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Cold War Women explores how literary translation became a uniquely enabling career for each of these women, both in personally challenging gender norms, and in showing translation's soft power for galvanizing propagandist and humanitarian change. The book thus rehabilitates forgotten but influential female translators of Russian literature whose contributions helped to shape the Anglophone reception of Russian and Soviet literature both during and beyond their fraught historical moment.  The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. 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Drawing from previously untouched archives of manuscripts, letters, and FBI files, along with her interviews of literary and cultural figures active then in the USSR, Phillips investigates several key yet little-explored questions about Vonnegut's \"Soviet Chapter.\" What was it about Vonnegut’s writing that so appealed to readers and literary critics in the 1970s Soviet Union? Were Vonnegut’s works censored, and if so, what exactly fell prey to the infamous “Red Pencil”? How much was Vonnegut aware of his cult status in the land of Lenin?   Alongside an account of Cold War politics and literary cultural diplomacy, Kurt Vonnegut in the USSR is also a book about relationships — between Vonnegut and the Soviet reading public, between Vonnegut and the Soviet literary establishment, and most especially, between Vonnegut and the woman whose masterful translations were devoured by readers of Russian: the famous Soviet translator Rita Rait (1898-1989).   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In the 19th century, American literature was invaded by great Russian novels, including the works of Turgenev, Tolstoy, Dostoevsky, Gorky, and others, all mediated, translated, and sometimes even discovered by devoted freelance translators like Isabel Hapgood, Leo Wiener, and Nathan Haskell Dole. Throughout the 1900s these translators made Russian literature, from Nobel prizewinners like Solzhenitsyn to obscure émigrés like Mark Aldanov, accessible to American readers. Some literary translators were also publishers, like Nicholas Wreden (1901-55), at different times a bookseller at Scribner’s, an editor at E.P. Dutton and a publishing executive at Little, Brown. His style was so well-regarded that Hemingway wished he wrote in Russian so that Wreden could translate him. He was also a lumberjack, a trainee naval officer and an émigré who fled Russia in 1920 to become a naturalized American citizen. 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