Our latest review is of Vladimir Sorokin’s The Queue, which came out from New York Review Books last fall. NYRB has also published Sorokin’s Ice, and have plans to do a few of his other titles as well. That, plus FSG’s publication of A Day in the Life of an Oprichnik might lead to a Sorokin moment . . . One that doesn’t involve his books being flushed down a mock toilet. . . .
Margarita Shalina from St. Mark’s Bookshop wrote this review, which opens:
Each act of transgression, no matter how nominal or extreme expands the margins of ongoing discourse. Sorokin specializes in such acts. The Queue, his first novel, was originally published in the mid 1980s by French publisher Syntaxe. It is a postmodern snapshot of a surreal bygone era destined for collapse, cursed to the privations of the economic crash of the 1990s where a system of ration cards will be implemented, only to be reborn from the ash like a bright red phoenix of pseudo-capitalism caged by a land of murdered journalists, a market flooded by counterfeit Chinese goods.
However, that is the present. The past of The Queue is oddly innocent as Russia is seemingly cursed to forever lose and regain its innocence much like Prometheus and his liver. Why is it innocent? Because it has never been clear to anyone what the citizens of the Soviet Union actually thought of the Soviet Union. Somewhere along the line, the citizens understood what they had lost but they all still agreed that by forfeiting their basic rights, they would be taken care of. With conformity came the security of jobs, healthcare, homes, education, maybe even a Volga. Now, in the aftermath of collapse, sentimentality is wide spread, surfacing among the generations that vividly remember the oddities of the Soviet Union, akin to some mass hysteria or Stockholm Syndrome acting itself out as we love our torturer but only after he has left the room. [For the rest, click here.
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?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .
While looking back at an episode in his life, twenty-year-old Taguchi Hiro remembers what his friend Kumamoto Akira said about poetry.
Its perfection arises precisely from its imperfection . . . . I have an image in my head. I see. . .
The central concern of Sorj Chalandon’s novel Return to Killybegs appears to be explaining how a person of staunch political activism can be lead to betray his cause, his country, his people. Truth be told, the real theme of the. . .
Spoiler alert: acclaimed writer Stefan Zweig and his wife Lotte kill themselves at the end of Lauren Seksik’s 2010 novel, The Last Days.
It’s hard to avoid spoiling this mystery. Zweig’s suicide actually happened, in Brazil in 1942, and since then. . .