In conversation with Larissa Volokhonsky and Richard Pevear
June 22, 2015 By Paris Review
The following interview appears in the current issue of The Paris Review (The Art of Translation No. 4).
Credited with starting a “quiet revolution,” Larissa Volokhonsky and Richard Pevear have joined the small club of major translators whose interpretation of a masterpiece displaces the one read by generations before. Volokhonsky, who is Russian, and Pevear, who is American, have been married 33 years. In that time, they have translated much of Russian literature as we know it. Their 30 or so translations include The Brothers Karamazov, Crime and Punishment, Demons, The Idiot, Notes from Underground, War and Peace, Anna Karenina, Hadji Murat, The Death of Ivan Ilyich and Other Stories, The Master and Margarita, Doctor Zhivago, Gogol’s Collected Tales, Dead Souls, The Enchanted Wanderer and Other Stories by Nikolai Leskov, and Chekhov’s Selected Stories.
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Credited with starting a “quiet revolution,” Larissa Volokhonsky and Richard Pevear have joined the small club of major translators whose interpretation of a masterpiece displaces the one read by generations before. Volokhonsky, who is Russian, and Pevear, who is American, have been married 33 years. In that time, they have translated much of Russian literature as we know it. Their 30 or so translations include The Brothers Karamazov, Crime and Punishment, Demons, The Idiot, Notes from Underground, War and Peace, Anna Karenina, Hadji Murat, The Death of Ivan Ilyich and Other Stories, The Master and Margarita, Doctor Zhivago, Gogol’s Collected Tales, Dead Souls, The Enchanted Wanderer and Other Stories by Nikolai Leskov, and Chekhov’s Selected Stories.
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