读巴别尔, 我的感觉是慑人心魄. 巴别尔的语言精美绝伦, 七八十年了, 还是魅力十足.
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泅渡兹勃鲁契河
六师师长电告，诺沃格拉德－沃伦斯克市已于今日拂晓攻克。师部当即由克拉毕夫诺开拔，向该市进发。我们辎重车队殿后，沿着尼古拉一世用庄稼汉的白骨由布列斯特铺至华沙的公路，一字儿排开，喧声辚辚地向前驶去。
我们四周的田野里，盛开着紫红色的罂粟花，下午的熏风拂弄着日见黄熟的黑麦，而荞麦则宛若处子，伫立天陲，像是远方修道院的粉墙。静静的沃伦, 逶迤西行，离开我们，朝白桦林珍珠般亮闪闪的雾霭而去，随后又爬上野花似锦的山冈，将困乏的双手胡乱地伸进啤酒草的草丛。橙黄色的太阳浮游天际，活像一颗被砍下的头颅，云缝中闪耀着柔和的夕晖，落霞好似一面面军旗，在我们头顶猎猎飘拂。在傍晚的凉意中，昨天血战的腥味和死马的尸臭滴滴答答地落下来。黑下来的兹勃鲁契河水声滔滔，正在将它的一道道急流和石滩的浪花之结扎紧。桥梁都已毁坏，我们只得泅渡过河。庄严的朗月横卧于波涛之上。马匹下到河里，水一直没至胸口，哗哗的水流从数以百计的马腿间奔腾而过。有人眼看要没顶了，死命地咒骂着圣母。河里满是黑乎乎的大车，在金蛇一般的月影和闪亮的浪谷之上，喧声、口哨声和歌声混作一团。
深夜，我们抵达诺沃格拉德市。我在拨给我住的那间屋里，看到了一个孕妇和两个红头发、细脖子的犹太男人，还有个犹太男人贴着墙在蒙头大睡。在拨给我住的这间屋里，几个柜子全给兜底翻过，好几件女式皮袄撕成了破布片，撂得一地都是，地上还有人粪和瓷器的碎片，这都是犹太人视为至宝的瓷器，每年过逾越节才拿出来用一次。
“打扫一下，”我对那女人说，“你们怎么过日子的，这么脏，一家子好几口人……”
两个犹太男人应声而动。他们穿着毡底鞋，一蹦一跳地走动着，收拾掉在地上的垃圾。他们像猴子那样不发一声地蹦跳着，活像玩杂耍的日本人，他们的脖子一个劲地转动，都鼓了起来。他们把一条破烂的羽绒褥子铺在地板上，让我靠墙睡在第三个犹太人身旁。怯生生的贫困在我们地铺上方汇聚拢来。
万籁俱寂，只有月亮用它青色的双手抱住它亮晶晶的、无忧无虑的圆滚滚的脑袋在窗外徜徉。我揉着肿胀的腿，躺到破褥子上，睡着了。我梦见了六师师长。他骑着一匹高大的牡马追赶旅长，朝他的眼睛连开两枪。子弹打穿了旅长的脑袋，他的两颗眼珠掉到地上。“你为什么带着你的旅掉转枪头?”六师师长萨维茨基冲着脑袋瓜开花的旅长怒吼道，就在这时我醒了过来，原来那个孕妇在用手指摩挲我的脸。
“老爷，”她对我说，“您在梦里又是叫又是踢。我这就给您的地铺挪个角落，省得您踢着我爹……”
她的两条骨瘦如柴的腿，支着她的大肚子，打地板上站了起来。她把那个睡着的人身上的被子掀开。只见一个死了的老头儿仰面朝天地躺在那里，他的喉咙给切开了，脸砍成了两半，大胡子上沾满了血污，藏青色的，沉得像块铅。
“老爷，”犹太女人一边抖搂着褥子，一边说，“波兰人砍他的时候，他求他们说：‘把我拉到后门去杀掉，别让我女儿看到我活活死去。’可他们才不管哩，爱怎么干就怎么干，——他是在这间屋里断气的，临死还念着我……现在我想知道，”那女人突然放开嗓门，声震屋宇地说，“我想知道，在整个世界上，你们还能在哪儿找到像我爹这样的父亲……”
- Re: 宸村埆灏旂殑楠戝叺甯�posted on 03/12/2006
谁的译文？挺带劲。 - Re: 宸村埆灏旂殑楠戝叺甯�posted on 03/12/2006
是很棒, 读得人心魂不安. 悄悄问一句, 谁是巴别尔? - posted on 03/12/2006
戴骢. 很佩服他. 这里有一篇他的访谈:
问：《骑兵军》这本小说写的是哥萨克人，请您简要为我们介绍一下哥萨克这个民族的历史。
戴骢：哥萨克不是民族，而是一个群体。俄语中的“哥萨克”一词源于突厥语，意为“草莽英雄”或“浪子”。他们是彼得大帝之前一些流放到顿河和乌克兰地区的罪犯或农奴，和当地人混合而成哥萨克这个彪悍的群体。他们非逐水草而居，女性从事农耕，男子过着马背上的生活。凡是俄国有战事需要，哥萨克男子就需应召出征。在俄国历史上两次影响最大的农民起义中，哥萨克人都是主角。哥萨克人处于社会地层，生活很艰苦且多遭人鄙视。一般俄罗斯人见到哥萨克人，总不免要提防他们一手。二次世界大战期间，德国人在入侵苏联时以为哥萨克人会以面包和盐来迎接他们，因为哥萨克人最不受拘束，而苏维埃政权却是集权统治。但是德国人错了。他们低估了哥萨克人的爱国心。
问：《骑兵军》这本小说从1926年出版至今已经快80年了，您觉得出版这本书的意义何在？
戴骢：中国读者不太熟悉巴别尔，但西方始终关注着这个作家。在苏维埃时期，作家和当权者发生矛盾冲突，而结果还能保存性命者，巴别尔是绝无仅有的例子。《骑兵军》出版后，引起了红军元帅布琼尼的愤怒，他在《真理报》上撰文抨击其作品歪曲了骑兵军的形象。关键时刻高尔基挺身而出为巴别尔辩护，认为《骑兵军》塑造的形象很丰满，而支持苏维埃政权的哥萨克就是这个样子，拔高反而会不真实。布琼尼后又撰文反驳，高尔基继续为之争辩。布琼尼自知辩不过高尔基，便另找了一个作家写骑兵军的剧本，但这个剧本很快就销声匿迹了。《骑兵军》这本小说集可谓大雅大俗，其中既有很粗俗的语言，也有很诗化的语言。博尔赫斯说，他的语言拥有散文所难以企及的、只有诗歌才拥有的那种荣耀。
问（插话）：诗歌是文学的最高体裁，他小说中的比喻很有想象力。不少句子本身就是诗，他的意象有点类似我国唐朝诗人李贺，出人意表，很新奇。
戴骢：对。爱伦堡说他的语言是难以模仿的。巴别尔一生创作不过20多万字，但西方有人把巴别尔排在世界100位小说大师中的第一位。以一本短篇小说集获得如此声誉，足证其造诣之高。这是一个原因。其次，巴别尔的写法是完全写实的。他小说中的人物甚至连姓名也是取自现实。众所周知，写实手法的束缚很大，但他却能够驾御自如，游刃有余。从思想角度说，伟大的作家总是站在时代的前列，能够清醒地看到这个时代的不足。巴别尔是拥护苏维埃政权的，而且是契卡（全俄肃反委员会）成员，契卡就是后来特务组织克格勃的前身。历史上有两个契卡成员写小说，一个是他，另一个就是《钢铁是怎样炼成的》的作者奥斯特洛夫斯基。但他看到了革命意识形态的缺陷以及苏俄沙文主义的弊端，并且同情波兰人、憎恶排犹主义。最后，最重要的一点，《骑兵军》探讨了知识分子与革命的关系及其在革命中的地位。《我的第一只鹅》就写了主人公是如何融入哥萨克部队的，整部小说中对知识分子的歧视通篇都是。知识分子为了参与革命乃至领导革命，首先就得抛弃自我，和哥萨克人打成一片。
问：对这个问题巴别尔的答案是什么？
戴骢：在这场革命中，知识分子的命运是悲剧性的，主人公也被迫做了很多违心的事。
问：我觉得作者更多的是站在观察者的立场在写作，笔调很冷静。很多残酷场景，语言极其克制，要说有情绪的话也不过是轻松的揶揄。譬如《泅渡兹勃鲁契河》中脸被劈成两半的老人。这是不是俄罗斯文学的一个特点，语言上习惯采取白描手法，用细节说话。思想上具有很强的苦难意识和批判精神。他们的讽刺是带着血和泪的讽刺，很辛辣，对人性的幽暗面往往开掘很深，不留一点情面。
戴骢：巴别尔继承了俄罗斯文学传统，俄罗斯的音乐、绘画和雕塑都具有震撼人心的力量，体现了作家的人道主义的立场，一种宽大而又深沉的胸怀。在一篇小说里，巴别尔说“我们的部队又经过了旧波兰的国界”。经过是什么意思？是进去还是出来？其实意思就是离开了，整场战争都失败了。
问：您认为造就俄罗斯文学传统的苦难意识的土壤是什么？
戴骢（沉吟片刻）：农奴制和集权统治。
问：苏俄时期像巴别尔这样写革命的作家还有吗？
戴骢：有，但是写得不一样。像巴别尔这样把人当成人性和兽性结合体的作家不多。写部队生活的作家很多，但往往避而不谈革命队伍中丑恶的一面。如何在革命进展过程中克服兽性，抛弃美化乃至片面赞颂的写法，这方面巴别尔确实很突出。
问：书写人性需要勇气。即拿我们自己的文学传统而论，也有美化的倾向。从内容方面说是鲁迅所说的“欺和瞒”的传统，从文字层面说就要说到翻译中的“归化”了。您译的俄罗斯文学作品确实优美流畅，我注意到《骑兵军》中还有不少类似“双宿双飞”、“拖油瓶”这样的话，感觉很有意思。
戴骢：有“拖油瓶”吗？呵呵，我可能会有点“油滑”。原文比较俏皮的，我也试图用一些方言来表现。这是个仁者见仁的问题。
问：辽宁教育出版社《万有文库》也有一个《骑兵军》的译本，我粗略对照了一下，发觉和您的译本有很多不一致的地方，为什么会反差那么大？
戴骢：这里面确实有个理解的问题。
问：但总不会南辕北辙吧。
戴骢：那不会，但还是可以译成南辕北辙的。要看懂巴别尔不是那么容易的事，他经常使用一些中性和简单的词汇，给理解带来了很大的困难。他的东西有时具有很强的知识性，如犹太教的一些风俗习惯等。《拉比之子》中有一句话“第12军诸团突破我军防线已有三天”，这样译就把第12军当成波兰军队了，我原以为这样译并无不妥。但等我后来看了他1921年的日记，才知道是红军第12军。这是一支溃败的部队，这里的意思应该是拱手让出了防线。原文动词用了一个“打开”，我用了突破，似乎也差不离。其实是完全理解反了，这就是一个南辕北辙的例子。还有句话描述作战时使用了“经过”这样一个词，究竟是冲锋还是撤退？原文这个动词的方向性很不明确，后来根据上下文才揣摩出意思。
问：也有文体的原因，本身写得不清楚。
戴骢：对。我翻译蒲宁就轻松多了，但也要勤查字典才行。蒲宁有句句子形容女人动情的时候“眼睛发黑”，怎么理解？实际上就是指意乱神迷。我后来才查到，但书已出了。至于翻译巴比尔留下的遗憾更不知道有多少，所以我都不敢说人家译错了（笑）。前些天在北京开会，有人提出《一匹马》中有一句话“太阳火辣辣地照着他的院场，受着它自身刺眼的强光的煎熬”读不明白。我去对照了原文，“刺眼”原文是盲目，就是使目盲的意思，我译成刺眼，现在想想也不对，可是至今为止还没找到好的译法。其实我经常受到这种“盲目”的折磨。
问：您还做了不少注释，这是体现译者译事态度和功力的地方。
戴骢：我觉得注释很重要，但也是对译者的考验。比如《诺沃格拉德的天主教堂》里提到波兰首任总统毕苏斯基……
问（插话）：我注意到您这条注释形容毕苏斯基“据说在波兰被视为民族英雄”，好像很奇怪。
戴骢：这涉及到评价取舍的问题，由于参考资料有限且不同文本对其人的评价截然相反，所以我权衡再三，只好用了“据说”的字眼。这也是不得已而为之的一个例子吧，但认真的译者应该把他所掌握的信息都提供给读者，这是他的责任。
问：俄国除了巴别尔，其他有名的犹太作家还有哪些？犹太人在俄国历史上的命运，以及哥萨克和犹太人的关系怎样？巴别尔又是如何看待自己民族的遭遇的？
戴骢：俄国犹太作家除了巴别尔外，有名的还有像爱伦堡、叶甫图申科和肖洛姆·阿莱汉姆等人。俄国历史上向有排犹情结，虽然犹太人为俄国的文学艺术事业做出了杰出的贡献。至于说到哥萨克对犹太人的屠杀，则更多的是出于沙皇的驱使。巴别尔在自己的小说里虽未对犹太问题发表直接看法，但在一些涉及犹太人的篇什如《基大利》中，他对犹太人的悲剧命运有着溢于言表的同情和体察，而且相当有深度。
问：巴别尔1940年死于克格勃的枪下，在那个政治为纲的年代，巴别尔的遭遇是因为他的个人作品和性格呢，还是有其普遍性？那个时代的知识分子命运往往和政治形势紧密地联系在一起，您觉得一个作家有可能既维持自己的独立立场、不与时俯仰，又不受政治牵连而惹来杀身大祸吗？
戴骢：20世纪40年代，巴别尔的《骑兵军》已经不可能成为构成他杀身之祸的肇因，前面说到早在小说问世之初，高尔基就曾热烈赞颂这部杰作。在那个时代，既要保留腹诽又要苟全性命，只能保持沉默而已，包括作品的沉默、朋友交往的沉默以及公众场合的沉默。巴别尔本人并不反对苏维埃政权，但他对政府当局奉行的肃反扩大化和知识分子的政策不是没有自己的看法。他而且是个直性子的人，敢于说话，就不可避免地得罪了斯大林。他生命的终结既由他个人性格造成，也是时代的悲剧。
戴骢：本名戴际安，江苏苏州人，1950年毕业于华东军区外语专修学校俄语系，1956年开始发表译作。长期在出版界从事外国文学的编辑和翻译工作，离休前为上海译文出版社编审。主要译作：三卷本蒲宁文集和巴乌斯多夫斯基《金玫瑰》等。
- Re: 宸村埆灏旂殑楠戝叺甯�posted on 03/12/2006
Ruozhi wrote:
是很棒, 读得人心魂不安. 悄悄问一句, 谁是巴别尔?
在网上能查到很多他的资料.
我去年回国在一个朋友家看到这本书一下就给震住了. - posted on 03/13/2006
英文作Red Cavalry (红色骑兵)。不知道为什么中文译本去掉了“红色"二字。
摘自Books and Writers:
Isaak Babel (1894-1941) - born on July 1; New Style: July 13, 1894
Short story writer and playwright who was a correspondent with the Red Army forces of Semyon Budyonny during the Russian civil war. Babel's fame is based on his stories of the Jews in Odessa and his novel Red Cavalry (1926). He was the first major Russian Jewish writer to write in Russian.
--"The music of its style contrasts with the almost ineffable brutality of certain scenes.
--One of the stories - "Salt" - enjoys a glory seemingly reserved for poems, and rarely attained by prose: many people know it by heart." (Jorge Luis Borges on Red Cavalry in Total Library, 1999)
Isaak Babel was born in the Jewish ghetto of Odessa, Ukraine. Most of his early years he spent in the Black Sea port Nikolaev, 90 miles away. The atmosphere of the persecution of Jews is reflected in the pessimism of his stories, although his childhood was relatively comfortable. At a time when most Jews were forbidden to live in Moscow, St. Petersburg, Kiev, and other localities, Odessa had many times more Jews than any other city in the Russian part of the empire. However, between 1881 and 1917 two million Jews left Russia, mostly for America. Babel's father was a successful businessman who installed his family in one of the best streets in Odessa. Babel studied violin, German, French, and Talmud at the Nicholas I Commercial Institute (1905-11) and wrote stories at the age of fifteen in imitation of Guy de Maupassant. In 1915 Babel graduated from Kiev University, which had been evacuated to Saratov on the Volga because of the war.
After graduating Babel moved to St. Petersburg, where he studied literature. In that capital city "traitors, malcontents, whiners, and Jews" were banned and Babel had to use an apocryphal passport. His first works were published in 1916 in Letopis, a monthly edited by Maksim Gorky. Although Babel himself had been untouched during the pogroms that spread throughout Russia in 1905, he saw in rising revolutionary movements a promise of freedom, and end of all persecution. Babel's early satires of the Czarist bureaucracy attracted the attention of the government and Babel was accused of pornography and incitement of class hatred. This is seen in the loosely autobiographical 'Story of My Dovecote', where he described the fate of a murdered grandfather. On Gorky's advise Babel decided to see the world and learn about life. He participated briefly in the war on the Romanian front. He was injured and after his discharge Babel joined the staff of Gorky's newspaper Novaya Zhizn. During the Revolution he worked probably as a clerk for the Commissariat of Education and for the CheKa, the Soviet Secret Police.
In 1919, Babel married Eugenia Gronfein and joined the Ukranian State Publishing House (1919-20). He was assigned then as a journalist to Field Marshall Budenny's First Cavalry army, witnessing its unsuccessful Polish campaign to carry Communist revolution outside Russia. The Reds penetrated almost to Warsaw but were driven back. In Odessa Babel started to write a series of stories set in the Odessan ghetto of Moldavanka, where he was born. "It was not before 1923," Babel recalled later, "that I learned to express my thoughts clearly and not too wordily. Then I went back to writing." Tales of Odessa appeared in book form in 1931. It depicted with broad strokes and humor the Jewish underworld, the middlemen, small merchants, brokers, whores, tough Jewish gangsters, saloon keepers, rabbis, and entrepreneurs, on the eve of Revolution. In the center of the colorful caricature of the ghetto is Benia Krik, the king of gangsters. The stories are entitled 'The King', 'How It Wad Done in Odessa', 'The Father', and 'Liuba the Cossack', where Benia Krik is absent. In the play Sunset (1928) Babel returned to the Odessa gangster world, but this time the protagonist was Benya's father, Mendel Krik. It did not gain success and also Marya (1935) attracted little attention.
In 1923 Babel started to publish a cycle of novels called Red Cavalry. Like Maupassant, Babel often surprises the reader with twists in the plot. In Red Cavalry basically a pacifist narrator, Liutov, who is a Jewish officer, is assigned to a regiment of traditionally anti-Semitic Cossacs. The joke was, as Jorge Luis Borges has stated, that "the mere idea of a Jew on horseback struck them as laughable, and the fact that Babel was a good horseman only added to their disdain and spite." In one tale, 'Zamosc,' the narrator falls asleep and his horse drags him to the front line of the battle. He wakes looking up at a Russian peasant, armed with a rifle, who tells him, "It's all the fault of those Yids." Out of the horror of battles, torture and murder Babel creates a rapidly cutting polyphonic tale of revolutionary change. Some stories are narrated in a stylized form of the Cossacks' own language. Two stories appeared in Mayakovsky's magazine LEF. The work was translated into more than 20 languages, gaining Babel national fame, but it was also attacked by Budenny, who claimed that its emphasis on brutal acts insulted his troops. Babel was defended by Gorky.
From 1923 Babel lived in Moscow. Among his friends was Ilya Ehrenburg who called him "a wise rabbi". Babel often told him that the most important thing is the happiness of people. According to Ehrenburg, he understood the goals of the Revolution and saw it as a guarantee of future happiness.
Babel's wife went in 1925 to Paris for a 'temporary' separation; his daughter Natalie was raised in France. Babel's mother and sister lived in Brussels from 1926 on, but the author himself did not leave the Soviet Union despite numerous opportunities. Babel visited his wife in Paris and travelled on journalistic assignments in Ukraine and the Caucasus. He served also as a secretary of a village soviet in Molodenovo. Between the years 1925 and 1930 he wrote a series of fictionalized accounts of his childhood, and young manhood. In the loosely autobiographical 'Story of My Dovecote' he described the fate of a murdered grandfather.
In the beginning of the 1930s, Babel's literary reputation was high in the Soviet Union and abroad. He revised his stories for his collected works that appeared in 1932 and 1936. From the mid-1930s, Babel avoided publicity under increasing Stalinist persecution, although he worked on film scripts, including Eisenstein's banned Bezhin Meadow and on a new book. In 1934 Babel joked "If one talks about silence, one cannot fail to say that I am a great master of that genre." However, Antonina Pirozhkova, with whom Babel spent his last years in Moscow, states that he was prolific during that period. His speech in 1935 at the International Congress of Writers in Paris about Soviet people and culture made a great impression. The autobiographical short story 'Di Grasso' (1937) was the last work to be published in Babel's lifetime. It depicted his enthusiasm about theatre in his youth - he has pawed his father's watch with Kolya Schwartz to visit Theatre Street but Kolya does not return it before his wife gets angry about it.
"Clutching the watch, I was left alone, and suddenly, with a lucidity I had never known before, I saw soaring columns of the Duma, the illuminated foliage on the boulevard, the bronze head of Pushkin glimmering faintly in the moonlight, and I saw for the first time everything around me as it was in reality - silent, and indescribably beautiful." (from 'Di Grasso')
Babel was arrested by the N.K.V.D., a precursor of the K.G.B, in May 1939 at his cottage in Peredelkino, the writers' colony. Under interrogation and probable torture at Lubyanka, Babel confessed a long association with Trotskyites and engaging in anti-soviet activity. His trial was held in Buturka Prison and on January 27, 1940, he was shot on Stalin's orders for espionage. The Soviet officials informed Babel's widow that her husband died on March 17, 1941 in a prison camp in Siberia. Babel's charges were posthumously cleared in 1954. His seized manuscripts have not been recovered. Babel's collected works, based on the 1936 edition but including new materials, were republished in 1957 and 1966.
For further reading: The Art of Isaac Babel by P. Carden (1972); Isaac Babel by J.E. Falen (1974); Isaac Babel, Russian Master of Short Story by James E. Falen (1974); 'Fat Tuesday in Odessa: Isaac Babel's 'Di Grasso' as Testament and Manifesto' by Gregory Freidin, in The Russian Review 40, no. 2 (April 1981, Reprinted in Isaac Babel, edited and with an introduction by Harold Bloom, 1987); Isaac Babel by M. Ehre (1984); Isaac Babel by R.W. Hallett (1982); Isaac Babel's Red Cavalry by Carol Luplow (1982); Isaac Babel by Milton Ehre (1986); The Field of Honour by Christopher Luck (1987); Procedures of Montage in Isaak Babel's Red Cavalry by Marc Schreurs (1989); 'Isaak Babel' by Gregory Freidin, in European Writers: The Twentieth Century (1990); 'Between the Stalin Revolution and the West: Isaac Babel's Career in the late 1920s and Early 1930s' (in Russian) by Gregory Freidin, in Stanford Slavic Studies 4-2, (1991); '"La 'grande svolta'. L'Occidente e l'Italia nella biografia di I.E. Babel all'inizio degli anni '30' by Gregory Freidin, in Special issue of Storia contemporanea 6 (1991); 'Babel': Revoliutsiia kak esteticheskii fenomen' by Gregory Freidin, in Novoe literaturnoe obozrenie 4 (1993); 'Justifying the Revolution As an Aesthetic Phenomenon: Nietzschean Motifs in the Reception of Isaac Babel (1923-1932)' by Gregory Freidin, in Nietzsche In Soviet Culture (1994, Russian version: 'Babel': Revoliutsiia kak esteticheskii fenomen' ); Red Cavalry: A Critical Companion, ed. by Charles Rougle (1996) - See also: Gregory Freidin's Isaac Babel Page (the best source for further studies)
Selected works:
* EL'YA ISSAAKOVICH AND MARGARITA PROKOF'EVA, 1916
* NA POLE CHESTI, 1920
* ODESSKIYE RASSKAZY, 1921-24 - Odessa Tales - Odessalaisia
* RASSKAZY, 1924
* KONARMIYA, 1926 - Red Cavalry - Punainen ratsuväki
* BLUZHDAIUSHCHIE ZVEDY, 1926
* ISTORIIA MOEI GOLUBIATNI, 1926
* BENIA KRIK, 1926 - Benia Krik: A Film-Novel
* KOROL', 1926
* EVREISKIE RAZZKAZY, 1927
* ZAKAT, 1928 - Sunset
* ODESSKIE RASSKAZY, 1931 - Tales of Odessa
* MARIYA, 1935 - Maria - suom.
* RASSKAZY, 1936
* Collected Stories, 1955
* IZBRANNOE, 1957
* Liubka the Cossack and Other Stories, 1963
* The Lonely Years 1925-29, 1964
* ZABYTYE RASSKAZY, 1965
* IZBRANNOE, 1966
* You Must Know Everything, 1969
* Benya Kirk, The Gangster, and Other Stories, 1971
* The Forgotten Prose, 1978
* DETSTVO I DRUGIE RASSKAZY, 1979
* CHETYRE RASSKAZY, 1981
* SOCHINENIIA, 1991 (2 vols.)
* Collected Stories, 1994
* 1920 Diary, 1995
* SOCHINENIIA, 1996 (2 vols)
* The Complete Works of Isaac Babel, 2001 (ed. by Nathalie Babel, trans. by Peter Constantine, with an introduction by Cynthia Ozick)
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