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"The wit and daring of his rhymes and phrasing remind me of that old master, Donald Justice, who dazzled us with the elegance of his forms. Dralyuk carries this high style into the 21st century, and I, for one, am thrilled to be in the presence of his marvelous verbal art. Pay attention, readers: a new maestro is in our midst."—Ilya Kaminsky, author of Deaf Republic and Dancing in Odessa "These [poems] are the souvenirs of an almost-vanished glamour, an ethnic, gritty, free-wheeling city, little fantasias encased in rhyme and meter."—Jesse Nathan, McSweeney's My Hollywood and Other Poems is a collection of lyric meditations on the experience of émigrés in Los Angeles. In forms ranging from ballades to villanelles to Onegin sonnets, the poems pursue the sublime in a tarnished landscape, seek continuity and mourn its loss in a town where change is the only constant. My Hollywood draws on the poet’s own life as a Jewish immigrant from the Soviet Union, honors the vanishing traces of the city’s past, and, in crisp and poignant translations, summons the voices of five Russian poets who spent their final years in LA, including the composer Vernon Duke. “Dralyuk embraces rhyme with a rare and admirable enthusiasm for sound and syllable, for musical variety and plays on words . . . [An] air of upbeat sorrow permeates My Hollywood. It’s an émigré mood, defined by the conviction that things could always be worse.”—New York Review of Books "Sophisticated, musical, and often humorous."—Booklist "Byronic rhymes are poetry’s answer to special effects, and Dralyuk’s skill at slipping them in—so that the art seems artless—is worthy of Industrial Light & Magic . . . What’s true of my favorite films is true of this book: the lines are first-rate, but it’s the images that linger.”— Austin Allen, The Hopkins Review "My Hollywood is a first-rate collection of precise, delightfully graceful poems, the poet as Fred Astaire tap-dancing up and down the lines."—Russian Life

In 1939, a ten-year-old Igor Golomstock accompanied his mother, a medical doctor, to the vast network of labour camps in the Russian Far East. While she tended patients, he was minded by assorted 'trusty' prisoners – hardened criminals – and returned to Moscow an almost feral adolescent, fluent in obscene prison jargon but intellectually ignorant. Despite this dubious start he became a leading art historian and co-author (with his close friend Andrey Sinyavsky) of the first, deeply controversial, monograph on Picasso published in the Soviet Union. His writings on his 43 years in the Soviet Union offer a rare insight into life as a quietly subversive art historian and the post-Stalin dissident community. In vivid prose Golomstock shows the difficulties of publishing, curating and talking about Western art in Soviet Russia and, with self-deprecating humour, the absurd tragicomedy of life for the Moscow intelligentsia during Khruschev's thaw and Brezhnev's stagnation. He also offers a unique personal perspective on the 1966 trial of Sinyavsky and Yuri Daniel, widely considered the end of Khruschev's liberalism and the spark that ignited the Soviet dissident movement. In 1972 he was given 'permission' to leave the Soviet Union, but only after paying a 'ransom' of more than 25 years' salary, nominally intended to reimburse the state for his education. A remarkable collection of artists, scholars and intellectuals in Russia and the West, including Roland Penrose, came together to help him pay this astronomical sum. His memoirs of life once in the UK offer an insider's view of the BBC Russian Service and a penetrating analysis of the notorious feud between Sinyavsky and Aleksandr Solzhenitsyn. Nominated for the Russian Booker Prize on its publication in Russian in 2014, The Ransomed Dissident opens a window onto the life of a remarkable man: a dissident of uncompromising moral integrity and with an outstanding gift for friendship.

An enchanting collection of the very best of Russian poetry, edited by acclaimed translator Robert Chandler together with poets Boris Dralyuk and Irina Mashinski In the late eighteenth and early nineteenth centuries, poetry's pre-eminence in Russia was unchallenged, with Pushkin and his contemporaries ushering in the 'Golden Age' of Russian literature. Prose briefly gained the high ground in the second half of the nineteenth century, but poetry again became dominant in the 'Silver Age' (the early twentieth century), when belief in reason and progress yielded once more to a more magical view of the world. During the Soviet era, poetry became a dangerous, subversive activity; nevertheless, poets such as Osip Mandelstam and Anna Akhmatova continued to defy the censors. This anthology traces Russian poetry from its Golden Age to the modern era, including work by several great poets - Georgy Ivanov and Varlam Shalamov among them - in captivating modern translations by Robert Chandler and others. The volume also includes a general introduction, chronology and individual introductions to each poet. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Cardinal Points. The Literary Journal of the Slavic Studies Department, Brown University. Volume 7. Edited by Boris Dralyuk. Published by StoSvet Press, New York. 2017 --- The StoSvet Press publishing house is a part of the US-based StoSvet literary project, which also includes the Storony Sveta literary annual (in Russian) and the annual Compass Translation Award (Russian Poetry in English) www.StoSvet.net Founding director: Oleg Woolf (1954-2011) Editor-in-chief: Irina Mashinski

Cardinal Points Literary Journal. The Literary Journal of the Slavic Studies Department, Brown University. Volume 8. Issue Editor: BORIS DRALYUK. Editors: Irina Mashinski, Robert Chandler. New York: StoSvet Press, 2018 www.StoSvet.net Founding director of the StoSvet Literary Project : Oleg Woolf (1954-2011) Editor-in-chief: Irina Mashinski.In this issue: prose by two of the leading Russian authors of the First Wave of emigration, Yury Felsen and Vasily Yanovsky; Russian 20c. poetry: Annensky, Blok, Galich, Zabolotsky, Tsvetaeva in new translations; Marina Tsvetaeva's drama "Fortune"; essays on translating Ivan Goncharov and Georgy Ivanov; Compass Translation Competition-2017: poetry of Maria Stepanova - translations-finalists, and other texts.

This book examines the staggering popularity of early-twentieth-century Russian detective serials. Traditionally maligned as “Pinkertonovshchina,” these appropriations of American and British detective stories featuring Nat Pinkerton, Nick Carter, Sherlock Holmes, Ethel King, and scores of other sleuths swept the Russian reading market in successive waves between 1907 and 1917, and famously experienced a “red” resurgence in the 1920s under the aegis of Nikolai Bukharin. The book presents the first holistic view of “Pinkertonovshchina” as a phenomenon, and produces a working model of cross-cultural appropriation and reception. The “red Pinkerton” emerges as a vital “missing link” between pre- and post-Revolutionary popular literature, and marks the fitful start of a decades-long negotiation between the regime, the author, and the reading masses.

This book examines the staggering popularity of early-twentieth-century Russian detective serials. Traditionally maligned as “Pinkertonovshchina,” these appropriations of American and British detective stories featuring Nat Pinkerton, Nick Carter, Sherlock Holmes, Ethel King, and scores of other sleuths swept the Russian reading market in successive waves between 1907 and 1917, and famously experienced a “red” resurgence in the 1920s under the aegis of Nikolai Bukharin. The book presents the first holistic view of “Pinkertonovshchina” as a phenomenon, and produces a working model of cross-cultural appropriation and reception. The “red Pinkerton” emerges as a vital “missing link” between pre- and post-Revolutionary popular literature, and marks the fitful start of a decades-long negotiation between the regime, the author, and the reading masses.

"The wit and daring of his rhymes and phrasing remind me of that old master, Donald Justice, who dazzled us with the elegance of his forms. Dralyuk carries this high style into the 21st century, and I, for one, am thrilled to be in the presence of his marvelous verbal art. Pay attention, readers: a new maestro is in our midst."—Ilya Kaminsky, author of Deaf Republic and Dancing in Odessa "These [poems] are the souvenirs of an almost-vanished glamour, an ethnic, gritty, free-wheeling city, little fantasias encased in rhyme and meter."—Jesse Nathan, McSweeney's My Hollywood and Other Poems is a collection of lyric meditations on the experience of émigrés in Los Angeles. In forms ranging from ballades to villanelles to Onegin sonnets, the poems pursue the sublime in a tarnished landscape, seek continuity and mourn its loss in a town where change is the only constant. My Hollywood draws on the poet’s own life as a Jewish immigrant from the Soviet Union, honors the vanishing traces of the city’s past, and, in crisp and poignant translations, summons the voices of five Russian poets who spent their final years in LA, including the composer Vernon Duke. “Dralyuk embraces rhyme with a rare and admirable enthusiasm for sound and syllable, for musical variety and plays on words . . . [An] air of upbeat sorrow permeates My Hollywood. It’s an émigré mood, defined by the conviction that things could always be worse.”—New York Review of Books "Sophisticated, musical, and often humorous."—Booklist "Byronic rhymes are poetry’s answer to special effects, and Dralyuk’s skill at slipping them in—so that the art seems artless—is worthy of Industrial Light & Magic . . . What’s true of my favorite films is true of this book: the lines are first-rate, but it’s the images that linger.”— Austin Allen, The Hopkins Review "My Hollywood is a first-rate collection of precise, delightfully graceful poems, the poet as Fred Astaire tap-dancing up and down the lines."—Russian Life

Black Mask, the greatest American detective magazine of all time, is back with another issue. This time around, it includes nine new stories in the Black Mask vein by Brian Townsley, Jane Jakeman, Brian Stanley, Hannah Honeybun, William Burton McCormick, Frank Megna, Jonathan Sheppard, Michael Bracken, Jim Doherty, as well as a new article on Raymond Chandler’s The Little Sister by Katrina Younes. In addition, Boris Dralyuk has kindly supplied his translation of Isaac Babel’s “Lyubka the Cossack” and arranged for its reprinting here. And, as with previous issues, Black Mask collects some of the best hard-boiled detective fiction from the Popular Publications vaults, as written by some of the genre’s best: Dashiell Hammett, D.L. Champion, Carroll John Daly, Frederick Nebel, T.T. Flynn, and Frederick C. Davis.

Cardinal Points Literary Journal. The Literary Journal of the Slavic Studies Department, Brown University. Boris Dralyuk, editor-in-chief. Irina Mashinski, Robert Chandler, editors. New York: StoSvet Press, 2020.The 2020 volume of Cardinal Points, a journal of Slavic literature in translation, includes work by Venedikt Yerofeyev (interview), Sławomir Mrożek, Konstantin Balmont, Vladimir Mayakovsky, Anna Prismanova, Marina Tsvetaeva, Alexander Vertinsky, Oleg Woolf, Viktor Shirali, Alexander Veytsman, Sergei Skarupo, Alex Couprin, Anatoly Movshevich;translations and essays by Nicolas Pasternak Slater, Ilya Simanovsky, Svetlana Shnitman-McMillin, Yura Dashevsky, J.Kates, James Manteith, Ilya Kutik, Reginald Gibbons, Seth Graham, Simon Nicholls, Yulia Kartalova, Veniamin Gushchin, Nora Moseman, Kevin Windle, O.Zaslavsky. Cardinal Points is a part of the US-based StoSvet/Cardinal Points literary project: www.StoSvet.net Founding director: Oleg Woolf (1954-2011) Editor-in-chief: Irina Mashinski