Anna Karenina (Pevear/Volokhonsky Translation) Leo Tolstoy
Publisher: Penguin Group (USA) Incorporated

Constance Garnett and Pevear/Volokhonsky translated Anna Karenina in vastly different ways, but when people read each version, they still had much the same reaction to the various elements. The Maude translation happened to be the first copy of Anna Karenina I owned, purchased before I was in the habit of comparing different versions, and for the sake of continuity of voice, I stuck with them. I did read the Pevear/Volokhonsky translation of Anna Karenina a few years ago; and whilst I can understand and subscribe to the Lingua Franca view of it, I'm not sure that the more literal translation hampered my enjoyment. Who were themselves practicing Tolstoyans. In the introduction to the superb Pevear-Volokhonsky translation, we learn that, in starting to write “Anna Karenina,” he was trying to mimic an effect he noticed in Pushkin. My Old Marked Copy: Anna's Decision. Anna Karenina - New Translation. The passage above is from the end of part 2 of Anna Karenina, by Leo Tolstoy, translated by Richard Pevear and Larissa Volokhonsky. Pevear and Volokhonsky tend towards what I imagine to be a more literal interpretation, complete with stylistic repetitions and even, where appropriate, nineteenth-century usages. The galling thing is that Tolstoy does this on purpose. I bought the Pevear-Volokhonsky translation of Anna Karenina, but I thought it would be impossible to read an 800-page novel, with the end of the semester approaching. Pevear and Volokhonsky are the masters of Russian translation (I've also read their versions of W&P and Dostoevsky's Demons and The Adolescent). Cover of "Anna Karenina (Oprah's Book Clu Cover of Anna Karenina (Oprah's Book Club).