![]() ![]() Glenny: ""There was an oddness about that terrible day.It was the hour of the day when people feel too exhausted to breathe, when Moscow glows in a dry haze."" Ginsburg: ""Oh, yes, we must take note of the first strange thing.At that hour, when it no longer seemed possible to breathe, when the sun was tumbling in a dry haze."" In any case, The Master and Margarita, a product of intense labor from 1928 till Bulgakov's death in 1940, is a distinctive and fascinating work, undoubtedly a stylistic landmark in Soviet literature, both for its aesthetic subversion of ""socialist realism"" (like Zamyatin, Bulgakov apparently believed that true literature is created by visionaries and skeptics and madmen), and for the purity of its imagination. ![]() The Bulgakov fantasy is less striking here, but less strident, too. His (Harper & Row) version is simpler, softer, and more humane. Translator Michael Glenny, on the other hand, almost suggests Tolstoy. Her Bulgakov reminds one of the virtuoso effects encountered in Zamyatin and Babel, as yell as the early Pasternak's bizarre tale of Heine in Italy. ![]() Mirra Ginsburg's (Grove Press) version is pointedly grotesque: she delights in the sharp, spinning, impressionistic phrase. The battle of competing translations, a new publishing phenomenon which began with One Day in the Life of Ivan Denisovich, now offers two rival American editions of Mikhail Bulgakov's The Master and Margarita. ![]()
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