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Bilingual collection of 32 contemporary Russian poets writing in the tumult of the 1990s.
Russian's political revolution of 1990 set off a cultural earthquake of unprecedented impact. But there were tremors four years before. The whole country saw the cracks starting to appear which eventually resulted in the overthrow of the old system, and the collapse of the confining roofs of direction and repression. This anthology shows how a new generation of Russian poets responded first to that evolving cultural shift and then to the difficult freedoms of a new era. No longer constrained by bureaucracy or ideology, these writers are producing a new literature of great energy and diversity. Working in styles ranging from traditional to avant-garde to postmodern, they depict the cascading changes in Russian life and culture - through the most intimate details of private lives to the larger images of a nation forging a new path for itself. Russian-English bilingual edition. The book includes work by over 30 poets, with facing English versions by some of the most distinguished translators from Britain and America. The poets include Gennady Aygi, Bella Akhmadulina, Mikhail Aizenberg, Tatiana Bek, Dimitry Bobyshev, Bella Dizhur, Arkadii Dragomoshenko, Sergey Gandlevsky, Elena Ignatova, Fazil Iskander, Nina Iskrenko, Bakhyt Kenjeev, Viktor Krivulin, Aleksandr Kushner, Yunna Morits, Vsevolod Nekrasov, Olesia Nikolaeva, Bulat Okudzhava, Olga Popova, Dmitry Aleksandrovich Prigov, Irina Ratushinskaya, Evgeny Rein, Genrikh Sapgir, Olga Sedakova, Tatiana Shcherbina, Elena Shvarts, Viktor Sosnora, Sergey Stratanovsky and Mikhail Yeryomin.
Finalist for the Chicago Review of Books Fiction Award, Dan Chaon's Best of 2017 pick in Publishers Weekly, one of Vol. 1 Brooklyn's Best Books of 2017, a BOMB Magazine "Looking Back on 2017: Literature" Pick, and one of Vulture's 10 Best Thriller Books of 2017. Jac Jemc's The Grip of It is a chilling literary horror novel about a young couple haunted by their newly purchased home Touring their prospective suburban home, Julie and James are stopped by a noise. Deep and vibrating, like throat singing. Ancient, husky, and rasping, but underwater. “That’s just the house settling,” the real estate agent assures them with a smile. He is wrong. The move—prompted by James’s penchant for gambling and his general inability to keep his impulses in check—is quick and seamless; both Julie and James are happy to start afresh. But this house, which sits between a lake and a forest, has its own plans for the unsuspecting couple. As Julie and James try to establish a sense of normalcy, the home and its surrounding terrain become the locus of increasingly strange happenings. The framework— claustrophobic, riddled with hidden rooms within rooms—becomes unrecognizable, decaying before their eyes. Stains are animated on the wall—contracting, expanding—and map themselves onto Julie’s body in the form of painful, grisly bruises. Like the house that torments the troubled married couple living within its walls, The Grip of It oozes with palpable terror and skin-prickling dread. Its architect, Jac Jemc, meticulously traces Julie and James’s unsettling journey through the depths of their new home as they fight to free themselves from its crushing grip.
One of the first Kazakhstani women poets to gain international attention, Tazhi offers incisive and intimate observations in these seemingly spare poems that "pour out a little from an overflowing heart."
Three of the strongest voices of the "Babylon Generation," named for the Russian journal that began publishing their work
Few of Andrei Sen-Senkov's patients and colleagues know of his status as one of Russia's better-known contemporary poets, but he doesn't lose much sleep over this. Indeed, in person Sen-Senkov exhibits none of the pathos of the Inspired Lyricist. He is just as likely to complain about the weather, bemoan the latest political or natural disaster, or exclaim breathlessly over a newly discovered jazz musician as he is to discuss poetry. And when you read his poems, it all makes sense: for Sen-Senkov, anything can be poetry, everything is poetry. Born in 1968 in Dushanbe (now capital of Tajikistan), Sen-Senkov moved to central Russia following the break-up of the Soviet Union. He moved to Moscow in the beginning of the 2000s and joined the city's lively literary scene, although he works primarily as a gynecologist. His involvement in literary life has been as eclectic and wide-ranging as his choice of subjects: a tireless advocate of artistic innovation, Sen-Senkov participates in events devoted to visual poetry, sound poetry, video poetry, and other multidisciplinary endeavors, as well as traditional poetry readings. Sen-Senkov's poetry comes across easily and well in translation. Some of his imaginative leaps are more obscure than others, but this only increases the pleasure gained from following them. As a poet he is anti-hermetic--he writes to be understood, and he is generous in sharing his observations. Translators and English-language readers alike can delight in the fact that the intuitive logic of his imagination essentially transcends linguistic boundaries.
Valentina Polukhina is professor emeritus at Keele University. She specializes in modern Russian poetry and is the author of several major studies of Joseph Brodsky and editor of bilingual collections of the poetry of Olga Sedakova, Dmitry Prigov, and Evegeny Rein. Daniel Weissbort is cofounder, along with Ted Hughes, and former editor of Modern Poetry in Translation, professor emeritus at the University of Iowa, and honorary professor at the Centre for Translation and Comparative Cultural Studies at the University of Warwick. Co-editor of Twentieth-Century Russian Poetry (Iowa 1992), he is also the translator of more than a dozen books, editor of numerous anthologies, and author of many collections of his own poetry. His forthcoming books include a historical reader on translation theory, a book on Ted Hughes and translation, and an edited collection of selected translations of Hughes.
The canon of Russian poetry has been reshaped since the fall of the Soviet Union. A multi-authored study of changing cultural memory and identity, this revisionary work charts Russia’s shifting relationship to its own literature in the face of social upheaval. Literary canon and national identity are inextricably tied together, the composition of a canon being the attempt to single out those literary works that best express a nation’s culture. This process is, of course, fluid and subject to significant shifts, particularly at times of epochal change. This volume explores changes in the canon of twentieth-century Russian poetry from the 1991 collapse of the Soviet Union to the end of Putin’s second term as Russian President in 2008. In the wake of major institutional changes, such as the abolition of state censorship and the introduction of a market economy, the way was open for wholesale reinterpretation of twentieth-century poets such as Iosif Brodskii, Anna Akhmatova and Osip Mandel′shtam, their works and their lives. In the last twenty years many critics have discussed the possibility of various coexisting canons rooted in official and non-official literature and suggested replacing the term "Soviet literature" with a new definition – "Russian literature of the Soviet period". Contributions to this volume explore the multiple factors involved in reshaping the canon, understood as a body of literary texts given exemplary or representative status as "classics". Among factors which may influence the composition of the canon are educational institutions, competing views of scholars and critics, including figures outside Russia, and the self-canonising activity of poets themselves. Canon revision further reflects contemporary concerns with the destabilising effects of emigration and the internet, and the desire to reconnect with pre-revolutionary cultural traditions through a narrative of the past which foregrounds continuity. Despite persistent nostalgic yearnings in some quarters for a single canon, the current situation is defiantly diverse, balancing both the Soviet literary tradition and the parallel contemporaneous literary worlds of the emigration and the underground. Required reading for students, teachers and lovers of Russian literature, Twentieth-Century Russian Poetry brings our understanding of post-Soviet Russia up to date.
This book, written by a team of experts from many countries, provides a comprehensive account of the ways in which translation has brought the major literature of the world into English-speaking culture. Part I discusses theoretical issues and gives an overview of the history of translation into English. Part II, the bulk of the work, arranged by language of origin, offers critical discussions, with bibliographies, of the translation history of specific texts (e.g. the Koran, the Kalevala), authors (e.g. Lucretius, Dostoevsky), genres (e.g. Chinese poetry, twentieth-century Italian prose) and national literatures (e.g. Hungarian, Afrikaans).
ndr Frogmorton is an Earth Mage on long range reconnaissance when he lands a bit too close to a black hole. Angel his sentient ship computer dives into the gravity well in an attempt to slingshot back out and transits to an alternative universe, they arrive in an area adjacent to a deep space trade route which obviously goes somewhere. They set up a forward base on a convenient asteroid and monitor the trade rote. One day while monitoring they observe a vessel acting suspiciously, and eventually identify that it has attacked a vessel as it enters space on the trade route, they assume that this is not appropriate conduct and go to the assistance of the vessel. After taking out the attacker they identify six survivors in the aft compartment, they haul the hulk clear of the vessel and transfer the survivor to provide them with medical aid. Whilst they are providing the aid ndr is able to thought read them to acquire information on their system and its language; which allows Angel to become reasonably conversant with the structure of the language. They also discover that the survivors were captives held hostage on the vessel to ensure it had not been sabotaged. ndr recruits them as base staff and angel contacts the vessel which turns out to be a tube runner carrying passengers in transit from the Faal system to the Clondone system. They inform the captain that they are about to tow the hulk back to their base and will return later to see if he needs further assistance. Once they have and installed their new staff the Faal agree to see if they can do provisional repairs on the vessel and improve the base whilst ndr returns to assist the tube runner. When ndr arrives back he identifies that they need a tow back to their port of origin in Faal system which ndr agrees to provide. When he finally enters Terminus space (the Faal port of origin) he is intercepted by Geet- tem-fin a Faal Mage on patrol guarding the entry point. Angel rapidly establishes contact with Geet-tems inboard sentient and establishes that it is also female personality as is its Bio; Angel and Faal-doe hit it of big time, and patch Geet-tem through to ndr; once it has been established that they are both Mages they agree to mind link and ndr explains the situation to Geet-tem who promptly arranges backup and clears him to tow the Runner in. Once they have reached their rendezvous with the Med ship the Taan (medics) request access to the re.gen to treat persons injured in the attack, ndr accompanied by Geet-tem tow the runner to parking orbit at Terminus Space Port where personal can be evacuated. On the way in they are met by the Ccin pop news vid crews and ndr claims that he is an Earth system salvage operator, the Ccin are suspicious about this but they get away with it. Once the passengers are disembarked ndr and Geet-tem go down to Space Port by Boat leaving Faal doe and Angel in orbit. ndr clears things with Admiral Bel-tam-den the Bel Fleet commander Terminus, and they stay at the Mage centre overnight. The Following day Geet-tem takes ndr to Prime centre to meet the High Mage and Geet-tem is detailed off to brief ndr on Faal System while the High Mage clears things with Faal Prime Council They clear an office and lecture room with the duty Aal (administrator) and then to go through basic readers. By the time they have achieved this it is the end of working day and they retire to their rooms to prepare for evening meal. When it is time Geet-tem collects ndr and they head for the duty bar to join the other Mages at base for evening social and introduce ndr to them when they arrive at the Bar they greet the other mages and Geet-tem orders her usual Fizz-bomb which is her usual drink ndr follows suit without realising that Fizz-bombs are lethal which results in him becoming slightly tipsy before anybody realizes that he is not acquainted with Faal social liquids, to the consternation of Geet-tem, and he is t