” explains Lori Feathers in an interview with Haratishvili on Lit Hub.

Pub Date: April 14, 2020
Publisher: Scribe US

Three Apples Fell From the Sky by Narine Abgaryan comes to English in translation by Lisa C. Hayden. Abgaryan was born in a small town in Soviet Armenia, and later moved to the capital of Armenia, Yerevan, and from there, to Moscow. Abgaryan fictionalizes her hometown in her work with tenderness and care, showing us a range of fascinating characters and a lifestyle that seems as though of a different century. This is Abgaryan’s seventh novel, and the first to be translated to English. Due to the pandemic, the pub date for this novel has been delayed to late August, but I encourage all of our readers to pre-order this book (it is already available for pre-order).

While we wait, read Katherine E. Young’s translation of an excerpt from Abgaryan’s earlier novel, People Who Are Always With Me, in Two Lines 31.

Pub Date: August 4, 2020
Publisher: ONEWorld Publications

Don’t forget to order from your favorite local bookshop, they need our help! Bookshop.org is a good second choice.

Looking Back on Our First Event: Participatory Reading in Post-Soviet Literatures, in Pictures

On November 25th, Punctured Lines hosted our first literary event in San Francisco. Thanks to a conference that brought to San Francisco scholars, translators, and writers in Slavic, East European, and Eurasian Studies, we were able to gather a star list of participants. A few of the readers have appeared in Punctured Lines, and we certainly hope to feature more of their work. Following the scheduled portion of the event, we hosted an open mic that turned out to be a great crowd-pleaser. Below are the pictures we captured that night and brief descriptions of everyone’s contributions.

Shelley Fairthweather-Vega opened with an excerpt from her recently published translation of Talasbek Asemkulov’s novel A Life at Noonavailable for purchase here. A story about a musician growing up in Soviet Kazakhastan and learning his art form from his father.

Yelena Furman read the opening from her short story “Naming,” recently published in Narrative Magazine, and available in full online (free, with free registration required).

Wayne Goodman read a few brief excerpts from his historical novel Borimir: Serving the Tsars that re-imagines gay romance in Imperial Russia. There’s lots of awkward flirting! This book is available for purchase on Amazon.

Maggie Levantovskaya read from her essay about a trip to Auschwitz concentration camp “To Conjure Up the Dead,” published in Michigan Quarterly Review. The bizarreness of Holocaust tourism with the post-Soviet twist. An excerpt from this essay appears online.

Dmitri Manin wore the T-shirt with Genrikh Sapgir’s poem on the back, and read to us his translations from Sapgir’s “Poems on Shirts” book. We have published three of these translations in an earlier post.

Masha Rumer shared an essay about exposing an unsuspecting date to the delights of pickled herring-and-boiled beet salad, aka “Seledka pod shuboj.” He lived long enough to propose. We’re hoping to read the follow up on this story in her upcoming book, Parenting with an Accent: An Immigrant’s Guide to Multicultural Parenting. More about Masha and her book in the Q&A she gave Punctured Lines.

Sasha Vasilyuk followed with an excerpt from her novel-in-progress about a Soviet prisoner of war. We will be following the development of this project closely.

Mary Jane White delighted us with her translations from Marina Tsvetaeva — her delivery of the “Ode to the Rich” landed particularly well with our audience. Mary Jane’s book of her own poetry and translations from Tsvetaeva Starry Sky to Starry Sky is available online. We will be following up with news of her upcoming book of translations from Tsvetaeva’s Berlin and Prague years, Poems of an Emigrant: After Russia, Poem of the Hill, Poem of the End, and New Year’s.

I read the opening of “Rubicon,” a short story from my collection Like Water and Other Stories.

Josie von Zitzewitz followed up on the thread of discussion about the lack of visibility of contemporary Russian literature in the United States, and introduced a project that she’s developing with Marian Schwartz and Hilah Cohen, soliciting work from young Russophone writers to create a feature publication in an American magazine (possibly more than one).

Joining us for the open mic portion of the show, we had Maxim Matusevich, a writer and a historian of USSR intersections with African countries. He delivered an excerpt from his hilarious short story about cultural encounters between American students going to study abroad in St. Petersburg.

Christopher Fort closed the evening with a poem that he read in both Uzbek and English, bringing our attention to a particular rhyming pattern of Turkic languages. We have previously linked to Christopher’s interview about translating Abdulhamid Sulaymon o’g’li Cho’lpon novel Night and Day. This novel is now available for purchase online.



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.

Event Announcement: Participatory Reading for Projects in Post-Soviet Literature

When: Monday, November 25, 2019 at 6:30 PM – 9 PM
Where: Alley Cat Books, 3036 24th St, San Francisco, California 94110

This reading gathers together translators, writers, and scholars whose writing is connected, in various ways, with the literatures of the former Soviet Union.

We’re grateful to the Association for Slavic, East European, & Eurasian Studies that’s hosting its annual conference in San Francisco this year, which has allowed us to put this reading together with participants from across the United States.

A participatory reading means that, in addition to the announced readers, we’ll have a first come first served sign-up sheet for people who want to speak up and introduce their projects. We ask that each participant limits their reading or presentation to five minutes.

We’re delighted to have:
Olga Breininger with her book There Was No Adderall in the Soviet Union
Shelley Fairweather-Vega with A Life At Noon by Talasbek Asemkulov
Yelena Furman with her story “Naming” from Narrative Magazine
Wayne Goodman with an excerpt of his novel-in-progress Borimir: Serving the Tsars
James Kates with Aigerim Tazhi‘s poetry collection Paper-thin Skin
Maggie Levantovskaya with her essay “To Conjure Up the Dead” from Michigan Quarterly Review
Dmitri Manin with translations of Nikolay Zabolotsky‘s Stolbtsy
Masha Rumer with her book Parenting with an Accent: An Immigrant’s Guide to Multicultural Parenting
Sasha Vasilyuk, with her novel in progress about a Soviet prisoner of war
Mary Jane White with Marina Tsvetaeva translations
Olga Zilberbourg with stories from her collection Like Water and Other Stories
Josie von Zitzewitz introducing Russophone Literature by Young Writers


and more! Please reach out to puncturedlines [at] gmail.com if you want to be a part of this.

An early reader’s review of Hamid Ismailov’s Of Strangers and Bees in Shelley Fairweather-Vega’s translation

David Chaffetz writes for Asian Review of Books:

“One could characterize the overall effect as Master and Margarita comes to the Uzbek Cultural Center of Queens, NY. The poet’s profusion of words underscores his passion for his experience as a child growing up in the fields of Transoxiana, the insouciance of being a state-sponsored intellectual, the desperation of being a stateless person in rigidly bourgeois Europe.”

A Life at Noon | Slavica Publishers

A fascinating new book, in Shelley Fairweather-Vega’s translation, available for pre-order here.

“Azhigerei is growing up in Soviet Kazakhstan, learning the ancient art of the kuy from his musician father. But with the music comes knowledge about his country, his family, and the past that is at times difficult to bear. Based on the author’s own family history, A Life at Noon provides us a glimpse into a time and place Western literature has rarely seen as the first post-Soviet novel from Kazakhstan to appear in English.”