Marian Schwartz has translated over sixty volumes of Russian classic and contemporary fiction, history, biography, criticism, and fine art. She is the principal English translator of the works of Nina Berberova and translated the New York Times’ bestseller The Last Tsar, by Edvard Radzinsky, as well as classics by Mikhail Bulgakov, Ivan Goncharov, Yuri Olesha, and Mikhail Lermontov. Her most recent publications are Leo Tolstoy's Anna Karenina, Andrei Gelasimov's Rachel, Daria Wilke's Playing a Part, and half the stories in Mikhail Shishkin's Calligraphy Lesson: The Collected Stories. She is a past president of the American Literary Translators Association and the recipient of two National Endowment for the Arts translation fellowships, as well as the 2014 Read Russia Prize for Contemporary Russian Literature.
At their annual banquet last night, the Texas Institute of Letters gave me the Soeurette Diehl Frasier Award for Best Translation for my translation of Anna Karenina. It's a great honor to be recognized by writers this smart, inquisitive, and accomplished.
Texas, with its large and increasing numbers of readers, writers, and translators from all over the world, is fertile ground for new attention to be brought to international literature. Judging from last night's comments, I can say with certainty that some serious conversations lie ahead.
My thanks once again, to the Institute for Literary Translation in Moscow, a nonprofit organization whose primary goal is the promotion of Russian literature around the world, Without their grant, this book would not have been possible.
The Texas Institute of Letters has named my translation of Anna Karenina a finalist for the Soeurette Diehl Fraser Award for Best Translation of a Book.
My fine co-finalists are Travis Sorenson, The Milli Vanilli Condition: Essays on Culture in the New Millennium by Eduardo Espina (Arte Público Press) and Nicolas Kanellos, When Mexico Recaptures Texas: Essays by Carmen Boullosa (Arte Público Press).
The Texas Institute of Letters' annual awards banquet will take place on Saturday, April 16, at the Bullock Texas State History Museum in Austin.
TIL is the state's oldest literary organization and will be observing its 80th anniversary at the event. TIL awards are accompanied by cash prizes totaling approximately $22,000.
Miranda July is a filmmaker, artist, and writer. Her most recent work is The First Bad Man, a novel. For his bookshop and website One Grand Books, editor Aaron Hicklin asked July to name the ten books she'd take with her if she were marooned on a desert island. On March 11, 2016, her list, "My Bookshelf, Myself," ran in the New York Times Style Magazine and included the brilliant choice of Nina Berberova's The Tattered Cloak and Other Stories, which was first published, in her lifetime, in hardback by Alfred A. Knopf and in paperback by Vintage. Subsequently, this volume and five others became part of the brilliant New Directions catalog and remains very much in print.
For the story of how the title story acquired its title, you can read my essay at Words Without Borders, "The Tattered Cloak: The Story of the Title," which illustrates just how convoluted the path to a title can be.
The Tattered Cloak and Other Stories corresponds roughly to Berberova's collection Облегчение участи [Sentence Commuted]--which Berberova considered her finest fiction.
The Culture Trip has posted Varia Fedko-Blake's annotated list of the twelve Russian must-reads--and they are all, indeed, must-reads, including Victor Pelevin's Omon Ra and Andrey Platonov's Foundation Pit. I was delighted to see that she included two books in my translation as well, Yuri Olesha's Envy and Mikhail Shishkin's Maidenhair. One quibble, though: by most definitions, more than one of these books are anything but "contemporary." Envy was written in 1927 and The Foundation Pit in 1930, though the latter wasn't published until 1987, due to Soviet censorship. Strictly contemporary or not, it's a bang-up list, an excellent starting place for your adventure in Russian literature.