Harshaneeyam Harshaneeyam

Our guest for this Episode is the renowned Russian Translator Robert Chandler. He delves into the world of the celebrated Russian Writer Teffi, discussing his translation of the recently released short story compilation 'The Time was no More and Essential Stories and Memories' penned by Teffi.
Robert first began learning Russian when he was 15. At 20, he spent a year as a British Council Exchange scholar in Voronezh, the city where Andrey Platonov was born and where Osip Mandelstam was exiled. It was there that he first read these two writers, who have remained precious to him throughout his life.
He has also translated Sappho, Teffi, Alexander Pushkin, Vasily Grossman, the Uzbek novelist Hamid Ismailov and the greatly undervalued poet Lev Ozerov; like Grossman, Ozerov was a Russophone Jew, born in Ukraine. He has edited and co-translated three anthologies for Penguin Classics: of Russian poetry, Russian short stories and Russian poetry. He has also run translation workshops in London and taught for an annual summer school. He has worked as a mentor to younger translators. Before deciding to translate full-time, he worked for eight years as a teacher of the Alexander Technique - a valuable discipline concerning voice, breath and movement.”
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***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.


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​​The guest for this Episode is Brian Robert Moore. He spoke about his stint in Italy as a publisher and Editor and his Translation of the beautiful Short story collection 'You-Bleeding Childhood' written by the great Italian Author Michele Mari.

Brian Robert Moore is a literary translator originally from New York City. His published and forthcoming translations from Italian include Meeting in Positano by Goliarda Sapienza (Other Press), A Silence Shared by Lalla Romano (Pushkin Press), and You, Bleeding Childhood and Verdigris by Michele Mari (And Other Stories). His translations of shorter works have appeared in 3:AM Magazine, Asymptote, Brick, the Nation, the Poetry Review, and elsewhere. His Translation of Michele Mari’s Story, ‘The Soccer Balls of Mr. Kurz,’ has won the O’Henry Prize for Short Story for the year 2023. He also won the 2021 PEN Grant for the English Translation of Italian Literature and was selected for a translation residency at the Casa delle Traduzioni in Rome. After receiving degrees from Brown University (BA in comparative literature and Italian studies) and Trinity College Dublin (MPhil in Irish writing), he worked for several years in Italian publishing, including as an editor of literary fiction in translation.
To Buy 'You-Bleeding Childhood' -
https://shorturl.at/0hjfk
Photo Credit: Daniel Horowitz
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*Contact us - harshaneeyam@gmail.com
***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.


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Jessica Cohen is an independent translator born in England, raised in Israel, and living in Denver. She translates contemporary Hebrew prose and other creative work. In 2017, she shared the Man Booker International Prize with David Grossman for her translation of A Horse Walks Into a Bar. She has also translated works by major Israeli writers including Amos Oz, Etgar Keret, Ronit Matalon and Maya Arad, and by filmmakers Ari Folman and Nadav Lapid. She is the recipient of a National Endowment for the Arts fellowship in translation, and a Guggenheim Fellowship. Cohen works with the Authors Guild and the American Literary Translators Association to advocate for literary translators’ recognition, rights, and working conditions.
She spoke about Hebrew Literature, the Authors Guild and working with David Grossman, the famous Israeli Author in this episode.
Link to the wonderful Talk by Jessica Cohen about Translator as Editor -
https://www.youtube.com/watch?v=44nzLroK0iU&t=1748s
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*Contact us - harshaneeyam@gmail.com
***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.


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మూలం : మికేలి మరి ‘ఇటాలియన్’ లో రాసి, బ్రైన్ రాబర్ట్ మూర్ ఇంగ్లీష్ లోకి అనువదించిన ‘The Black Arrow’
‘ఆ మధ్యాహ్నం, వసంత కాలపు ఆఖరిరోజుల్లో, ఒక అరుదైన సమయాన దుర్గపు బురుజు నుంచి ఘంటారావం మొదలైంది.’  
‘ఒక మధ్యాహ్నం, వసంతకాలం ఇంక ముగిసిపోతోందనగా, ఆ అసాధారణ సమయాన కోట బురుజు నుంచి ఘంటానాదం విన్పించింది.’

మా అమ్మమ్మ వాళ్ళింట్లోని లైబ్రరీలో, ఏ పుస్తకం చేతిలోకి తీసుకోవాలా అని ఆలోచిస్తూ ఒక రోజంతా అలా అలమరల ఎదురుగా నిలుచుండిపోయాను. ప్రతి వేసవి సెలవుల్లో నేను చదివే బుట్టెడు పాత బొమ్మల పుస్తకాలు గత నెలరోజుల్లో చదివేసాను. నేను ఏదో ఒక పుస్తకం చదవడం మొదలుపెట్టాలనే పట్టుదలతో ఆ రోజు నిద్ర లేచాను. నాకు ఊహ తెల్సినప్పటినించీ వెంటాడుతున్న పుస్తకాల పేర్లన్నీ వరుసగా చదువుకుంటూ వెడుతున్నాను – Littleman, what Now? , What Do you think of America?, And How Green was My valley, విచిత్రమైన పేర్లు… కొన్ని జడిపించి అయోమయానికి గురిచేసినవైతే… కొన్ని విపరీతంగా ఆకర్షించినవి. పేర్ల తర్వాత పేర్లు ; ఏది చేతిలోకి తీసుకోవాలో తెలీక బుర్ర గిర్రున తిరిగేస్తోంది. నా జీవితమంతా చదవబోయే పుస్తకం మీద ఆధారపడినట్టు అక్కడే ఊగిసలాడాను. చివరికి నేనాగిపోయింది అలసట వల్లే తప్ప ఒక స్థిరమైన నిర్ణయానికొచ్చికాదు. ఆఖరికి నా సమస్య మూడు పుస్తకాలకే  పరిమితం కావడానికి వాటి పేర్లు కూడా కారణం అయ్యుండొచ్చు. ఎక్కడో మూలన ఉన్నాయి – కాన్రాడ్ రాసిన ‘Arrow of Gold’, రాబర్ట్ లూయీ స్టీవెన్ సన్ రాసిన ‘ The Black Arrow’ కూపర్ రాసిన ‘White Arrow and Other Stories’. వాటి రచయితల గురించి నాకేమీ తెలీదు కానీ నేనైతే పూర్తిగా ఆ రంగుల మాయాజాలంలో పడిపోయాను. – అప్పటికే చాలా సార్లు చదివిన ‘వైట్ ఫాంగ్’ , ‘బ్లాక్ కోర్సయిర్’ లతో అల్లుకుపోయిన నా తీపి జ్ఞాపకాలు ‘యారో అఫ్ గోల్డ్’ ను ముందుగా వెనక్కి తోసాయి. చివరికి ఏదో దుష్టశక్తి నన్నావహి

The guest for this Episode is Peter Bush. Born in Lincolnshire, UK, He has translated works from Catalan, French, Spanish and Portuguese to English. He spoke about his Translations in Catalan, Prominent authors in Catalan, Translation as an academic Discipline, and his Experience at the British Center for Literary Translation (BCLT).
Bush has been active not only as a translator but also in developing literary translation as an academic discipline by working in the academic world, serving in key literary translation organisations, serving on the editorial boards of literary translation publications, and organising international events and projects.
He was Director of the British Centre for Literary Translation (BCLT) at the University of East Anglia and Professor of Literary Translation at the School of English and American Studies. Bush has held key positions in important literary translation organisations: Literary Translation Committee, International Translators Federation  American Literary Translators Association and Committee for Literary Translation in Higher Education.
Harshaneeyam: Your first book-length translation was in 1986. So tell us about what prompted you to get into translation. 
Peter Bush: I was working in a school in London called Holland Park School, which was a very multilingual school, and I had an advanced class of Spanish, and we'd been reading a book called Campos de Níjar by Juan Goytisolo, and my class comprised students whose grandparents came from Spain or North Africa, and I thought it would interest them because it was written in 1959, and about the poverty their grandparents had been trying to escape from, as well as the Franco dictatorship. They weren't interested! They didn't really respond to the text. So I thought it would be a good idea to do a critical edition with an introduction. And I contacted Juan Goytisolo and he agreed that I could do it. I did it. He liked it. When his autobiography was published in Spain I read it and liked it and thought translating might be a new challenge for me. The suggestion actually came from a fellow teacher, John Lyons, who translates, also from Spanish, but mainly poetry. He's the translator of Ernesto Cardenal.
I started to extend the idea to publishers. Goytisolo told his agent that he wanted me to translate it. And eventually I got a phone call from a publisher, Stephen Pickles at Quartet Books, asking me whether I wanted to translate it. And I said yes. And he asked me to do a 50-page sample because I hadn't published any literary translations. So I did the 50-page sample. And I waited and waited, but didn't get any kind of reply, I thought he must have put it in the rubbish bin. I phoned him one day and said, what about it? He said, oh no, the translation’s fine, we'll be sending you a contract. So that's how it started. Although I signed the contract with Quartet Books, the volume was initially contracted by North Point Press in San Francisco. They did the editing, so my first experience of literary translation was being edited by North American editors. That gave it another interesting twist. This was the initial prompt to get into translation. But if I go back to my childhood, there are various experiences that might have set me up to become a translator. I was born into a rural working-class family, my mother and father spoke non-standard English, which is what I spoke. My first mother tongue, if you like, was non-standard English. And when I went to primary school, I was surprised when my teacher...

In this episode, Senior translator Alex Zucker spoke about his work, Translation contracts and the Czech Author Jachym Topol.
Alex Zucker has translated novels by the Czech authors Magdaléna Platzová, Jáchym Topol, Bianca Bellová, Petra Hůlová, J. R. Pick, Tomáš Zmeškal, Josef Jedlička, Heda Margolius Kovály, Patrik Ouředník, and Miloslava Holubová. He has also Englished stories, plays, subtitles, young adult and children’s books, song lyrics, reportages, essays, poems, philosophy, art history, and an opera.
Apart from translating, he organises, on a volunteer basis, with the National Writers Union and the New York City chapter of SURJ (Showing Up for Racial Justice).
Conversation: 
Harshaneeyam: Welcome, Alex, to Harshaneeyam.
Alex Zucker: Hi, Anil. I am so glad to be here. Thank you for having me. 
Harshaneeyam: Before we move on to your literary journey, translations and all, I follow you on Twitter, and I see that you are very vocal about the current situation in Gaza. I also read that you worked for a human rights organisation earlier.
Alex Zucker: Yes, of course. For about five years, I was the communications officer for a genocide prevention organisation called the Auschwitz Institute for Peace and Reconciliation, AIPR. Now, as a communications officer, I was always a little bit disturbed at our name, because actually we had nothing to do with peace and reconciliation. We were working in genocide prevention. But they’ve since changed their name, by the way. But [that was] after I left. This was a small organisation, about five staff people based in New York City, doing education and training for mid-level government officers in genocide prevention. The idea of the organisation was that, all too often in history, there are government leaders whose countries are engaging in atrocities that are not quite maybe yet at genocide, or [actually] genocide, and of course there can be resistance from outside the government, [but] unless the government decides to stop it, it’s not going to stop. So the idea of [AIPR] was if they could get to these mid-level government officials, those people would rise up [through the ranks] and become the leaders of their country, and they would be people committed to preventing genocide. I want to say also that by prevention, what we meant was not military intervention. That’s stopping, maybe, a genocide in progress, but preventing meaning that it never happens in the first place. Also, keeping in mind that genocide, as people have been pointing out in relation to the situation in Gaza, but as in any genocide, it doesn’t necessarily involve killing, right? It can be preventing births within a group, any kind of creation of conditions that make it impossible for a group to survive. The key is that the intention is to destroy the group as such. So it has to be focused on a group of people, not just individuals. Having worked in that organisation for five years, I read a lot about genocide historically. I also was following very closely many genocides that were happening in the world at that time. For instance, in Myanmar, in the Democratic Republic of Congo, which is happening again now, in Sudan, that was happening the first time back then. I think the reason that I feel compelled to speak up about Gaza is because the genocide is being perpetrated by a state, Israel, that gets a huge amount of support from the government that I pay taxes to. To me, that’s a very straightforward moral and ethical equation. 95 per cent of the aid that the U.S. sends to Israel is military, right? Russia’s invasion of Ukraine, now the second time, two years ago, and probably committing genocide there as well, but none of my money goes to Russia, so I don’t feel responsible [for that]. I mean, it’s not that I don’t care about what’s happening to Ukrainians, but as a human...