Show Notes
Anatoly Belilovsky is a Russian-American author and translator of speculative fiction. He was born in a city that went through six or seven owners in the last century, all of whom used it to do a lot more than drive to church on Sundays; he is old enough to remember tanks rolling through it on their way to Czechoslovakia in 1968. After being traded to the US for a shipload of grain and a defector to be named later (see Wikipedia, Jackson-Vanik amendment), he learned English from Star Trek reruns and went on to become a paediatrician in an area of New York where English is only the fourth most commonly used language.
His original work appeared or will appear in the Unidentified Funny Objects anthology, Ideomancer, Nature Futures, Stupefying Stories, Immersion Book of Steampunk, Daily SF, Mammoth Book of Dieselpunk, and Genius Loci anthology, and has been podcast by Cast of Wonders, Tales of Old, and Toasted Cake; his translations from Russian have sold to F&SF, Year’s Best SF #32 (edited by Gardner Dozois,) Grimdark, and Kasma. He blogs about writing at loldoc.net.
Hans Fenstermacher was born in front of the Iron Curtain in Munich, Germany. He grew up in the crosshairs of the Cold War in Berlin. With that kind of provenance, what else could he do but study Russian? Despite the tutelage (read: learning swearwords) from his T.A., Anatoly, and after a stint really deep behind the Iron Curtain in Leningrad, Hans managed to graduate with a degree in Russian. He went on to a lengthy career in localization (if you have to ask what it is, you don’t need it) and language-related exploits.
Kulturkampf
by Anatoly Belilovsky
September 1, 1870
Most respected Feldmarschall von Moltke,
I wish to thank you for giving me the opportunity to put my theories to the test in the taking of Sedan. They were, of course, entirely correct, and our clear tactical victory I am happy to be reporting.
Die Grosse Bertha worked to perfection; we were able to play Bruckner’s Zero Symphony at half steam while the technicians adjusted all their valves and levers. Steamwinds worked perfectly on the first try, and though of course strings needed to be tuned, of the steam tympani there was never any doubt. I have perhaps been harsh on occasion in my estimation of Herr Bruckner’s work, but for making the listeners run away screaming I should say his symphonies are without rival.
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