Friedrich Chernyshev (b. 1989) studied at the Donetsk Medical University in Ukraine and currently lives in Kiev. He is an LGBTQI activist and coordinates the transgender program for Insight, a Ukrainian LGBT community organization. His translations from German and Ukrainian have been appearing since 2013 in TextOnly, Air (Vozdukh), and elsewhere. His own poems were first published in the gender issue of ’Nother Man – ’Nother Woman (Yshsho Odin — Yshsho Odna) of Almaty, Kazakhstan. You can find his work on textonly.ru, litkarta.ru, and polutona.ru, and you can read (in Russian) about his coming out on upogau.org.
These poems belong to the latest period of Serhiy Zhadan's body of work. As the poet stated a few years ago, his oeuvre may be divided into two parts: 1) work written before the year 2014; and, 2) work written after 2014, the year war broke out in Ukraine. These poems deal with the eternal questions (and quests): home, exile, solitude, love, and faith. These poems also demonstrate unpredictable interactions between people and their native realms. This might be of interest to those who study how poetry observes and mirrors the shifts within a society going through very challenging and, at times, life-changing circumstances, but offers solace as well.
- John Hennessy and Ostap Kin
Poetry (excerpts) | Ukraine | Yiddish
March, 2018The poems featured here are excerpts from Debora Vogel’s collection Day Figures (1930), comprised of 68 poems in total, arranged into four smaller collections: Rectangles (1924), Houses and Streets (1926), Weary Dresses (1925-1929), and Tin (1929).
The difficulty in translating these pieces lies in the fact that Vogel’s idiom is visual--she “paints” for her reader in a manner similar to Picasso, El Lissitzky, or Fernand Leger. Her cityscapes are filled with geometrical figures, colors, and numbers that are frequently repeated. Repetition, stark minimalism in vocabulary, and experimentation with syntax and punctuation are distinctive qualities of Vogel’s style.
At times certain words are repeated incessantly (“sticky,” “renunciation”), the reiteration of word combinations is identical (“sticky smell”), at other times these are slightly transformed syntactically, to underscore the significance of changes that occur even with the slightest modifications. This poses a challenge, since Vogel insists on a certain glossary that does not always allow for diversification. The synonyms, especially for adjectives in epithets, need to be chosen carefully: they cannot be too extravagant, and have to be limited. The approach to punctuation has to be balanced. At times the punctuation needs to be domesticated, at other times preserved, in order to keep the strangeness of the text. Vogel utilizes the colon in a different way than is accepted in English usage; the period is used when you might prefer a comma; and the comma is used when you would logically expect a period. Some punctuation marks, such as question marks, are absent. The word order needs to be rearranged at times, to reflect the English word order of a sentence, with the subject being in the first position, the verb in the second. Vogel’s articles in Yiddish do not always make sense in English, so I worked on them as well.
- Anastasiya Lyubas
Alexander Kabanov was born in 1968 in Kherson, Ukraine and resides now in Kyiv. A 1992 graduate of the School of Journalism of Kyiv State University and the author of nine books of poetry and numerous publications in major Russian literary journals, Kabanov is said to be one of the leading poets of his generation. He has been awarded a number of prestigious literary prizes, among them the Russian Prize, International Voloshin Prize, Anthologia Prize, and the Novy Mir Literary Magazine Award for the best poetry publication of the year. His poems have been translated into German, English, Dutch, Ukrainian, Kazakh, and other languages. Since 2005, Kabanov has been the chief editor of the journal of contemporary culture SHO ("WHAT") and coordinator of the International poetry festival Kyivsky Lavry (Kyiv Laurels).
Novel (excerpt) | Ukraine | Ukrainian
August, 2010Natalka Sniadanko is one of the most vibrant voices in Eastern Europe today. Translated into German, Polish, Russian, and Spanish, Sniadanko is also a translator herself, with such credits as Czesław Miłosz, Günter Grass, and Franz Kafka under her belt. She has received several prestigiuos residencies and fellowships in both Poland and Germany, and her work is marked by her travels. Ever sharp, ever sensitive, Sniadanko possesses a wit and perspicacity that render each of her sentences sparkling and all of her interests contagious. Her first novel, The Passion Collection, funny and touching by turn, tells the story of a young Ukrainian woman falling in love with philology while also experiencing her first crushes and first love affairs. She has published a total of four books in Ukraine since that first, in 2001, and has appeared widely in literary journals and newspapers across Central Europe. At still under forty years old, Sniadanko is a writer to watch and to savor.
The Brooklyn Rail welcomes you to our web-exclusive section InTranslation, where we feature unpublished translations of fiction, nonfiction, poetry, and dramatic writing. Published since April 2007, InTranslation is a venue for outstanding work in translation and a resource for translators, authors, editors, and publishers seeking to collaborate.
We seek exceptional unpublished English translations from all languages.
Fiction, Nonfiction, and Poetry: Manuscripts of no longer than 20 pages (double-spaced).
Plays: Manuscripts of no longer than 30 pages (in left-justified format).