and to the fact that i became part of the big family of channel one. you yourself touched on the topic of the media exposure of our athletes. why do you think our athletes in other sports are not as media-famous as figure skating athletes? well, firstly, because, probably, after all, figure skating is one of the most popular sports, and the most spectacular, and with uh hmm, probably, such, if we talk about the world level, the most, well, or one of greatest achievements. yes, there is something to be proud of, there is someone to be proud of, because it’s always ours the athletes in this sport are very cool. we've already performed. there are the last yes decades. it happens nicely when he drives, which he is proud of, besides this, now i don’t want to offend anyone. and i hope i won’t offend what i saw. this is my personal experience, and guys figure skating. well, not that they are more erudite, but let’s say they are more connected specifically with the media sphere and with art

. it was a great discovery for me that almost all the skaters are very well versed in art , literature, and music. and, apparently, because you skate a large number of programs, including artistic ones. yes, you are very well versed in classical music there. well, cultural education is present in our country , it is not something that is present. it is at a high level, in general, in our cheerful conversation today. there still has to be a fly in the ointment, so let’s talk a little about the suspension of our athletes. e from international competitions. i know it's the same in the artistic field. big problem, how do you cope? how do you artists cope without these international tours may be and where do you draw inspiration for your desire to continue. well, i think they didn’t suffer as much, they didn’t suffer at all compared to the athletes. my heart really bled when i read all this news, because i have no idea. what does it feel like to spend your whole life

working towards your olympic medal? that is, for you this is such a peak. yes, which you climb every day with sweat and blood. you put your life on it, and then you find out one day that you can't perform, that are you suspended or something, but there you perform with some restrictions. i don’t know what people feel, it’s probably some kind of total emptiness and disappointment. not just in sports, in life, in people. this is terrible. this is terrible. and i really wish all those. those who have encountered this, in the end, will still receive some kind of emotional return, yes, from the results that they already have in the future. perhaps reach some other heights, but of course, i think that this is monstrously unfair, because it big sport. this is an honest sport - people who, through their physical labor and talent

, prove every day that they are worthy. and why can't they perform? this is a big question for me, because in my opinion politics and sports. they shouldn’t be connected, i’ve already listened to you, yul thank you very much. i wish that you have only tears of happiness and never any other reasons make you stop smiling with your dazzling smile. i wish you to receive it. what better way to leave. thanks a lot. our guest there was a wonderful singer, tv presenter and former participant in the ice age or anna carlo hello, my name is dmitry bug. i'm the host of a literary podcast with a wonderful name. let them not talk, let them read.

well, there is some kind of order, an order , an imperative, and there is no way to do without it, because this is the time. that for our free time the visual element competes with music, the internet and so on, but it is still necessary to count, so this pathos of the order is always with us, just like in chekhov in chaika remember, this exclamation is people lions, eagles, partridges, here are people lions, eagles, partridges, all living creatures. we address this call to read, read with pleasure today. and i address this call to you, dear interlocutors, on the other side of the screen , along with e.g. my guest today is the writer, translator, editor-in-chief of the foreign literature magazine alexander yakovlevich oligand, hello alexander yakovlevich, you are coming, in our podcast under the heading of the literary profession, after all, your main

bread is a literary translation. or maybe i'm wrong. yes, well, a literary translation. apart from the fact that this literary translation has to change every now and then, then with uh classes at the russian state university for the humanities where i have been a member for uh, for more than 30 years it’s scary to say they’ve been teaching there at the russian state humanitarian university, russia yes, alexander yakovlevich is teaching. what courses? well, i , uh, have a course in literary translation, there are courses on foreign literature from different periods of american literature after 45 , english victorian literature and a course lectures, which are called strictly on ethics and genres. foreign literature, that is , this is a special course, what is it called? it seems like yes, university world, it seems, as is understandable, then you have to change the literary translation with the journal of foreign literature. although here, in general, there is no smell of betrayal,

because, well, that’s what magazines do, but he’s a magazine. he doesn’t publish, just me, he publishes a lot of people, this is not the diary of a writer. yes, a translator's diary. and here you have to be not so much even an author as an editor. how many rows there, but, well, for the last uh, almost 15 years now, we have to change the literary translation. with books like these , literary biographies. this somehow happened very strangely in 2011. i published my first book. completely unaware that i can even be ready and love to write a series, right? well, i really liked it, we’ll talk about it later. well, let 's try to start over, it happens so often. it is very interesting to me. eh, to understand how people come to their main occupation. how

did this happen? um, have you seen yourself in your dreams? a translator already in elementary school? or did it happen? suddenly, how it all happened, you know , it’s hard to say where it all came from. eh, how it happened, but i really remember. at our school, e, not the most sophisticated school, the german language was taught and we were allowed to translate. eh, small texts. your main language was german, yes, or german, i had german. he was very weak at this school. then i even had to study german with a teacher . eh, and we were given small texts and i came across a text about oil production, great small texts. eh, four or five lines are production topics. yes, something like that, something like that, but actually, it was not i who got the text, but our whole

class and our group, and i was amazed that everyone handed in their translation. and i continued to sit and change words. apparently i had something of the same class, but i don’t know that. i thought it was some seventh or eighth grade. but because i somehow liked it, then after some time. i translated uh, the play. eh, no chance of her publish with german, e- no, it was already an english word. it was already english, and it had already been uh, five years at university from german published. of course, just in case, i was completely unprepared to translate from german. i translated this play. it was a play by, uh, nobel laureate harold pinter, a wonderful playwright, and i was completely unaware of the fact that

it was not possible to stage or pass pinter in the early seventies, and at the university it was just a university. i don't think so i didn’t translate anything, but it wasn’t a fool’s translation, and then in general, apart from military translators, i don’t train translators at all. yes, well, we had language classes for quite a long time, the name was there. yes, it’s better , just like at the institute of international relations. yes, and at the university they studied with us, at least in general, they were quite average. so i translated this song of the legend akhmanov there. well, akhmanova did not teach directly. she didn’t come into the audience, i see. so i translated this play and imagine they installed it for themselves. true, they staged it 40 years later, and in what year did you broadcast it at the masovet theater? it was in

73 that they staged garoda, pinter, and so on. it was. although, he is somewhere out there in some basements by some dude. he played there, fortunately. pinter does not require luxurious costumes and scenery and so on. here. eh, well, somehow this all started, and then it had to be interrupted forever, because i was invited in the eightieth year in a very, as they say now, prestigious literary seminar, headed by the famous mary fenolari. there were wonderful translators elena surits. e larisa bespalova in general lurie classics vladimir kharitonov is wonderful and so on. and they gave me stories there. i translated this story. it seemed to me that this was an english writer , contemporary at that time, ngs wilson, i translated this story, changed the title of this story in russian, that is, in english

it was called one way , i don’t remember what it is in russian. i called him differently. it seemed to me that i translated it very dashing and foldable and was completely destroyed during the analysis of this e-rosk, that is, there the stall itself was taught there, the stall itself, so to speak, she was the conductor. and everyone else beat me without consequences, and in general, so to speak, it was , you know, what was called a ban on the profession. i took it this way, and then when the claims, because we had a lot of the same, basically the claim was that i translate no, exactly, that i don’t translate, because just like this, as the author wrote, so and translate to our interlocutors that, in fact, in the russian school of translation there are two traditions: one calls for literalness, at least closer to the text, and each other further, and the other calls for forget that word. i think it's

equivalent. yes, if you translate and everything else is bad, because if you translate poorly close to the text, then you simply cannot be read. and , if you are translating far from the text, then this is your text by boris pasternakash, an absolutely brilliant text, but they are still arguing about whether to use it or try to be completely great on their own. and here, uh, so, this means that in the eightieth year the translator’s path should have been interrupted, but no, after that, that means, i understand, the translator began to get back on his feet a little after that. i began to translate the beat and, in general, as a result , i somehow got involved and translated quite a lot of things and, uh, most of all and most successfully. i was translating in the nineties already, when the fact is that in the seventies and eighties, young translators were treated poorly, they were not trusted, they were only allowed to translate a short story just once. it was like this

hierarchical structure, where even the strength of the editor was not allowed, generally speaking, he did not want to bother with beginner weak translations. they could have given a story, they could have given it twice, when it is surprising how dentists become masters. they don’t just pull their teeth, mannequins, after all. yes, once upon a time, through these, like some stories, the story gradually began to grow. and romanov e, and. uh, here i have, uh, two directions in my translation activity. uh, which are the most interesting to me, which seem to me. it turns out better than everything else. this is a translation of non-fiction, that is, non- fiction and soist journalism. ah, letters, from all this quite recently. i published a book at the publishing house. uh, which is called national prejudice. these are uh letters diaries uh. e own stika

journalism, documentary prose in english literature over the last 500 years. yes, that's great. i published all this much earlier, at different times, but it happened here. that's basically it. this is a collection of your former ones. yes, yes there was such a series. hello progress of foreign artistic journalism documentary law title. there. i had translations, by the way, in the chistotun’s house, which i actually compiled myself and after the word, to which averintsev wonderfully wrote. yeah , we compiled it together with natalya leonid back then. also the legendary sergeevich verintsev, yes, yes, of course, that’s it, and the second direction in my translation activity, which is closer to me than others, is the translation of comic literature, aphorism and all sorts of generic prose, yes, and here, too, it’s not america either, not in england

mainly, but also in america, but also america . just recently, as you know, a two-volume volume of such comic prose came out, separate english and separate american , and i published volumes of english aphorisms and american aphorisms. i translated a lot of this; i translated, of course, a lot of fiction. but still , let’s call these two directions one of them documentary, and the other comic about these two of my strong points. here you really are the master. i can’t even do that right away. eh, i can’t support that, so to speak. but nevertheless, nevertheless. i remembered about and then to all this, i don’t know, maybe i’m anticipating your question to all this. in the eleventh year, the actual books were added. give me a palace, this is

a terrible extravagance. after all, there is a war going on now, we won, not yet. i will be glad if there is a place for me here , a place of a monster, to amuse the children, ah, i need a friend at the palace who hears everything and sees everything, although you won’t see it right away haunted by tragedy. i lost 17 children. i've had miscarriages. beautiful, stop laughing at me, funny prank, really, go back to the kitchen to wash the dishes, because i'm a treacherous creation of the best actress olivia colman. she is my maid.

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more, which means the percentage will definitely come in handy , good returns, son’s future, apply for your card for life. well, let’s return to our conversation once again with the next episode of the literary podcast, it’s called let they don’t say, let them read and i’m dmitry bug, his hosts are talking to a wonderful guest today. this is, uh, translator, writer, biographer and editor-in-chief of the magazine foreign literature, alexander yakovlevich lewernt. it seems to me that in the seventies, eighties and now the relationship.

e, k. e translated literature differs very much, but, because now, theoretically , anything can be translated and translations keep up immediately and correction by anyone is very important, because in the nineties, about which we started talking, e, a revolution took place in literary translation and began to attract young translators. because it was important to be different. yes, it was important to publish the book, to sell it, as soon as possible, not necessarily to translate it well, but to translate it necessarily quickly, necessarily quickly, not always. you can tell by the translation that it’s bad, but, but before my eyes, a huge book by angelica was torn into 10 parts and distributed with ten translators to young people who didn’t really know how to translate there, but he looked, because they had names at least and the editor, how usually you're exaggerating sometimes the editor didn’t look because the editor didn’t have enough time. it was then that

the sad uh revolution of a number of copyrights took place. yes today we have. eh, in the sense of foreign literature. i’ll give my magazine a compliment, perhaps only the editor knows the language of the country’s literature. through which he is the editor, i meant something a little different after all, because mmm. and it’s clear that what you’re talking about, but what i meant was precisely the lack of fish in russian literature in our country. well, there seemed to be a lot in the self-creator. it was then and precisely that’s why the journal of foreign literature was so important and interesting to everyone. this was the main part, dear. let's not offend anyone. and in the new world and in october in the neva , interesting things were also published from time to time. there was a boom all around. uh, there the maltists daniil him, for example, orlova and so on, yes, but still, this uh, was opposed to b folknet. i remember the year 73,

yes, demons in the novels, the black prince is dead, uh, and we can continue and these were books from which, as a rule, were late, relatively speaking, yes previously, there was no window to europe. and now it means it has broken through. now it has appeared, therefore, my idea is so simple that in these very seventies and eighties, we were closer, perhaps, to foreign literature. it was almost my own, i can maybe, uh, argue with you about the advisability, for example, uh, of publishing a novel, a street magazine, because it has already been done, yes, the whole year of eighty-nine, one episode at a time, fortunately there are exactly 12 episodes 12 episodes . yes, and then at the end there are also hmm comments ekaterina evgenieva, who was the jewish council for cultural activities , was not a translator for the director. by the way,

you know, this is now somehow attributed to her. she , uh, did a lot of things; there was no translator. yes, she didn't translate, not a single line. however, she and i collaborated on a translation of joyce’s letter in questions of literature in 1984, how is that? how this appeared is unknown, here you cut me off, it’s really strange, but it’s a fact that she really didn’t translate our beloved katya literally. well, a lot, but look, it was worth printing the novel all year when it was already possible to publish it as a book. well, first of all, there was no book yet. then why don't i do it? well, not for you, yes, probably yes, but she wasn’t there either. and this, of course, greatly attracted readers to the magazines. it's small here. eh, an interlude, as always, in a completely different area. we are transported. it's a cycle. the old book in front of me is not even a book, but a brochure . a thin book that was published in

1952. it is called, as it was written by vasily terkin in response to reader alexander tvardovsky published this little booklet and brochure later. e. d after the end of the war and here, in my opinion, the maximum information that is necessary for the perception of this great book is presented, and a fighter, because here, for example, is tvardov’s answer to readers. i don't mean an angry response. but on the contrary, uh hmm, an answer that cannot be given to every reader, but the secret was very simple, uh, this is a poem, as we remember, written in a four-step trochee, so folkloric, crossing, crossing, bank, the left bank is right and tvardovsky was. uh, simply inundated with letters from readers who corrected him. this poem had such a clear effect of authenticity, and not fiction, just not fiction, that they wrote in tvardovsky

that, uh, in fact, the grater’s name is not vasily viktorov. he serves in a neighboring regiment or whatever you call it. and most importantly, that many readers are trying to continue. yes? uh, where is your turking? where you will find vasily without effort and so on, and there the car was torn in the snow. that is, this is such a hypertext, in fact, yes, in modern language, something like this it turned out that alexander trifonovich svartovsky was one of a whole group or brigade, one might say writers, who were aimed at creating something like this. eh, inspiring. eh, a propaganda work, eh, he was left alone and created a truly great book, in which there is not a word of propaganda. no, not a word of appeal to some abstract values, but there is

this real russian native man who sees a plane and tries to shoot him down with a rifle, because the clock that has stopped is him, and he corrects it. uh, he talks about his past, why do i need an order? i agree to an amazing accurate hit medal. in sympathy, and for those who are at the front, deprived of dialogues, deprived of abstractions. uh, diagrams of a work that truly, uh, overcame its boundaries and was published day after day, week after week, and that’s why this is it. eh, the thin book serves as a wonderful addition to the poem by alexander tvardovsky . well, as always, i tell you, our dear interlocutors, that a paper book is very important , a specific book is very important. like a thing which speaks to us even at the

moment when we read it, of course, this is a text. here it is, like on the internet you can find it in the collected works of such a red color. this is a collection of works, as you and i, of course, remember. but it is very important to remember and know that there is such a blue book that fell on the table of all readers who loved, uh, the war poem by alexander tvardovsky, it’s very important to remember about it and once again turn to the text of this book. well, now let’s return to you again, alexander yakovlevich and let's talk now about your other betrayal. you have already mentioned that you change translations in university classrooms, at least teachers there also translate, right? yes , this is treason, conditionally one couple a week in the russian state humanitarian center. at the university you teach, well, after all, for

our contemporary, what is the biography of the fate of these people. well, perhaps, perhaps, only agatha christie has such a reputation, how to formulate this correctly. well, it’s kind of widely known to a large circle, but it’s also growing with you, maybe somerset is mine. and i’m probably also hiding it. here hmm well, still less than a degree, yes, well, here is a series of such virgence wool fagata christie redyat kiplingset moyem oskartualt francis scott fidgerald or fijikld, as they say, forgiveness henry miller grm green well, i don’t know chaos. but chaos, yes, yes, what prompted you to do it, we have already heard. it's like it's an accident. well yes, in a sense it is an accident. you transferred these people. uh, i translated almost all of them. that is this is a desire to learn more about whose texts

you are translating, perhaps not. you know, this is really what you just said, this is the first thing that comes to mind, but among them among these goals is not necessarily, my favorite authors are you know, i am a very gambling person, and i need more details from this place. that is, this is what this is, this is some kind of attempt, a kind of a kind of attempt , to understand a little-known , bright, fascinating life, to find in this in this life something unexpected for oneself and for others and it’s somehow difficult to vividly try to write about this life in russian, but to say that i choose the authors whom i translated and i ’m interested in writing about them, because i transported them. i can't say that. this is very interesting. but this is a tricky question. maybe he’s not tricky, you decide for yourself, but still

, tons have been written about many of them in english , tons have been written about many of them in english, but not in russian, but russians have been written about them in russian, in principle , very few, for example. look, for example, scary and famous the author is a favorite author, of course, uh, he has a huge audience, ranging from uh , discerning admirers to street readers, so to speak, on the broad, but uh, there was no biography before this temptation to this, and maybe that’s why she is considered one of the most my successful ones, because uh, no one knew how his life worked. and how he lived and with whom he communicated and what were the features of his life. it was all very interesting. this is one side, the other side. i found found in myself. i'll tell you how in confession you want to write yourself

you know, here is a translator, who, all his life, i said, yes, who sits and translates for him apparently arises. i have already delved into something - a complex of some kind of fredism. yes, uh, there appears in my words some kind of complex that really appears that i am translating everything and translating everything that is foreign and alien, give it back. i will write my own, but i can’t write my one hundred percent, therefore, uh , a literary biography is a kind of compromise between the desire to write my own and a literary translation, because after all, like an old man, i don’t just walk around, i hold on to the wall, i hold on to the stick. you see, because a biography gives me a plot, especially such a column of those whom they still know in one way or another, of course, so in a sense it’s like this. now, if i’m expressing myself clearly.

this is a kind of compromise between uh, a literary translator who cannot take a blank sheet of paper and scribble it the way he imagines, perhaps, and at the same time, this is uh hmm an attempt to write something of his own uh-huh but this literary biography. i want to say right away that this is still my own. not really my own still writes about another person. you still write. you are spying, i would use this word in someone else's life yes, yes, yes, yes you are not making it up, so to speak, there is pechorin onegin petrushev verkhovensky. uh-huh and you follow. eh, that is, you spy, follow the rules, like makar, the girl hero of romanov’s, poor people, he likes pushkin but doesn’t like gaulle, who seems to be following me, that’s exactly what it’s all about. something i'm not ready for. apparently, i still have to write my own thing. well,

i’m describing some columns there by the editor-in-chief of a foreign literature magazine . it must be said that i began to write with great pleasure, and such columns were told to me just recently. our new website is very good. yes, very, yes, and everyone says that editors-in-chief write columns on the websites of thick magazines. there’s something you’re not writing, and that means i’ve ripened, strengthened myself, and, in general, began to write. i don’t know how it turns out, but a small age delivers well, that is, it turns out that i have it. i already want to write to me, but i can’t write, so to speak. well, onegin's novel hasn't been invented yet. well, who knows, maybe everything is ahead, but i would like to return not everything, but not in this area. no, well, we won’t and others. inspect. allow yourself one more intimate question: you said that hmm, you don’t love everyone. let's figure it out though. and who is there? loves these cars. yes, there are some of these authors, authors whom i definitely

absolutely love, and who i was either less indifferent to, for example, you will be amazed by agatha christie, i am indifferent to her. and i feel exactly the same way about her. say calmly and wrote. i also wrote her biography out of some excitement. why do they say they love you? that's why good recovery? i can't read detective stories at all. i'll admit it. here i am too and when i took, in addition to crime and punishment. yes, i said, whose editor is in the editorial office or i have a great idea for you, yes, write a book. eh, this would already be the third book. like i say, this is the woman agatha christie because i understand that this is a commercial project. but when you take on peru everything they want to know what she was like. here, especially since there is a certain one. yes, she hid from the world for 2 weeks and so on and so on. well, anyway, back to the one

i love someone. i really love virginia woolf performed by elena suevets. here. you just brought oil to my heart, i definitely love graham greene, he is a wonderful writer. my favorite. yes, you know, perhaps, everything, just like that about i love thundergreen. i'm more reserved. but the wolf is thrown. i love, i once loved her photograph tenderly. do you remember how you just fell in love with this depression for the photo where it looked like? yes, all the frescoes are awesome. yes, yes, unlike this benjane was no longer a lady of the strip. this is absolutely true, right? and even completely, on the contrary, even completely, on the contrary, even completely all this is connected with bloom sber, it’s so much. yes hmm i don't even know what word to choose. identically mysteriously sublime and tragic. it was very simple,

perhaps, to start with this word. yes, yes, yes, absolutely not a person of this world. yes, yes, if it weren’t for her wonderful husband, who looked after her and watched over her, because she had to be watched so that she didn’t end up. yes, yes, if she had not had such a husband as a hyphenated friend, she would have committed suicide much earlier, but look also, what is very important. again, i am addressing not only alexander yakovlevich oligant, but also our interlocutors, because together with you we are talking about literature , it is important not only that foreign literature at some point. well, in a sense, i replaced it in the ruble. uh, russian, since the russian was greatly impoverished due to the fact that something was published abroad. something was written on the table, but something was not allowed to be published, but in many respects the same thing happened abroad, because under the pantheon of foreign literature, which was built before the war, or from the first post-war years, it

was far from adequate, yes , that is , there was no joyce, there was no virginia wools, there was no david herbert died 2 months before she committed suicide. they are at the beginning of 41 they were not in russian except for these fragments in the journal of international literature. eh, there was no lorenz yes , there was no virginia at all. yes, but there were completely different ones, the authors will not offend them, but they are wonderful. yes, in england, in america, in germany , i didn’t like these authors. well, yes, she is all her own from this famous ussr russian point of view. she was guided by our favorite literature, some late victorians, major writers, nothing. you will say, but she said that he left. well

, she didn’t write anything about this at all. uh, the main thing is that how could she love bernard the show when she loved chekhov here is one of the two red uniforms. this is again an aphorism for you , our dear interviews. how can you love, how could she, because she always made it clear that the person was traveling and her pathos was, many of her and read russians. by the way, she even learned a little russian; her circle was an emigrant. e from russia who edited translations of david herbert and taught his wife and her husband a little russian. she was not very successful, but she knew russian literature very well and they are in english in brackets, translations that were not perfect at that time, but through these imperfect translations she assessed the level of tolstoy, chekhov, dostoevsky , turgenev. because russian literature, of course, is for many people.

uh, outstanding authors were a reference point, but i, of course, also lawrence david herbert, of course, well, uh, an unexpected parallel to aris murdoch, who understood russian, which i corresponded with her. i wrote to her in russian. she answered me in english, yes, yes, so i also sinned. e with translation. e in the last book. i have a translation like this. here's the fee plato's treatise. i also like the aris of honey, that is, the predominance of good over other concepts. well, here are the existentialist books. yes, yes, and there is also one crazy book about completely inhuman fertility. yes how many of these novels have you written? at all? it seems like they’re even somehow bad, right? well, there are, especially the shiny ones but the wizard, for example. the second, in my opinion, roman was one of the first to introduce you to creativity. aris murdoch, dear ones. yes, the first

novel for the network. by the way, i never translated it, but i didn’t write it either. this is her first the thing is the first thing, and the second is not a flyer of some other kind, in my opinion, a severed head, but i’m not sure if i pronounce it incorrectly, but even if i gave it, so foreign literature and the translator of foreign literature dealt with a completely special subject. yes, yes, especially the object in front of him, which on the one hand was raised great, the native literature of the steppe wolf. oh, my god , or the black prince was also arrested, not to mention the muslims who, thank god, was in the canon, he, thank god, yes, yes, yes, there was a meeting and they actually wrote huge articles about him. there there was no joseph dnepr and so on joseph his re