The Twelve Chairs: A Novel

Translator’s Introduction

✦ xxvii ✦ Translator’s Introduction There are several reasons for a new translation of Ilf and Petrov’s 1928 novel The Twelve Chairs. First of all, neither of the two extant English translations (from 1930 and 1961) capture the humor of the original, nor are they true enough to the text. Second, there are several textual variants of the novel; this one, which was re-created from archival materials by Alexandra Ilf, Ilya Ilf’s daughter, is the fullest and therefore the most representative of Ilf and Petrov’s grand satirical sweep. Third, the novel is a veritable encyclopedia of realia of Soviet everyday life, but these realia are now so historically and culturally distant that even Russophone readers need further commentary to understand them and appreciate their satirical bent. This English translation is the first to provide notes helping the English-speaking reader to do the same. There are several Russian commentaries available on both The Twelve Chairs and its sequel, The Little Golden Calf, most notably those of Yury K. Shcheglov. In my notes I have indicated where I relied on these, on the commentaries of Mikhail Odessky and David Feldman, or on other sources. The fourth reason for a new translation is to disprove the stubborn misconception that Ilf and Petrov’s wit, particularly as embodied in their legendary con man, Ostap Bender, is somehow inaccessible to foreigners. Quite the contrary: much of the novel’s humor is situational and even slapstick, and is therefore fairly universal (the Father Fyodor story arc, for example ). Still, the novel is primarily a satirical one, and translating satire is always a risky venture, since trying to explain narrowly topical jokes often robs them of their verve. I sought to honor both levels of humor, and simultaneously to provide for two different reading audiences, by providing notes for those readers who want the extra information but making the translation itself a text that can be enjoyed by all readers— even those with no previous knowledge of early Soviet Russia. The transliteration system used in this book needs some explanation. Names are given in the text in a modified, simplified transliteration that will be more familiar to most readers (Dmitry instead of Dmitrii, Mayakovsky instead of Maiakovskii, Vaska instead of Vas’ka, and so forth), but in notes and citations , all Russian phrases and names will be given in modified Library of Congress transliteration. The wide-ranging nature of this novel required me to get help from many people, whose input improved the translation markedly and saved me from many blunders. Still, it goes without saying that any mistakes or lapses are mine. For their help with specialized topics I thank Jonathan Bolton, Emma Garkavi, Seth Graham, John Hope, Stephanie Lucas at the Benson Ford Research Center, Clay Maier at the Kentucky Horse Park, Joe Peschio, Janneke van de Stadt, Andrey Ukhov, and Sarah Womack. In addition, Alexander Barbukh, Boris Briker, Alexander Burak, Alice Nakhimovsky, Andrei Prokofiev, Larissa Rudova, Mila Shevchenko, Sergei Sychov, Dmitry Voevoda, Anatoly Vorobey, and Boris Wolfson were kind enough to answer my seemingly endless questions. For their careful reading and comments I am indebted to Stephen Dodson, who writes the blog Languagehat, and Mikhail Viesel. Alexandra Ilf was, as always, generous far above and beyond the call of duty. And thanks also to my husband, Derek Mong, whose editorial eye and poetic ear made all the difference. xxviii ✦ translator’s introduction The Twelve Chairs ...