Translator Alexander Gruzberg spoke with Rossiyskaya Gazeta about how he chose the Russian title for his translation of John RR Tolkien’s The Lord of the Rings. Gruzberg discovered the book in Moscow’s Foreign Literature Library during the late 1970s while exploring English fantasy works. He recalls that there were thousands of titles to choose from, and while few people were drawn to foreign fiction, the breadth of discovery appealed to him. He selected several volumes, examined them carefully, and decided to microfilm any title that seemed promising, as he later explained.
Gruzberg’s connection to film projects linked to works filmed in Perm, the city where he lived at the time, had introduced him to The Lord of the Rings through a friend, Alexander Lukashin. The moment he encountered Tolkien’s epic, Gruzberg felt an immediate resonance. He believed it was a remarkable book and recognized the challenge of naming it in Russian. The translator noted that the Russian title could reasonably be rendered in more than one way, creating a natural tension between direct transliteration and localized adaptation.
The question of how best to render the title remained alive as Gruzberg continued his translation work. He ultimately weighed stylistic considerations, audience expectations, and the musicality of Russian phrasing to settle on a rendering that preserved the sense of the original while resonating with Russian readers. In the end, Gruzberg concluded that multiple faithful renderings existed, each capturing a facet of Tolkien’s layered universe. This ambiguity did not hinder his effort; instead, it underscored the richness of cross-cultural literary transfer and the careful craft needed to bring a sprawling fantasy world into another language.
Today, the 85-year-old translator persists in translating from English, turning his attention to the action-packed novels of L. Frank Baum, famed for The Wizard of Oz. His ongoing work demonstrates a lifelong commitment to making English-language storytelling accessible to Russian-language audiences, preserving narrative momentum while honoring linguistic nuance. This ongoing trajectory highlights Gruzberg’s role as a bridge between English-language fantasy literature and Russian readers, a position he has maintained across decades and literary trends.
This portrait of Gruzberg’s translation philosophy sheds light on the broader history of literary exchange between Russia and the English-speaking world. It illustrates how translators confront naming choices, cultural resonance, and the ethical responsibilities of conveying an author’s intent without diluting the work’s spirit. The account also reflects the collaborative ecosystem surrounding such translations, including friendships, publishing networks, and the perennial tension between fidelity and fluidity in translation work. The enduring fascination with Tolkien’s world among Russian readers and translators is part of a wider conversation about world literature and the ongoing dialogue between languages and cultures.
In related coverage, reports note discussions abroad about inviting Russian translators back into the international literary arena, echoing the collaborative ethos of earlier eras when cross-cultural translation played a pivotal role in shaping global readership. The current interest in reviving such partnerships signals a renewed appetite for literary exchange across borders and languages, a trend that Gruzberg’s career helps illuminate. The conversation continues as new generations revisit timeless works and consider how best to honor the source material while making it vivid and accessible for contemporary audiences. (Source attribution: Rossiyskaya Gazeta)