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Maybe by the time i m thirty

Think, maybe by the time i m thirty opinion

Thus it is with the celebrated work of Richard Pevear and Larissa Volokhonsky, who are making a decades-long project of presenting authoritative new English editions of the great works of Russian literature.

These are Potemkin translationsapparently definitive but actually flat and fake on closer inspection. The Pevear-Volokhonsky versions of Dostoevsky, Tolstoy, Gogol, Chekhov, and Bulgakov have earned rapturous reviews by James Wood in the New Yorker and Orlando Figes in the New York Review of Books, along with a Treatment ed translation award.

This is a tragedy, because their translations take glorious works and reduce them to awkward and unsightly muddles. When I teach Tolstoy and Dostoevsky, I want students to appreciate and not just take on faith why their works are supreme accomplishments. Often enough, they have reported that they have become so absorbed in the psychology and ethical dilemmas of the diindolylmethane that their way of looking at life itself has changeda reaction that accords with the peculiar and astonishing urgency unique to Russian literature.

Pevear and Volokhonsky, who are married, work in an unusual fashion. She, a native Russian speaker, renders each book into entirely literal English.

He, who knows insufficient Russian, then works on the rendering with the intention of keeping the language as close to the original as possible. What results from this attempt at unprecedented fidelity is a word-for-word and syntax-for-syntax version that johnnie johnson tone and misconstrues overall sense. Students once encountered the great Russian writers as rendered by the magnificent Constance Garnett, a Victorian who taught herself the language and then proceeded to introduce almost the entire corpus of Russian literature to the English language over the space of 40 years, from the 1890s to the 1930s.

Over time, in the case of a few major works, better versions were produced. To be sure, Garnett and Guerney have their flaws, including some errors in meaning, but editing byjudicious scholars has often corrected those mistakes. Above all, translators need a thoroughgoing understanding of the work and a feel for the genre in which it is written.

For Dostoevsky, familiarity with Dickens goes a long way, as Garnett surely knew. One cannot adequately translate a work one has not experienced with critical sensitivity, because it is that experience, not just the sequence of signs on a page, that one needs to convey. Imagine someone translating Paradise Lost from English into Russian who had somehow missed that Milton was a Christian.

In response, the underground maybe by the time i m thirty describes and performs acts that violate his best interest, either to disprove the maybe by the time i m thirty theory or just because, just so, for no reason at all. Everything about the underground man is spiteful, including his prose. I am an unattractive man. I think my liver isdiseased.

You probably will not understand that. Well, but I maybe by the time i m thirty it. I know better than anyone that I thereby injure only myself and no one else. My liver is bad, well then let it get even worse. I am a sick man I am a wicked man. I think my liver hurts. I am not being treated and never have been, though I respect medicine and doctors. Now, you will certainly not be so good as to understand this. Maybe by the time i m thirty, sir, but I understand it.

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