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Nikolai Nikolaevich and Camouflage: Two Novels (Russian Library)
Kostenfreier Download Nikolai Nikolaevich and Camouflage: Two Novels (Russian Library)
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Pressestimmen
Forget old myths about censored, obedient Soviet citizens, and meet Aleshkovsky's wildly enterprising and emphatically free-thinking protagonists who don't hesitate to use colorful language to make a point about body politics, the scientific use of semen, and other absurdities of modern life.--Yvonne Howell, University of RichmondYuz Aleshkovsky is absolutely brilliant. These outstanding English translations of two of his early works offer readers a chance to encounter his idiosyncratic, occasionally profane, and thoroughly remarkable voice.--Derek C. Maus, State University of New York at PotsdamCompletely irreverent -- in the best possible way. Underneath the biting satire and the unrelenting hilarity, Yuz Aleshkovsky's rapid-fire prose reveals intricate insights into late Soviet politics, culture, science, and daily life. The deeply problematic narrators of both novellas will introduce you to a Soviet Union you hadn't suspected existed.--Michael Gordin, Princeton UniversityRescued from the literary underground, these two historical novellas provide a coarse satirical insight into post-World War II Soviet dissatisfaction. Aleshkovsky emigrated from the Soviet Union in 1979 as an infamous writer of imaginative dissident fiction. . . . Through his two scurrilous antiheroes, Aleshkovsky laughs at Russian society from the gutters of the Soviet underworld.--Kirkus ReviewsJoseph Brodsky once noted that Aleshkovsky had a Mozartian ear for the Russian language, and Nikolai Nikolaevich (1970), his first novel, as well as Camouflage (1978), his fourth - written the year before the author emigrated permanently to the US - are indeed virtuoso performances. . . . Staying faithful to Aleshkovsky's foul-mouthed muse, White's translation, edited by Fusso, mines the rich muck of anglophone cussing with evident glee, and the effect is delightful.--Boris Dralyuk "Times Literary Supplement "
Über den Autor und weitere Mitwirkende
Yuz Aleshkovsky was born in 1929 in Krasnoyarsk and grew up in Moscow. He served in the Soviet navy and was imprisoned from 1950 to 1953 for “violating discipline.” He published children’s books but became best known for his songs and novels circulated in samizdat before he emigrated to the United States in 1979. His works in English include The Hand (1989) and Kangaroo (1999).Duffield White is professor emeritus of Russian, East European, and Eurasian studies at Wesleyan University. He is the translator of Tolstoi in the Sixties by Boris Eikhenbaum (1982).Susanne Fusso is Marcus L. Taft Professor of Modern Languages and professor of Russian, East European, and Eurasian studies at Wesleyan University. She is the translator of Trepanation of the Skull by Sergey Gandlevsky (2014).
Produktinformation
Taschenbuch: 202 Seiten
Verlag: Columbia Univers. Press (11. Juni 2019)
Sprache: Englisch
ISBN-10: 0231189672
ISBN-13: 978-0231189675
Größe und/oder Gewicht:
12,7 x 1 x 20,3 cm
Durchschnittliche Kundenbewertung:
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Amazon Bestseller-Rang:
Nr. 755.483 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Oh dear. It's difficult to rate a book (a pair of novels, as it were) like this, because you don't want to tarnish the work that went into it by the folks who aren't the author. Let's get to them first.First, the author of the broad introduction deserves special mention. The "subtleties of Russian obscenity" are expressed in great detail and at great length, explained to grease the skids for what the reader was about to encounter. No amount of honking the horn or flashing the brights, however, could prepare the reader for these novels. Not sure who the author of this introduction is - it's "unsigned," but I suspect the words are those of the editor, Susanne Fusso. It's a shame that the piece went without offering the name of the writer, because it is seriously a brilliant piece of work on its own.The translator, too, should be given a sincere round of applause for what had to be a taxing effort. The amount of coarse language, prison and military slang, and shabby (even for the 1970s) jokes and puns would have made a lesser translator just walk away. But Duffield White attacked the task (with help duly noted in the Acknowledgments section) with aplomb. Some of the translations will appear clunky, derivative of the much taunted style of Constance Garnett at times, but that has nothing to do with White and everything to do with Yuz Aleshkovsky, the author of these works.And yes, that brings us to Aleshkovsky himself. I appreciate his writing, I really do. I also appreciate what he brought to an otherwise polished era of Soviet writing. But let me put it bluntly (and why not?) - simply because you are the groundbreaker when it comes to peppering your work with expletives doesn't mean that every third line (I'm not exaggerating) requires vulgarities to describe bodily functions, sexual organs, or the act of sexual congress itself. It becomes tiring very quickly. And the jokes were probably quite a hit a) in their time, and b) among Russian speakers in c) the Soviet Union. But they fall tremendously flat after the 40-50 years since they were first concocted.In Aleshkovsky's literary world, everything is not only a grostesquery, it is defecating on the reader's hands and face from start to finish. At least in these novels - his wonderful "Kangaroo" was a brilliant piece of satire, and didn't rely anywhere near as heavily on this level of depravity. It's a shame; I read these books and wanted very much to fall in love with them. Quite the opposite occurred.
A reflection of the mind of a writer in the closed Soviet system. Not a propaganda piece by a repressive government but the apathy of the people caught in the system that they are too tired to fight.
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