This past November two new translations of Crime and Punishment were published. Michael Katz’s translation came out with Liveright, a branch of W. W. Norton (link), with an introduction by Katz. Nicolas Pasternak Slater’s came out with Oxford University Press (link), edited and with an introduction by Sarah J. Young. In this series of posts, Bloggers Karamazov sits down with the translators to talk about the experience of translating Dostoevsky’s most famous novel.

This is the last in a series of 3 posts; click here for part 1 and here for part 2.

BK: What is your favorite part of the novel?

MK: I have long been a fan of the hero’s dreams. In fact, I wrote a book on dreams and the subconscious in Russian fiction in which I treat those dreams in the context of the novel. I think that the first one, Mikolka and the beaten horse, remains one of the most powerful scenes in all of Russian literature. I read the dream as an allegory of life itself: we are born and have to make our way through the secular world, filled with cruelty and ugliness (Mikolka and the tavern), as we head toward death and ultimate salvation (the church and the cemetery).

NPS: I’m no fan of extreme violence and I thoroughly disapprove of murder. Nevertheless, I am going to choose the account of Raskolnikov’s murder of Aliona Ivanovna and her sister Lizaveta. I think this chapter contains some of the most virtuoso writing not only in the whole of this novel, but perhaps in all that I have read of Dostoevsky. Both the behavior of Raskolnikov – thrown into a state of mental turmoil and confusion by the horror and ugliness of what he has done, and driven more by the inevitabilities of his situation than by any real desire to lay his hands on great wealth – and the reactions first of the old woman and then of Lizaveta when she unexpectedly arrives and is stunned into helpless passivity – are all related with unparalleled psychological insight and a masterly build-up of tension and suspense, culminating in Raskolnikov’s half-crazed bewilderment when he hears steps on the stair and the two visitors start rattling at the door. Dostoevsky dexterously manipulates our feelings so that we are torn between horror at what is going on, some sympathy for the victim (who has never been shown to us personally as wicked or cruel, though described in this way by other characters), unalloyed pity for Lizaveta whom we like – and yet fellow-feeling for Raskolnikov and a desire for him to get away with his deed and not be found out. This last, of course, is achieved by letting us in to the workings of his mind, so that we almost become complicit with him. The whole chapter is a piece of brilliant writing.

 

BK: Why do you think we should read Crime and Punishment today? Why does this novel still resonate with us?

NPS: The novel is at the same time an incomparably gripping and lively story, with a cast of unique and memorable characters, a study in crime and punishment, sin and redemption as moral issues, a treasury of descriptions of the city of Petersburg and its people, a work of social commentary and a religious tract. And more. So what out of all that still speaks to readers in other countries, a century and a half later? For myself personally, I am very interested in the descriptions of the world and time my Russian grandparents were born into; but for the general Western reader, descriptions of deprivation and social injustice are still so prevalent today, from all over the world, that such topics speak less to us now. Of all the many reasons for reading the novel today, I would put the cast of characters at the top of the list. The brilliant portrayals range from Raskolnikov himself – so complicated, tortured, mentally fragile, flung this way and that by sudden irresistible impulses – through the pitiful, hopeless Marmeladov, the saturnine many-sided Svidrigailov, the mephistophelean Porfiry Petrovich, and on to the virtuous characters, the good-hearted but rather comical Razumikhin, Raskolnikov’s naïve but well-meaning mother Pulcheria Alexandrovna, his practical-minded sister Dunia, and the saintly Sonia. Then there are some memorable lesser characters like the maid Nastasia or Lieutenant Gunpowder, and finally a whole cast of walk-on parts, some of whom are sketched out with skill and care in a few pen-strokes (for instance the street girl Duklida who treats Raskolnikov courteously, the drunken teenage girl stalked by a would-be abuser, or the child Polya). Human nature doesn’t change much over the centuries, and these character portraits remain as alive in our day as they were in 1866.

MK: Dostoevsky raises all the right questions, the most important ones that can be asked: the meaning of good and evil, the existence of God, the nature of love, the power of ideas. Even if we reject some of his answers, those questions remain the ones that we struggle with today. Human love and religious faith are his answers.

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Michael Katz is the C. V. Starr Professor Emeritus of Russian and East European Studies at Middlebury College. His published research includes numerous articles and two books, The Literary Ballad in Early Nineteenth-Century Russian Literature (1976) and Dreams and the Unconscious in Nineteenth-Century Russian Literature (1984). A prolific translator, he has made a number of works available for English language readers, including prose by Tolstoy, Turgenev, Chernyshevsky, Herzen, Tur, Druzhinin, Artsybashev, Sleptsov, Jabotinsky, and others. His translations of Dostoevsky’s works include Notes from Underground (1989, 2nd ed. 2001), Devils (2010), and Crime and Punishment (2018).

Nicolas Pasternak Slater has a half-Russian background, was brought up bilingual, and studied Russian at school and university as well as during his military service. He spent most of his working life as a hospital doctor and came to translation after retirement. Besides Crime and Punishment (2017), his translations include Pasternak’s Family Correspondence (2010), Lermontov’s A Hero of our Time (2013), Pushkin’s The Journey to Arzrum (2013), Tolstoy’s The Death of Ivan Ilyich and Other Stories (2015), and, most recently, Chekhov’s The Beauties: Essential Stories (2018).

The cover image for this post is a screenshot from Piotr Dumała’s animated adaptation of Dostoevsky’s novel (Zbrodnia i kara, 2000). You can view the full animation here.

This past November two new translations of Crime and Punishment were published. Michael Katz’s translation came out with Liveright, a branch of W. W. Norton (link), with an introduction by Katz. Nicolas Pasternak Slater’s came out with Oxford University Press (link), edited and with an introduction by Sarah J. Young. In this series of posts, Bloggers Karamazov sits down with the translators to talk about the experience of translating Dostoevsky’s most famous novel.

This is the 2nd in a series of 3 posts; click here for part 1.

BK: The act of translation puts you in intensely close contact with the text. Did you notice anything while you were translating that you had never noticed before? Did your perception of the novel shift in any way?

NPS: When I came to start my translation I had not read the novel for very many years. What I remembered was the skeleton of the plot, and an impression of a gripping but heavy, depressing, chaotic, episodic story. So translating it now enriched my perception in a great many ways. Let me pick just one – Dostoevsky’s humor. He is a brilliant humorist who sees the ridiculous in almost any sphere of life, and in this novel he plays with humor in the most diverse and unexpected situations. When the German Luisa Ivanovna has a verbal set-to with Lieutenant Gunpowder in the police office, their showdown is pure slapstick farce. The meeting between Dunia’s absurdly pompous suitor Luzhin and Raskolnikov’s family who soundly humiliate him is also richly comical, as well as important for the plot. But even the most tragic situations can be injected with comedy. The drunkard Marmeladov’s lengthy confession at the beginning of the novel is funny, with its swathes of biblical language and then the way he revels in his degrading punishment. Or there is the macabre but absurd scene near the end of the book where the demented Katerina Ivanovna drags her little children out into the street in ragged fancy dress to dance and sing for pennies. Even one of the most horrible moments in the whole novel, Raskolnikov’s dream of the horse being beaten to death, has its grim humor – the drunken peasant Mikolka makes himself thoroughly ridiculous when he desperately flogs and beats his little horse, harder and harder, in frustrated fury that he can’t get the poor beast to die.

MK: The Russian ear tolerates repetition – of long names including patronymics and certain words and phrases. As a translator I noticed the multiple repetitions in the text and had to decide whether they were semantically loaded and needed to be preserved in my translation, or whether they were dispensable and could be replaced by a synonym or a pronoun. Such decisions are not easily made: the translator has to rely on his understanding of the text and his own intuition.

 

BK: Which character do you think is the most misunderstood in the novel?

MK: Without doubt, it’s Arkady Svidrigaylov. He appears out of a dream and his mysterious presence seems to haunt the hero. He is alleged to be responsible for the deaths of three other characters (his wife, his servant, and a young girl). He commits acts of cruelty and generosity, and feels neither compunction nor satisfaction. He seeks a relationship with Raskolnikov, but it is unclear why he does so. All in all, he remains something of a mystery.

NPS: I wondered – misunderstood by whom? The author, the other characters, or the readers? But I thought that the most universally misunderstood, perhaps, is Svidrigailov, the man of mystery with a shadowy past who hangs around Raskolnikov like a nemesis. On one reading, he is so enigmatic as almost to make no sense – is he fundamentally good (clearly not), or fundamentally evil (also not), and how do the good and bad sides in his character coexist? On the bad side, he may (or may not) have caused his wife’s death, he is a self-confessed libertine, he tries (or threatens) to rape Raskolnikov’s sister Dunia, and he plans to marry a child for his sexual gratification. Yet he performs many good actions, including saving Katerina Ivanovna’s orphan children and giving Dunia a large sum of money. Perhaps the last of his moral actions is to commit suicide. I think his character actually hangs together quite well: though repugnant, he is an intelligent man with a philosophical bent and humane instincts of empathy and kindness, who is saddled with sexual appetites that he can barely control. This is a paradox we meet often enough in real life (in this day and age, might he have been a charity worker in a third-world disaster area?).  Dostoevsky, of course, must condemn him because none of his humane motivations come from God or religion: he is an amoral freethinker.

BK: It’s interesting that you both chose the same character! Svidrigaylov is a scoundrel in many of his acts in the novel, and I agree that he remains a mysterious, ambiguous figure. Do you think he is a sympathetic character at all?

MK: He is “charming” and sincere in his despair; I don’t find him sympathetic.

NPS: I have already alluded to the good actions he performs, and while we may suspect his motives when he tries to make a gift of money to Dunia, and certainly when he makes a much more lavish gift to his (no longer) intended child bride, his farewell gifts to Sonia and her little brother and sister are untainted by sinister motives, and the reader is bound to approve of him at those moments. The slug in the lettuce, as it were, is not the action he performs, nor its intended good effect, but his inner thoughts at the time. He is a disillusioned cynic, a moral nihilist, and as a reader I cannot imagine him filled with a glow of virtuous satisfaction even during his most generous acts. No, he is looking at himself almost as an outsider, cynically weighing himself up and devaluing whatever looks virtuous and kind. There is no path he can take now save that of self-destruction. As a reader, I can feel sorry for him, I can feel glad about his good actions, but I cannot have fellow-feeling for such a self-annihilating person.

 

… click here for part 3!

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Michael Katz is the C. V. Starr Professor Emeritus of Russian and East European Studies at Middlebury College. His published research includes numerous articles and two books, The Literary Ballad in Early Nineteenth-Century Russian Literature (1976) and Dreams and the Unconscious in Nineteenth-Century Russian Literature (1984). A prolific translator, he has made a number of works available for English language readers, including prose by Tolstoy, Turgenev, Chernyshevsky, Herzen, Tur, Druzhinin, Artsybashev, Sleptsov, Jabotinsky, and others. His translations of Dostoevsky’s works include Notes from Underground (1989, 2nd ed. 2001), Devils (2010), and Crime and Punishment (2018).

Nicolas Pasternak Slater has a half-Russian background, was brought up bilingual, and studied Russian at school and university as well as during his military service. He spent most of his working life as a hospital doctor and came to translation after retirement. Besides Crime and Punishment (2017), his translations include Pasternak’s Family Correspondence (2010), Lermontov’s A Hero of our Time (2013), Pushkin’s The Journey to Arzrum (2013), Tolstoy’s The Death of Ivan Ilyich and Other Stories (2015), and, most recently, Chekhov’s The Beauties: Essential Stories (2018).

The cover image for this post is a screenshot from Piotr Dumała’s animated adaptation of Dostoevsky’s novel (Zbrodnia i kara, 2000). You can view the full animation here.

This past November two new translations of Crime and Punishment were published. Michael Katz’s translation came out with Liveright, a branch of W. W. Norton (link), with an introduction by Katz. Nicolas Pasternak Slater’s came out with Oxford University Press (link), edited and with an introduction by Sarah J. Young. In this series of posts, Bloggers Karamazov sits down with the translators to talk about the experience of translating Dostoevsky’s most famous novel.

 

BK: Why did you decide to translate Crime and Punishment? What speaks to you about this novel?

MK: Norton Publishers asked me to recommend a translator, since they intended to commission a new translation of C&P. I nominated myself, of course. They asked me to submit a proposal and a sample of my work. In particular, they asked that I address the weaknesses of Pevear and Volokhonsky’s version (1992); I did so and endeavored to demonstrate in my sample how my version would be an improvement on theirs.

The novel is first and foremost an engrossing detective story: not a “whodunnit?” but rather a “why he dunnit?” The search for a motive or motives for Raskolnikov’s crime is intriguing as three strong characters vie for the hero’s allegiance and/or love: the examining magistrate, Porfiry Petrovich; the humble prostitute, Sonya Marmeladova; and the mysterious stranger, Arkady Svidrigaylov. Dostoevsky asks all the right questions: the nature of man, the existence of God, the meaning of faith, the importance of love. Although I may not agree with all of his answers, I find his search for answers meaningful.

NPS: This is really two questions – why did I decide to translate, and why Crime and Punishment. The second one is simple – I agreed to translate Crime and Punishment because my publishers asked me to, and I jumped at the chance of translating one of the great monuments of European literature.

The first part of the question is more complicated. I translate because I am intrigued by style and language – and languages in the plural. Brought up bilingual, I found other languages (and the ways they work differently from English) a fascinating puzzle; I have collected languages the way other people collect stamps, and translated from several of them. The interest of carrying vocabulary and style across language barriers is what attracts me, and the way that this involves working both with the human element – ideas, stories, arguments, emotions – on the one hand, and the technicalities of vocabulary, syntax and style on the other. My formal training in Russian covered both aspects, first an advanced interpreter’s course in the British Navy, and then a degree in Russian literature at Oxford.  In line with this, my first job after graduating was with a language research unit, developing automated translation between Russian and English by computer (that was in the 1960s, when a computer was the size of a couple of rooms). All this was later echoed in my main career as a hospital doctor specializing in diseases of the blood: there was the human side, discussions and explanations with patients and their families, and the technical side, from physical examination of my patients to running their tests in the laboratory or looking down a microscope at their blood. After retirement I returned to my first love of translation, seeking a similar mix again.

One thing that speaks to me about the novel – apart from the kaleidoscope of strange characters and the piercing evocation of guilt and stress – is the vivid descriptions of the city and the way poor people lived. When my wife and I visited Petersburg ten or twelve years ago and did a sort of Crime and Punishment pilgrimage, visiting the places said to have inspired Dostoevsky, we passed a throng of destitute people by the roadside, trying to sell anything they had, from used bootlaces to a handful of plastic bags. It was a sad and startling sight; Dostoevsky knew that side of his city all too well.

 

BK: What is the most difficult part of the novel to translate and why? How does it feel to translate Dostoevsky into English?

NPS: The most difficult part of the novel to translate, but at the same time one of the most rewarding, is the dialogue. Almost all the characters in Crime and Punishment have an individual ‘voice’ which carries over from one episode to the next. I have tried to copy their distinctive voices as faithfully as I could, while making each character’s speech seem natural in English. At the same time, the colloquial speech, while sounding normal to the modern ear, must not be too colloquial – it would never do to have palpably twenty-first-century expressions intruding into this nineteenth-century novel. Yet nor does one want old-fashioned Victorian English. What the translator has to look for is a kind of neutral speech that sounds natural when spoken, without being too specifically redolent of England (or any other English-speaking nation, but I write as a British translator); one has to remember that the story is about Russia. – When Dostoevsky uses outspokenly lower-class or peasant expressions, it becomes even more difficult. Some translators have had recourse to Cockney (London) slang to render demotic Russian, and this sometimes works, though it can be treacherous. Regional provincial English is even more of a minefield, and best avoided I think.

MK: The hardest part to translate is the author’s dark sense of humor. It comes to the fore especially in the witty exchanges between Raskolnikov and Porfiry Petrovich. A good example is the entrance staged by Raskolnikov with his forced laughter at Razumikhin’s expense; Porfiry quickly grasps the trick and even comments on it. It is even more apparent in Dostoevsky’s novel Devils (1871-72), which I translated some years ago for Oxford World Classics. In that novel all political ideas were parodied as they were taken to the extreme, the result being that no character could really be taken seriously.

Translating Dostoevsky into English means living in his overwrought and emotional world for several hours a day. It is exhausting but exhilarating.

… click here for Part 2!

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Michael Katz is the C. V. Starr Professor Emeritus of Russian and East European Studies at Middlebury College. His published research includes numerous articles and two books, The Literary Ballad in Early Nineteenth-Century Russian Literature (1976) and Dreams and the Unconscious in Nineteenth-Century Russian Literature (1984). A prolific translator, he has made a number of works available for English language readers, including prose by Tolstoy, Turgenev, Chernyshevsky, Herzen, Tur, Druzhinin, Artsybashev, Sleptsov, Jabotinsky, and others. His translations of Dostoevsky’s works include Notes from Underground (1989, 2nd ed. 2001), Devils (2010), and Crime and Punishment (2018).

Nicolas Pasternak Slater has a half-Russian background, was brought up bilingual, and studied Russian at school and university as well as during his military service. He spent most of his working life as a hospital doctor and came to translation after retirement. Besides Crime and Punishment (2017), his translations include Pasternak’s Family Correspondence (2010), Lermontov’s A Hero of our Time (2013), Pushkin’s The Journey to Arzrum (2013), Tolstoy’s The Death of Ivan Ilyich and Other Stories (2015), and, most recently, Chekhov’s The Beauties: Essential Stories (2018).

The cover image for this post is a screenshot from Piotr Dumała’s animated adaptation of Dostoevsky’s novel (Zbrodnia i kara, 2000). You can view the full animation here.