Alisa Ganieva gave a Zoom-talk at the South Africa’s Madibaland World Literary Festival. 

The review on the Italian translation of Alisa Ganieva’s The Mountain and the Wall (La Nuova Frontiera, translated by Claudia Zonghetti) came out on a website dedicated to the Russian literature.

Alisa Ganieva presented her novels at the Wien Book Fair. The program also included the launch of the Austrian edition of her latest novel Offended Sensibilities translated by Johannes Eigner.

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SEPTEMBER-OCTOBER

Alisa Ganieva posed for a German photographer Dirk Skiba.

Say “hi” to Alisa Ganieva’s husband – a Finno-Ugric languages’ activist Artem Malykh. Here’s his interview to Global Voices on promoting his native Udmurt language in online spaces.

Alisa Ganieva’s wedding with a young minority languages’ revitalization activist Artem Malykh took place in Moscow with a number of writers and scientists attending as the couple’s guests.

Alisa Ganieva got interviewed by the Russian Institute of Translation for the Madrid Book Fair

Alisa Ganieva’s article on Russia after Putin’s alteration of the country’s Constitution came out in the German Frankfurter Allgemeine Zeitung.

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Alisa Ganieva’s Offended Sensibilities came out in Austria (Wieser Verlag, see here) in His Excellency’s Austrian ambassador in Russia Johanness Eigner.
The publisher Lojze Wieser writes in his open letter to the translator: «Yesterday Matei brought the beautiful finished book over to me at home and I started reading in bed late at night. Alissa and you are responsible that the night was brought to my sleep and that I am looking for a time window today to read on. As in the best of times with the best books! Thank you! Pažalsta!
I'm afraid it will have to be a magnum!»

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 Alisa Ganieva’s short story Munkar and Nakir in Sabrina Jaszi’s translation came out in the Words without Borders magazine. Scholars Hilah Kohen and Josephine von Zitsewitz write in the same magazine: «Thanks to translator Carol Apollonio, readers may already be familiar with Alisa Ganieva’s novels. Here, the prominent writer and activist takes on a different genre: short-form regional noir, though it is set in a region that genre does not typically include. As a man named Kebedov drives through rural Dagestan (a predominantly Muslim republic in Russia’s Northern Caucasus Mountains), he finds himself inside a kind of real-life trolley problem whose resolution rests on a single theological conversation with a stranger. It’s inside their dialogue, and not in a complex plot, that Ganieva hangs the suspense of the narrative: in her hands, every word changes what the future can be, or whether it can even exist».


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