• Marian Schwartz is a prize-winning translator of Russian 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 book translations are Andrei Gelasimov's Thirst (AmazonCrossing), Valery Panyushkin's Twelve Who Don't Agree (Europa Editions), and Olga Slavnikova's 2017 (Overlook Press). Her translations of Mikhail Bulgakov's White Guard and Ivan Goncharov’s Oblomov are now out in paperback from Yale University Press. She is the recipient of two National Endowment for the Arts translation fellowships and is a past president of the American Literary Translators Association.

Catch Me Live

I’m excited about two speaking dates I have coming up later this month.

On Monday, October 26th, I’ll be giving a Russian Science Fiction Reading at Swarthmore College, reading from my translation of Olga Slavnikova’s 2017. For time and location, click here.

Later that same week, on Thursday, October 28th, I’ll be giving the 12th Annual Marilyn Gaddis Rose Lecture at the annual conference of the American Translators Association.  The Literary Division has asked me to speak about “The Literary Translator and U.S. Publishing”—a subject dear to my heart.  The conference is being held at the Hyatt Regency in Denver. For time and location, click here.

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Russian Science Fiction Reading at Swarthmore

If you happen to be in Philadelphia next month, please join me on October 25 at Swarthmore College when I do a reading, presented by the Russian section of the Department of Modern Languages and Literatures, from my translation of Olga Slavnikova’s novel, 2017. For details on where and when, click here.

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“Intense Lyricism” of Slavnikova’s 2017

Karen Vanuska, in her “writer’s journal of her reading and writing life,” has posted a flattering review of my translation of Olga Slavnikova’s 2017:

It wouldn’t be summer if I didn’t pick up a Russian novel.  Though I received my review copy of 2017 by Olga Slavnikova back in March, I decided to save it for summer.  Instead of dipping my brain into Lit  Light, I prefer the dark, soulfulness of Russian Lit during the blazing heat (or cool fog) of summer. (There must be a support group for people like me).
  
My favorite Russian translator, Marian Schwartz, did the translation for this 2006 Book prize winning novel.  True to form, she lets the Russian language penetrate each English line.  This leads to moments of intense lyricism …

To read the rest, click here.

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Slavnikova’s 2017 at barnesandnoblereview.com

image thumb9 Slavnikova’s 2017 at barnesandnoblereview.com
Anna Mundow gives a glowing review of my translation of Olga Slavnikova’s 2017 at barnesandnoblereview.com:

Olga Slavnikova’s profound new novel 2017 evokes, with uncanny vividness, a Russia of the near-future in which a character reasonably wonders  “…how much about human beings is human?” . . .

To read the rest, click here.

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Publishers Weekly Gives Moscow Noir a Star

image thumb8 Publishers Weekly Gives Moscow Noir a Star PW has given Moscow Noir (Akashic Books) a starred review and mentions Anuchkin’s “Field of a Thousand Corpses,” one of several I translated for the anthology:

As literary agents Smirnova and Goumen note in their introduction to this excellent entry in Akashic's noir series, “A noir tradition does not yet really exist in Russia.” Still, they have managed to find 14 authors whose dark take on humanity would be familiar to the likes of Cornell Woolrich and Jim Thompson. Story after story offers haunting images: a husband interrupts his bludgeoning murder of his wife to sing their daughter back to sleep (Ludmilla Petrushevskaya's “In the New Development”); a cop eats an apple that fell from the shaven head of a drunken deputy chief detective just shot to death, who'd been playing William Tell (Alexander Anuchkin's “Field of a Thousand Corpses”). In Anna Starobinets's “The Mercy Bus,” a taut tale with a wicked bite, a con man poses as one of Moscow's walking wounded to make his getaway from a charity ball he engineered in order to rip off its patrons. This volume's strength bodes well for a second anthology from these able editors showcasing Russian talents.

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Behind the Line

Thanks to Kyle Semmel of the Writer’s Center in Bethesda, Maryland, who has posted an interview with me about Russian literature, Olga Slavnikova’s 2017, and how I translate.

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