An import from Peter Owen, Pushkin’s Second Wife and Other Micronovels is Yuri Druzhnikov’s latest book to be published in English and the latest addition to our review section. It was translated from the Russian by Thomas Moore and came out earlier this year.
The review is written by Irene Minkina, a student here at the University of Rochester who has been interning for the press this past semester.
Druzhnikov’s most famous novel is Angels on the Head of a Pin, but this sounds pretty intriguing as well, especially since it’s not a novel, and not stories, but a collection of “micronovels”:
Yuri Druzhnikov is most well known for his novel Angels on the Head of a Pin (2003), which was included on the University of Warsaw’s list of the top ten Russian novels of the twentieth century. Though six of his books have been translated in English, he has not received as much critical attention as other contemporary writers such as Victor Pelevin and Vladimir Sorokin. Pushkin’s Second Wife and Other Micronovels (2007) is Druzhnikov’s collection of ten “micronovels,” a term which Druzhnikov explains in the postcript, stating that “in the twenty-first century this new genre has acquired legitimacy, filling a niche for a genre in which large-novel ideas accumulate energy in the space of a mere thirty pages.”
[Click here for the rest of the review.]
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .