Academia Rossica и Британский Совет приглашают издателей на семинары серии «Know How!» с участием ведущих британских экспертов. Семинары организованны в рамках подготовки к участию России в качестве Почетного гостя Лондонской книжной ярмарки 2011 г.. Первые 2 семинара пройдут 2 и 3 сентября в «Международной Гостиной» ММКВЯ (Конференц зал №7). Участие в семинарах бесплатное, но обязательна предварительная регистрация. Количество мест ограничено.

When Academia Rossica approached me to serve on the jury for their translation prize, I was excited and intrigued. What would the field be like, how many entries would there be, were there still publishers around in the West willing to produce translations of serious Russian works? The classics apart, was there more to Russian literature for English-speaking people than penguins and historical detectives? My caricature of the average Western reader's view of Russian literature today can perhaps be excused in part by my own education.

One of the most versatile of post-Soviet writers, Aleksei Slapovsky (b. 1957) has flourished in the new cultural habitat described by his narrator, A.N. Anisimov. As a novelist, Slapovsky occupies a seemingly permanent slot on the shortlists for all literary prizes; as a screenplaywriter and dramatist, he has reached millions of viewers in Russia and abroad, through his script for the sequel to Eldar Ryazanov's classic comedy, Irony of Fate (1975). All Slapovsky's creative work is of a piece, displaying a fertile tendency towards cross-‘adaptation', but the author himself attaches particular significance to his novels (the complete absence of which in English translation is as remarkable as it is distressing). They include: The First Second Coming (Pervoe vtoroe prishestvie, 1993), which adapts the Gospel narrative to the life of a provincial Russian and has been singled out by many critics for particular praise; The Day of Money: A Picaresque Novel (Den' deneg. Plutovskoi roman, 1999), set in the author's native town of Saratov, like many of Slapovsky's works; and two novels that focus on the glamourous and less than glamourous aspects of contemporary (and often criminal) Muscovite society: Quality of Life (Kachestvo zhizni, 2004, 220pp) and They (Oni, 2005). His most recent novel is The Phoenix Syndrome (Sindrom feniksa, 2007).

25 February, 20.00
Charlie Wright's, Old Street
£7
A trio widely regarded as the best in Russian improvised jazz. Each musician - from trumpeter Vyacheslav Gaivoronsky to bassist Vladimir Volkov to pianist Andrei Kondakov - is a virtuoso in his own right, a master of improvisation and brilliant composer.

by Anatoly Riasov
Translated by Julia Konysheva (pseudonym Julga Heiligenbeil)
Kaftan Smekha; 2007; pp. 44
Although 'Exfoliation', analogously to a classic dramatic performance, has a plot, climax and conclusion, this action is based not on the logical, but emotional and associative links. It is not the plot that plays the key tole (in spite of its being 'dissolved' in the performance), but categories and metaphors, being the conceptual stem.

Russian Nights
‘Russian Nights’ Festival is the largest, most ambitious and most varied festival of Russian culture ever to be staged in London. It brings a remarkable range of music and theatre, painting and poetry, photography and architecture to the capital.

Russian Nights
‘Russian Nights’ Festival is the largest, most ambitious and most varied festival of Russian culture ever to be staged in London. It brings a remarkable range of music and theatre, painting and poetry, photography and architecture to the capital.