Robert Chandler’s translations from Russian include Pushkin’s Dubrovsky; Nikolay Leskov’s Lady Macbeth of Mtsensk; Vasily Grossman’s An Armenian Sketchbook, Everything Flows, Life and Fate, and The Road; and Hamid Ismailov’s Central Asian novel, The Railway. His co-translations of Andrey Platonov have won prizes both in the U.K. and in the United States. He is the editor and main translator of Russian Short Stories from Pushkin to Buida and Russian Magic Tales from Pushkin to Platonov. Together with Boris Dralyuk and Irina Mashinski, he has also compiled an anthology, The Penguin Book of Russian Poetry, to be published in early 2015. He has translated selections of Sappho and Apollinaire. He teaches part time at Queen Mary, University of London and is a mentor for the British Centre for Literary Translation.

Fearless Malevich

Kazimir Malevich: <i>The Knife Grinder (Principle of Glittering)</i>, 1912–1913
Yale University Art Gallery, New HavenKazimir Malevich: The Knife Grinder (Principle of Glittering), 1912–1913 Kazimir Malevich was perhaps the most fearless innovator in twentieth-century art. Aleksandra Shatskikh, whose Black Square is both informative and full of insight, writes of his “primordial ignorance of boundaries.” She goes on to suggest …

Malevich: Beyond the Black Square

Kazimir Malevich: <em>Knife Grinder (Principle of Glittering)</em>, 1912–1913
There has never been a better year to look at the work of Kazimir Malevich, a pioneer of abstract art often seen as the greatest Russian painter of the twentieth century. The exhibition now at London’s Tate Modern offers us the chance to not only Malevich’s Suprematist work but also his early work—in styles that include Fauvism, what he called Cubo-Futurism, and the Dada-like style he called Alogism—and the figurative paintings of his later years.

On The Bank

He was sitting by the river, among reeds
that peasants had been scything for their thatch.
And it was quiet there, and in his soul
it was quieter and stiller still.