Here is part of her review:
The Letter Killers Club, by Sigizmund Krzhizhanovsky, follows the meetings of a secret society of men who believe that committing words to paper has “crushed the reader’s imagination.” The men, self-labeled as “Conceivers” and known by nonsense syllables instead of their given names, meet every Saturday in a firelit room lined with empty black bookshelves to exchange works of fiction that they call “conceptions” that they are forbidden to write down. There is a sense of tension pervasive in the novel between the members of Letter Killers Club during their meetings that is reflective of the political climate of the 1920s in Soviet Moscow, where Krzhizhanovsky’s works were censored in an effort to prevent anything that did not positively portray Russia from publication.
Over the course of the novella, the audience peers in at the club meetings and experiences several different conceptions as they unweave. The president of the club, Zez, is extremely dedicated to the creative process, perhaps more so than the other six conceivers in the room. Any written manuscript smuggled in must be committed to death within the flames of the fire. Furthermore, the narratives presented are often inconsistent and wrap up in a way that might even be unexpected to the storyteller themselves. When this occurs, Zez often redirects the conceiver and demands the story be retold with a different ending or be restarted altogether. This leads to stilted dynamic within the room. In order to act as a moderator within the room, the narrator is drawn into the group.
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“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
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