• The History of Counterculture
While speaking about alternative genre of literature it is important to mention the phenomenon without which this genre cannot exist - the counterculture. Along with beatniks, nonconformists, counterculture is a specific object of the subculture. Within the framework of cultural studies this notion is generally considered to be related with the denying of the value of traditional culture. Moreover, not only has the counterculture paradigm that differs from the paradigm of the dominant culture, but also explicitly opposes the dominant culture, casts doubt on the prevailing cultural values, norms and moral principles, creates its own system of norms and values.
Counterculture emerged in the United States in the 1960s - and almost simultaneously in all Western democracies. The term was firstly used by the American sociologist Theodore Roszak, who applied it to refer to the new trends in art, draws inspiration from sources opposing the traditional culture.
The appearance of countercultural stream is also associated with "youth revolution" of the 1960s, the hippie movement and punk in 70s. The counterculture reformats our educational system, our art, our entertainment, our sexual conventions, and our moral codex. Thus, the important is the fact that we are aware of all this - and this fact is even more important that we all criticize it.
The basis of the formation of the counterculture on the fact that the ruling principles are not able to cover all the symbolic space of society. Part of this space "is divided" between a sub - and counterculture. These countercultures include early Christianity, then other religions, communities of utopians and the movement of the Bolsheviks.
In addition, as an example of counterculture can be served a criminal environment, because this social group is closed and isolated. In this environment can easily be changed the ideological doctrines, socially significant notions of honesty, hard work, family life, etc.
Counterculture phenomenon is difficult to be analyzed and understood because of the lack of visible crisis: the crisis of the economic system, social crisis, the crisis of Western policy. Even a significant involvement of America in the affairs of Vietnam, what is often called the reason, cannot explain the emergence of the counterculture, as it has preempted Vietnam for several years. And also such narrow explanation omits the international nature of countercultural movement, which is the inner process for our couture and society and not the external one.
It is possible to understand the meaning of the term only in the case of realizing the idea of “culture”. Before 18th century in the field of culturology there was an opinion that culture cannot grow old. At the end of the 18th century was born the modern idea of “culture”, converted to a new, autonomous sector of human activity - to the sphere in which poets, playwrights, novelists, philosophers have offered intense spiritual experience of the kind that do not provide traditional religions. The novel of Goethe “The Sorrows of Young Werther” (1774) might cause a lot of suicides across Europe. The time of religious upheavals remained in the past, and now moral upheavals become the events of "culture".
There was neither a comprehensive term for “culture” nor a term, which defines the word “art”, which occurred almost at the time with culture. Both of these concepts appeared to define a new sense of their mission.
Nowadays the counterculture and postmodernism are a revolt against art and culture, considered as an autonomous, secular human activity. Now everyone understood that spiritual essence was excluded from this activity.
In the 1960s the counterculture began to recruit followers among the youth in the faculty teaching staff of American campuses. Professors were the latest who understand the situation. They along with media commentators wanted to know the causes of student’s discontent and tried to appease it. Nevertheless, American and European students have passed through the existential and spiritual crisis, peeped out in their violent sexuality, drug addiction, their desperate efforts to invent something new -"lifestyle" and popular music.
Today the rational word and society are not ready for such kind of existential “cramps”. Instead of studying the histories of religions to explain mystical phenomena the society wanted to find answers to economic and political questions. This happens because of the fact that the society is unable to interpret the spiritual aspirations and spiritual passion as independent primary force in human history.
Despite the ignorance of religion, it is just to consider the early Christianity the ancestor of counterculture. In polemic written in 2 centaury A.C by Greek philosopher Celsus were described the cruel and ignorant attitude of greek-roman rationalists towards this counterculture. Finally all copies of this polemic were destroyed by the church.
Celsus said that it was absurd for people to believe in miracles to believe that god-man was buried, and then he rose again, when such things cut across common sense and are utterly impossible. Celsus’s criticism of Christianity was perfect in terms of sense, if by sense we understand pure rationalism. It was a response to the philosophy and faith of Christianity. But philosophy, internally rationalistic, is always disarmed by religion, besides the cases when religion is simply ignored by philosophy. The same we can say about the modern academic, rationalist culture which is disarmed or ignored by counterculture.
Today the objection of the counterculture to the rationalists is like a response of early Christianity to Celsus. The response always is “You just do not understand!”Literally this is not an argument. But it is a powerful and convincing way to end the discussion, and the main purpose of the counterculture, which always seeks to create a new dictionary, set a new deadline, set new parameters of discourse to re-create a new human and social reality. This method, however, rarely succeeds, because orthodoxy is more power than counterculture. And even when it does lead to success, it creates its own new orthodoxy.
Dignity of orthodoxy is a prescription by which people find satisfaction in their life, doing the right things, in the right way, at the right time and with the right state of mind. The latter is the weakest of the four: orthodoxy believes that if you are doing the right thing, in the right way, at the right time, then you will probably finish this thing in the right mood. That is why orthodoxy is always suspicious of those who enthusiastically sustain a conversation about "spirituality". For centuries orthodoxy has known that dignity is not only the subject of faith, but also an existential discipline.
Another example of an attempt to define the counterculture is shown in the collection of short stories by Victor Pelevin, entitled “The farewell songs of the political pygmies of Pindostan”. In the first part of this collection (“The room of the singing caryatids”) characters give another definition of the counterculture. “Counterculture - is... - She paused for a moment, as if remembering a phrase, that she had head somewhere. - This is the aesthetics of anti-bourgeois revolt, expropriated by the ruling elite. ” “ It's just a niche market - Kim shrugged. - And not only in our country but also around the world. In English it is spelled “counterculture”. “Counter” is a stand. Counterculture is any product that is going to sell cool and put on the counter near the cash register”
The new countercultural stream was orthodox, as it was in the '60s, what also means resistance. The fact that the opposition has always existed and still exists in social relations, but is stronger or weaker at different times. The opposition is a very important element, as it reacts to the injustices of the majority and is able to provide decent resistance. Resistance is important, because it gains the time in which contradictory or self-destructive impulses of counterculture can exhaust themselves. The current conflict between lesbianism oriented feminism and “sexual emancipation” is a good example. At the same time we must recognize that some of the basics will never recover No one can predict what will happen, if we breathe new life into the spirit of the old orthodoxies, likewise no one knows in what respect and how the religious orthodoxy newly received inspiration will differ from the old one.
Taking into consideration all, that have been already said we can conclude that the alternative culture (counterculture) exists in today's society, as an absolute opposition to the massive culture. The appearance of the first was because of the social tensions in the mid-60s of the last century. The formed subculture and alternative served as a base for the formation of the corresponding genre of literature.
• Alternative Prose as a Genre of Literature
As we have understood the counterculture is an independent ideology. Like communist thought, which were expressed in the works of Karl Marx, Friedrich Engels and Vladimir Lenin, countercultural ideology lies in the works of the American novelist Chuck Palahniuk, as well as a number of Russian writers such as Maroussia Klimova (real name - Tatiana Kondratovich) or Victor Pelevin.
A characteristic feature of this genre are the orthodoxy of the idea of social resistance, ultimate detachment of author's view, indifference to good and evil, attention to absurd and comic details and the blurriness of boundaries between common sense and madness. In this respect, the counterculture is very close to postmodernism, which is understood as neo-baroque. Both streams appeared as radical, revolutionary streams. At the heart of the alternative literature lies deconstruction (Derrida’s in the early 60's) and decentration. Deconstruction is a complete rejection of the old, the creation of a new due to old and a decentration is a dispersion of the meaning of any phenomenon. The peculiarity of this genre is a rhizomatic structure where there is no opposition, beginning and end.
A good example of counterculture in literature is an autobiographical trilogy of Marusya Klimova ("Blue Bloods," "The House in Bois-Colombes", "Blond beast"), which gives a broad panorama of Russian’s life in 80th-90s. In these novels, the reader finds the images of the latter-day Russian dandies and transvestites, which easily change their masks and costumes to coincide the atmosphere of universal carnival of those years. Another example is a collection of “Sea Stories”, which is a collection of tragicomic stories of sailors in long voyage, written on behalf of a man in a very rough and cynical manner.
From his debut in the Soviet literature Victor Pelevinn has been considered a mysterious figure. This definition refers not only to the creativity of the young writer, but also to the personality of Pelevin. He still has not given a single interview and though Pelevin is known to the reading public more than a decade, only a few photographic images of him appear in the press. Problems arose even with the year of birth of Victor Pelevin - the date varies in different sources from 1960 to 1970 years. Perhaps the most complete and reliable biography of the writer is presented in the article of Dmitry Bykov, published in the collection of materials about the life and work of V. Pelevin in the journal “Ogonyok”.
A very interesting novel of Victor Pelevin is “The Buddha's Little Finger”. In one chamber of the psychiatric hospital lie (or sit) four patients. Each in turn tells his story or it is better to say describes his world. In one of the worlds the particular character comes into the alchemical marriage with the West (mental patient Simply Maria - with Schwarzenegger). In another comes into the alchemical marriage with the East (Serdyuk - with the Japanese Kavibatoy). One of the worlds is a world of the main character, Peter Void, who, along with Vasily Ivanovich Chapaev and Anna is fighting on the Eastern Front (central narrative world). Fourth World (the narrator is a bughouse toughie Volodin) itself is divided into four parts of the personality of the narrator: Internal defendant internal prosecutor, internal counsel. Throughout the novel we always meet the figure four, which is a symbol of something complete and perfect.
Speaking about the creative value of Palahniuk’s novels, it should be mentioned that the prose of American author with Ukrainian origin is deceptively simple and focus solely on the plot of a novel. It probably gives a handle to many people condemn or despise him for certain backwardness or primitiveness. Alternative literature is more valuable than the detectives. There was a sudden turn in the history of world literature, when it seemed to have irreversibly gone from the domination of the plot and content, but in the early 20th century Borges and Casares returned again to the form of a simple detective. But in this case, the plot became the subject of author’s effort of specific postmodern games. To some extent, the same we can say about Palahniuk, though he does not write detective stories.
Authors, whose works belong to the alternative genre, usually show themselves as decadents, marginals and Nietzscheans. According to the magazine "New World", "what brings these writers together are misanthropy, marginality, sexual perversion, contempt for the norms and the" bourgeois "morality.
To sum up, it is necessary to mention that the existing at the present time genre of alternative literature is not functioning as equipoise of the traditional literature, but as a complement of it. However, unlike traditional prose, countercultural tend to marginality, and thus the readership of such literature is also specific.
• Chuck Palahniuk as a Representative of a Countercultural Prose
Speaking about Chuck Palahniuk and his works, we must mention his origin. Multiple sources make reference to his Eastern Slavic origin. Palahniuk's grandfather, who emigrated from the Ukraine to the United States at the beginning of the last century, had the last name Palagnyuk.
Since 1999, in the Internet communities have continued debates about the right pronunciation and spelling of the author's last name. When he was a little a child, the parents of the future writer took him to the cemetery to visit the graves of his ancestors. Seeing the names on the gravestones of his grandparents - Nick and Paula made the baby very amused and he understand that his last name is a mixture of his grandparents’ names.
Chuck Palahniuk was born February 21, 1961 in Washington, DC, where he lived until entering the university. In 1986, the "king of the counterculture," graduated from the faculty of journalism of the University of Oregon in the United States. While studying in the college he worked as an trainee at a local radio. At the same time he worked at the factory as a mechanic for diesel, making tutorials on repairing trucks. However, he felt the lack of implementation in his life and because of it he began to work as a volunteer first in shelter for homeless people and then in a hospice. After a couple of years he gave up the job, because died one of the terminally ill patients, especially close to him.
Immediately after this tragedy Palahniuk became a member of the Cacophony Society, a support group for people with suicidal tendencies. Later, almost all of his works were inspired by the participation in the mentioned group and its members would be prototypes of novel.
His writing career Chuck Palahniuk began relatively late - at the age of thirty. Palahniuk said that he began to write after attending creative writing courses, which led Tom Spaunbauer. At first, Palahniuk attended the courses in order to make new friends in Portland. But then it turned out that Spaunbauer had a decisive influence on the minimalist style of the writer.
In the end of 90s Palahniuk presented his first novel titled “Insomnia: If You Lived Here, You'd Be Home Already”. This creation was not published as Palahniuk was disappointed in the plot, but a small part of it was used in “Fight Club”. Then he wrote his “Invisible Monsters”, but the publisher called this novel outrageous. This made Palahniuk write his next work “Fight Club” even more outrageous. The novel is full of blood, medical details and violent scenes. Palahniuk dissects reality to sober reader, jaded intellectual dryness of postmodernists.
In most of his works Palahniuk laughs at elegance and complexity in a very rude way. The characters in his novels change because of the several reasons. The younger generation prefers to flee from the comfort and predictability against everything and everyone. The older generation, on the contrary, is represented as a society striving to secure a pleasant life, going on about the accepted norms, thus contorting its essence to wear masks.
“Fight Club” is considered to be the most popular novel of Chuck Palahniuk. Literary critics commented positively. In 1999 Hollywood shot the title film, which burst the word and Palahniuk became known in Russia due to rental of “Fight Club”.
Speaking about the works of Chuck Palahniuk generally it is fair to say that besides showing acute social problems presented in the novels, interesting is the manner of presentation the events and special literary language. In order to effect the reader, Palahniuk uses in addition to traditional stylistic means modern lexical categories: rude frank language and slang. Euphemisms and political correctness are alien to him. This makes the countercultural prose separate branch of literature. Later features of the genre of alternative prose will be discussed in more details.
• The Peculiarities of the Language of Alternative Prose
As it has been already mentioned all the works of alternative prose differ from traditional literature and have specific features. It is important to mention that alternative prose is a part of alternative culture, because us we know the literature cannot exist without culture. Language is a living organism, which lives and changes within the same culture. In all countries developed differently and the literature itself bases on different principles.
The main features of this particular genre are the usage of non-normative lexis, a plentitude of slang, not only slang of youth, but also professional slang, mainly medical, the description of intimate details of personal life with the use of grim humor.
It should be noted that non-normative language within linguistics is understood in two ways. On the one hand, the rude language is used to indicate such layer of words and expressions, the use of which in the speech (oral and written texts) violates the norms of public morality and generally accepted in society notions of decency and indecency. This category of words and phrases include lexical and phraseological units of “extraliterary” sphere of the language (i.e., they are outside the scope of the norms of the literary language): the vernacular, slang, regional dialects.
The use of swear words in literature, of course, is inapt, but at the same time the use of it make the speech more laconic and sometimes gives a good explanation of a problem. Especially when no one insists on the inclusion of this group of words in popular literature. Thus, abusive words are ideal for alternative prose, they make it oppositional.
By all accounts, any shocking behavior causes a public resonance and attracts attention. The use of non-normative lexis is an inherent part of the extravagant realization, especially in literature, claiming the title of modern classics.
The first book of Chuck Palahniuk “Insomnia…” initially did not find acceptancy of publishers because of the use of swear words. It took six years to the reading public to understand this novel. About the use of non-normative lexis Palahniuk himself says that it often helps to fully express negative attitude to everything that is in our lives.
In the Internet community of fans of Chuck Palahniuk, however, continue debates about the inclusion of harsh words of the story and about 17% of visitors say that foul language is not worthy the pen of the writer.
As vast majority of readers of Chuck Palahniuk are teenagers and young people, the use of slang helps to the author to influence them, to show them graphically what is good and what is bad, to make them better and to guide them in our cruel word. We should understand that jargon and slang are not harmful parasitic excrescences on the body of language that vulgarizes oral speech of the speaker, but a necessary part of the system.
From all above it is evident that slang is integral part of alternative prose. It is no secret that this item has qualitative changes over time. However, at the moment the jargonisms are actual and fit perfectly to the features that characterize the genre.
The next interesting peculiarity of this genre and especially of the language of Chuck Palahniuk is grim humor, a special kind of humor, in which the comic effect is caused by mockeries of death, health or other topics, which are usually taboos. It usually hints at increased risk of ridiculed object.
As grim humor as a literary device has a rich history, it is very attractive nowadays for alternative prose. In general, any humor plays on some contrast of positive and negative and gives a handle to popular culture to think that it inerrably exist. With the help of grim humor writers mock of sin, avarice and sunk in vice society. It shows that alternative writers follow the notion of morality and even appeals to family values, although they see this sphere of life in their own way.
When the role of grim humor in alternative literature is clear, the problem of mention the physiological aspects of human life remain controversial. There is analogy with the problem of the use of non-normative lexis. It should be noted that for majority it is unacceptable to show the details of biological death or sexual intercourse. If the society does not accept such things in literature it means that it does not accept this genre, but Chuck Palahniuk using the whole piquancy of the genre, fury and grim humor to depict gloomy, realistic stories.
Features of the genre are so specific that if you omit the explicit details the plots partially or completely will lose their artistic sense. Thus, it should be noted that the use of grim humor in countercultural prose completely opposes the popular literature. Description of the explicit scenes in this genre allows you to see the dark sides of life. Perhaps the alternative culture, and with it the relevant literature are harbingers of the imminent collapse of the modern consumer lifestyle.
The use of aphorisms is also typical for this genre. As a rule, aphorisms born in the context of scientific, philosophical, artistic works, as well as by they own. The latter usually consist of three to five words, if we talk about the contextual aphorisms, the number of words can be unlimited.
From ancient times the wise use aphorisms considered as a manifestation of high intellect. They are always accompanied all civilizations of the world, they are synthetically generalize wisdom of the people, shows their interests and aspirations, as a kind clots of public opinion. Nevertheless, it would be wrong to assume that the aphorisms necessarily have to be known to a wide audience.
In the context of alternative prose aphorisms also represent one of the stylistic features. The writers use them to attract more readers. As the purpose of any genre is to cover the different social groups, there is a need and variations of stylistic devices. Thus, the abundance of slang attracts young people, and for intellectuals are more attractive aphorisms. Proverbs and aphorisms of any language are the products of the national lingual consciousness as the materialization of the experience of generations and individual representatives of the people.
To sum up, it is important to mention that, despite its apparent alienation from popular culture, for alternative prose is not completely alien to the traditional elements, such as: black humor or aphorisms. However, it should be born in mind that these methods are characterized by a certain countercultural orientation.
So we can say the use of swear words, grim humor and slang emphasizes the novelty of the alternative genre and adds zest. All these make us more clearly understand the situation, mock at sin, make a tragedy a bit humorous and force us to live and strug
Conclusion
In this paper we have considered the works of modern American writer with certain popularity with certain fame, whose works have a literal value, but who is not a classic one yet. His novels are not for everyone, because not everyone can read between lines and in rude jokes and grim humor can find the pain, the bitterness, the tragedy of human life and the way to escape all these.
A lot of people can say that they feel disgust reading Palahniuk’s novels or that his novels offend their feelings and that is true, because to understand him a person should be more free, independent, should have a different system of values. As it was already mentioned Chuck Palahniuk is an engineer of human souls and only having the same attitude to life, to love, to nature a person can understand this crazy genius and can find the veiled massages from the pages of his books. Here we can use the quote of Oscar Wilde, which has a lot in common with this American writer. “It is a spectator, and not life, that art really mirrors” [Oscar Wilde, 1963:17].
In this paper we discussed Chuck Palahniuk’s “Pygmy” and we had the aim to show that this novel is not the violation of language, the mockery of standard norms and rules of English language, but the linguistic and literal value, which graphically shows that language is a living organism, which lives, breathes, changes, modifies and even sometimes mutates. Pygmy is a real hero and so his speech should be created by specific linguistic devices. So we can say that the choice of this novel specifies that this novel is relatively new and there is not a novel, which may so clearly show the life of English language as well as “Pygmy”.
We have come to the following conclusion:
• The translation, which has a long history, is very difficult and painstaking process and the translator should not only be a good specialist in the field of languages, but also be a creative and well-informed person to pass clearly to the readers all that is in book.
• In some cases, as for example in the novel “Pygmy” the translator became a writer, who taking as a base the original version creates his own novel, but did it in such a way to keep the atmosphere and the spirit of the original version.
• Nowadays slang became a part of our life and one cannot imagine his speech without slang. It makes ours speech more colorful, spicy and emotional.
• Using broken English Chuck Palahniuk made his hero more realistic and the novel more interesting.
• Broken language of the novel “Pygmy” is not a violation of the English language, but a literary device, which help the writer to create the right atmosphere and prove that the language is growing and changing.
• Counterculture is a base of the genre of alternative prose.
• The main peculiarities of alternative prose are the plentitude of slang, aphorisms, non-normative lexis, grim humor.
• Due to peculiarities of genre alternative prose the novels of this genre are interesting to people of all ages.
So, we have discussed the novel “Pygmy” and tried to convey, that pearls are always at the bottom of the ocean and not everything that spangle is a star. So with our research we wanted to introduce you with this novel and the interesting layers which it contains in the sphere of linguistics, literature and culture.
Bibliography
• Susan Bassnett, “ Translation Studies”, Third edition, 2002
• Rager T.Bell, “Translation and Translating”, Longman Group, 1991
• Chuck Palahniuk, “Fight Club”, W. W. Norton & Company, 1996
• Chuck Palahniuk, “Pygmy”, Random House, 2009
• Robert Stolt, “The Translation of Slang”, GRIN Verlag, 2010
• Noah Webster, “Webster’s Ninth New Collegiate Dictionary”, Springfield, Mass: Merriam-Webster,1980
• Harold Wentworth, Stuart Berg Flexner, “Dictionary of American Slang”, Crowell, 1974
• Oscar Wilde, “The Picture of Dorian Gray”, Foreign languages publishing house,1963
• Համատեքստ – 2012, ԵՊՀ հրատարակչություն, 2012
• Чак Паланик, “Бойцовский клуб” перевод И. Кормильцева, АСТ, 2003
• Чак Паланик, “Пигмей” перевод Н. Красникова, АСТ, 2010
The Internet Sources
• https://biblehub.com/ecclesiastes/3-5.htm
• https://www.searchquotes.com/quotation/Popularity_is_the_crown_of_laurel_which_the_world_puts_on_bad_art._Whatever_is_popular_is_wrong./237540/
• https://www.thefreedictionary.com/Correct+English
American Heritage Dictionary of the English Language, Fifth Edition
• https://dictionary.reference.com/browse/standard+english
the Random House Dictionary
• https://www.thefreedictionary.com/nonstandard
Collins English Dictionary – Complete and Unabridged
• https://www.thefreedictionary.com/nonstandard
Random House Kernerman Webster's College Dictionary
• https://www.ahdictionary.com/word/search.html?q=dialect
The American Heritage Dictionary of the English Language, Fifth Edition
• https://www.amara.org/en/videos/0fHNls9ZxRx3/en/888064/
• https://blog.oup.com/2006/11/slang_and_slang/
• https://www.ldoceonline.com/dictionary/slang
• https://www.oxfordlearnersdictionaries.com/definition/english/slang
• https://www.thefreedictionary.com/folk
The American Heritage Dictionary of the English Language, Fifth Edition
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Appendix
Appendix 1
| Original | People are always asking, did I know about Tyler Durden. |
| V. Zavgorodniy | Люди часто спрашивают, знаю ли я Тайлера Дёрдена |
| A. Yegorenkov | Меня всегда спрашивают — знаю ли я Тайлера Дердена. |
| I. Kormiltsev | Кого я ни встречу, все меня спрашивают, не знаком ли я с Тайлером Дерденом. |
| D. Savochkin | Люди постоянно спрашивают, знаю ли я о Тайлере Дардене. |
| A. Amzin | Люди всегда спрашивают, знал ли я о Тайлере Дердене. |
| Original | Look up into the stars and you’re gone. |
| V. Zavgorodniy | Взгляд на звезды — и тебя уже нет. |
| A. Yegorenkov | Посмотри на звезды, — и тебя не станет. |
| I. Kormiltsev | Стоит только поднять голову, посмотреть на звезды – и ты пропал. |
| D. Savochkin | Посмотри вверх, на звёзды, и ты улетаешь. |
| A. Amzin | Взгляни на звёзды, и ты ушёл. |
| Original | We just totally forget about Tyler’s whole murder-suicide thing. |
| V. Zavgorodniy | Мы совершенно забыли обо всей убийственно-суицидальной затее Тайлера. |
| A. Yegorenkov | Мы полностью забываем обо всей убийственно-суицидальной затее Тайлера. |
| I. Kormiltsev | Мы чуть не позабыли обо всей этой тайлеровской философии касательно убийства и самоубийства. |
| D. Savochkin | Мы совершенно забыли про все эти тайлеровские убийства-самоубийства. |
| A. Amzin | Мы полностью забываем обо всех этих убийствах и самоубийствах Тайлера. |
| Original | La petite mort, the French called it. |
| V. Zavgorodniy | La petite mort, как говорят французы. |
| A. Yegorenkov | «La petite mort», «маленькая смерть», как выражаются французы. |
| I. Kormiltsev | La petite mort. Кажется, французы так говорят? |
| D. Savochkin | Французы называли их «La petite morte». |
| A. Amzin | Маленькая смерть, так это называли французы. |
| Original | Babies don’t sleep this well. |
| V. Zavgorodniy | Дети не спят так, как спал я. |
| A. Yegorenkov | Младенцы не спят так крепко. |
| I. Kormiltsev | Спал крепче любого невинного младенца. |
| D. Savochkin | Дети не спят так сладко. |
| A. Amzin | Младенцы не спят так хорошо. |
| Original | The part down the center of her hair is a crooked lightning bolt of white scalp. |
| V. Zavgorodniy | Посреди её головы белой молнией сверкает пробор. |
| A. Yegorenkov | Пробор по центру её причёски — просвет белой кожи головы, как изогнутая молния. |
| I. Kormiltsev | Из-под чёлки светится её лоб — бледный-бледный, белый-белый. |
| D. Savochkin | Свет, падающий ей на пробор, выхватывает полоску белого скальпа. |
| A. Amzin | У неё пробор зигзагом, и, видя этот пробор, я замечаю её белоснежную кожу. |
| Original | “Funerals are nothing compared to this,” Marla says. “Funerals are all abstract ceremony. Here, you have a real experience of death.” |
| V. Zavgorodniy | — Похороны — ничто по сравнению с этим, — говорит Марла. — Похороны — всего лишь абстрактная церемония. А здесь — здесь настоящее ощущение смерти. |
| A. Yegorenkov | — Похороны — ничто по сравнению с этим, — отвечает Марла. — Похороны — абстрактная церемония. А здесь, — здесь по-настоящему познаешь смерть. |
| I. Kormiltsev | — Похороны – это ничто в сравнении с группами поддержки, – возражает Марла. – Похороны – это абстрактная церемония. В них нет истинного ощущения смерти. А здесь оно есть. |
| D. Savochkin | — Похороны — это детский лепет по сравнению с этим, — говорит Марла, — Похороны — это лишь абстрактная церемония. А здесь ты получаешь истинное переживание смерти. |
| A. Amzin | — Бюро — ничто по сравнению с этим, — говорит Марла. — Похоронное бюро — абстрактная церемония. Здесь и только здесь ты можешь получить настоящий опыт в области смерти. |
| Original | …skim milk thin, buttermilk sallow in her dress with a wallpaper pattern of dark roses… |
| V. Zavgorodniy | Бледная тонкая кожа, затянутая в платье с обойным рисунком тёмных роз. |
| A. Yegorenkov | …вся сливочно-худая, с болезненным оттенком кожи, в своем платье с орнаментом из темных роз… |
| I. Kormiltsev | … бледная, как обезжиренное молоко, кожа, платье в темно-красных розах… |
| D. Savochkin | … тонкая молочная кожа, масломолочный блеск платья с рисунком тёмных роз… |
| A. Amzin | … желтушно-бледная в своём платье с обойным узором из тёмных роз… |
| Original | A moment was the most you could ever expect from perfection. |
| V. Zavgorodniy | Мгновение — максимум, чего можно ждать от совершенства. |
| A. Yegorenkov | Один миг — это самое большее, что можно получить от совершенства. |
| I. Kormiltsev | От совершенства и требовать нельзя, чтобы оно длилось дольше. |
| D. Savochkin | Эта минута была всем, чего можно ждать от совершенства. |
| A. Amzin | В этот миг ты чувствуешь всё, что мог ожидать от совершенства. |
| Original | “Sticking feathers up your butt,” Tyler says, “does not make you a chicken.” |
| V. Zavgorodniy | —Хоть сунь перья в жопу, а соловьем не станешь, — говорит Тайлер. |
| A. Yegorenkov | — Сколько перья в зад не тыкай, — говорит Тайлер. — Цыпленком не станешь. |
| I. Kormiltsev | — Оттого, что ты засунул в жопу перо, — говорит Тайлер, — ты еще не стал павлином. |
| D. Savochkin | — Втыкая перья себе в жопу, — говорит Тайлер, — ты не станешь курицей. |
| A. Amzin | — Тот факт, что ты воткнул перо себе в зад, — говорит Тайлер, — не делает тебя курицей. |
| Original | That old saying, how you always kill the one you love, well, look, it works both ways. |
| V. Zavgorodniy | Как это говорится — убиваешь того, кого любишь… ну, работает и наоборот. |
| A. Yegorenkov | Старая поговорка, про то, что мы всегда причиняем боль тем, кого любим, — так вот, знаете, у этой палки два конца. |
| I. Kormiltsev | Кто-то сказал когда-то давно, что людям свойственно убивать тех, кого любишь. Что ж, верно и обратное. |
| D. Savochkin | Старая поговорка, о том, что ты всегда губишь тех, кого любишь, что ж, она работает в обе стороны. |
| A. Amzin | Слушайте, старая поговорка, та, где говорится, что ты всегда убиваешь того, кого любишь, так вот, она работает и в обратную сторону. |
Appendix 2
| Original | N. Krasnikov |
| Vladimir Lenin, “One man with a gun can control a hundred without one.” | Владимир Ленин: «Один вооруженный может управлять сотней безоружных». |
| Benito Mussolini, “It is humiliating to remain with our hands folded while others write history.” | Бенито Муссолини: «Стыдно сидеть сложа руки, когда другие пишут историю». |
| Evita Peron, quote, “My biggest fear in life is to be forgotten.” | Эвита Перон: «Больше всего на свете я боюсь, что про меня забудут». |
| Adolf Hitler, whisper say, “He alone, who owns the youth, gains the future.” | Адольф Гитлер: «За кем молодежь, за тем и будущее». |
| Adolf Hitler, “The victor will never be asked if he told the truth.” | Адольф Гитлер: «Победителя не спросят, правду ли он говорил». |
| Malcolm X, “The future belongs to those who prepare for it today.” | Малькольм Икс: «Завтра принадлежит тем, кто готовится сегодня». |
| Idi Amin, “You cannot run faster than a bullet.” | Иди Амин: «От пули не убежишь». |
| Joseph Stalin, “A single death is a tragedy; a million deaths is a statistic.” | Иосиф Сталин: «Одна смерть — трагедия, миллион смертей — статистика». |
| Mao Tsetung, “Women hold up half the sky.” | Мао Цзэдун: «Женщины держат на плечах половину неба». |
Appendix 3
| Original | N. Krasnikov |
| Thank you, much esteemed madam living skeleton. | Спасибо, многопочтенный мать, иссохший скелет! |
| Esteemed instructor say top deity ordains all living creation suffer-wasted disease or screaming wearing covered blood-then must some today all to die. Only tragedy if suffer and die during innocent. | Божество, наставник учи, каждая живая тварь по заслугам страдание обреки. Каждый день, сколько живи, болезнь страдай, кровь обливайся, боль кричи, потом умирай. Обычный порядок. Только трагедия, когда невинный страдай да умирай. |
| White rodent to be erased. | Был белый мышь да нету. |
| America boasts frequent vast public parade for flaunting sodomy. | Бесстыжий содомит толпа шумный парад регулярно проводи центральная улица. |
| In truth, extinction sinner great vast pleasure unto deity. | Наоборот, грешник умирай — великий подарок для Божество, великий радость. |
| For official record, announce instructor, the state requires no epic hero. | Следом затем заслуженный инструктор пара слов для протокола скажи. Сообщи, что государство герой не нуждайся. |
| Required to erase own self. Otherwise state will do so. | Амбициозная личность своя уничтожь — или сам, или государство на помощь приходи. |
| Much venerate ancient mother… | Достопочненный старый мать! |
| Solely remain trail blood steps. | Ничего обидчик не оставь, кроме данный след. |
| Sister hand lift to touch location own heart muscle. | Сестра кошка невидимка рука сердечная мышца наложи. |
| Must saliva of operative me swallow. | Слюна рот набеги, глотай вынужден данный боевик. |
| No worship leader able visible. | Ни Тони жалкий дельфин. |
| Much-brilliant instructor say. | Мудрый многоопытный наставник продолжай. |