Showing posts with label Ludmilla Petrushevskaya. Show all posts
Showing posts with label Ludmilla Petrushevskaya. Show all posts

Saturday, March 23, 2019

Switched at Birth: Petrushevskaya’s Kidnapped

It’s taken me a month or two to get up the gumption to write about Ludmilla Petrushevskaya’s Нас украли, история преступлений (Kidnapped. The History of Crimes) but that’s less a factor of the love/hate spectrum (I’m on the really-liked-to-loved end) than of the simple fact that it’s very hard to describe. Sometimes time smooths over the complications, leaving contours that are helpful in writing meaningful summaries. We’ll hope that’s the case with Kidnapped, though I fear I’ve failed us all, including the book. I think the best way to do the novel justice is to suggest that you read the summary I linked to above, on the English-language title, since Petrushevskaya’s literary agents offer an excellent plot outline. And I’ll attempt to address some of what struck me most.

The novel begins with two young men bearing nearly identical passports – their names and birth dates are the same – flying off from Moscow to Montegasko. (Or maybe Montegasco, that’s more pleasing to the eye, isn’t it?) “Doesn’t exist,” I wrote in the right margin with “not typical kids” at the bottom of the page. We already have mysterious doubles (cue up “switched at birth” plus a mother’s death in childbirth and a fictitious family situation to satisfy bureaucracy) and a faraway, make-believe place. Petrushevskaya is already telling yet more scary fairy tales, this time about brothers who are both lucky and unlucky, not to mention about horrendous relatives to escape, magically good developments, and Soviet bureaucracy. As well as multiple mentions of Lloyd’s of London, thanks to the sinking of a ship during the “бешеные” nineties, years that are, literally speaking here, “rabid,” though we might call them “frenzied,” “mad,” and/or “violent” since the nineties, the age of vouchers, were basically was a horrible shipwreck for so many.

Petrushevskaya doesn’t focus solely on the boys, though: we get lots of backstory about their families, some of it told in chapters that read almost as set pieces detailing family abuse and abuses of power, as in the case of unscrupulous hospital workers. I could probably write this post as a list of tropes, many of them thoroughly bared: lonesome princess, foundling who will live like a king, a character feeling alone in the world and wanting to go to Moscow, and even an outright mention (in dialogue) of the sense of a soap opera involving babies switched at birth. And then there are all the sociocultural and sociopolitical myths and mores, with mentions of Soviet-era diplomatic ways (I loved the interrupted line, “And we, simple Soviet diplomats…”), the KGB, and the trauma of changing times, like those afore-mentioned nineties. I give Petrushevskaya particularly high marks for writing an ending that was so funny that I completely forgot what happened: beyond noting stereotypes about Russian life (vodka included, of course), there are interrogations (with lie detector) where Petrushevskaya notes an interpreter’s infelicities. It’s great stuff.

The strangest, scariest, and most magical part of all this is that Petrushevskaya somehow or other makes everything fit together and read as a real novel. Referring to some sort of literary alchemy or sorcery is perhaps most fitting since she seems to do the impossible, blending so many storylines, genres (the back cover’s statement from Petrushevskaya mentions detective novels), characters, locations, ways of life, and myths into a relatively seamless novel, a book that kept pulling me along. It kept me up at night, and even, yes, made me laugh out loud. It’s Petrushevskaya’s finessed hodgepodge of familiar elements and odd surprises that makes the book read so well – there’s something masterful in how she refreshes old stories in Kidnapped, using her distinctive style and contemporary twists as she toys with her material and characters. Her NOS(E) award, from the panel of critics, was thoroughly deserved. I think it’s time to reread her Время Ночь (The Time: Night).

Disclaimers: The usual.

Up Next: London Book Fair trip report. And then a book that I won’t name, lest I jinx myself yet again. I’ve done a lot of required and recommended reading in recent months but am very happy to be back to free reading now!

Sunday, February 10, 2019

2019 NOS(E) Award Winners: No Surprises Here!

The Mikhail Prokhorov Fund’s NOS(E) Award held its annual debate-and-award ceremony last week and the results came as no surprise: Maria Stepanova won the main award for Памяти памяти (In Memory of Memory or Post-Memory), Ludmilla Petrushevskaya won the critics’ prize for Нас украли. История преступлений (Kidnapped. The History of Crimes), and Viktor Pelevin won the readers’ vote (plus a Volga regional prize) for iPhuck 10.

Having read, in total or in part, only the Stepanova, Petrushevskaya, Anna Nemzer, Yevgenia Nekrasova, and Ksenia Buksha books – from this shortlist – about all I can say is that I think the Stepanova and Petrushevskaya books were the best choices from my limited pool. Although I enjoyed the Nemzer book (previous post) quite a bit, for all its momentum, history, and social themes, it just didn’t feel as accomplished or substantial as the Stepanova and Petrushevskaya books. Nekrasova’s Kalechina-Malechina has its own wonderful charms (I loved some of the latchkey heroine’s ways of viewing the world, timing her days, for example, by her parents’ return home) but, after reading half, I have to agree with some readers that it feels more like a novella than a novel. K-M read to me like a crossover young adult book with serious material – bullying, absurd teacher behavior, parental discord, a damaged smartphone (oops!), and more – and, given its edginess, I was very disappointed that it didn’t quite hold my interest. [Early May update: I am very happy to say that I am now finishing and very much enjoying Kalechina-Malechina. With a huge plot development in the middle of the book -- a kikimora shows up -- it has worked well to read this book in two chunks.]

I’ve read some very high praise for Buksha’s Открывается внутрь (Opens In), too, but the two story-chapters that I read in this one (in my limited sample, Opens In felt more like connected stories than a novel-in-stories) just didn’t pique my interest: the storylines relating to young mothers, adoption, paternity, and similar themes, felt important but, sadly, too familiar. Buksha’s concept here – a shuttle van route links the characters and the book is divided into sections titled orphanage, mental hospital, and last stop, ouch for the life cycle – is solid but I felt a little shoved into a deterministic situation, something I write with the full realization that life’s like that, particularly for these characters. (And I’m all too sure I’m missing most of the book!) Some of the formal aspects (like minimalist punctuation in places and not hitting the caps key) felt reminiscent of Рамка (The Detector, previous post). Though my small chunk of Opens In felt more accomplished than The Detector, I found The Detector far more intriguing right from the start, thanks to its slightly futuristic premise, which Buksha plays with nicely, and varied characters.

I’ll be posting soon about Kidnapped, which I enjoyed for its humor, slyness, and fresh uses of familiar tropes. All the other books I mentioned are good in their own ways but there’s just no comparison to Petrushevskaya’s mastery of both subject and form. Stepanova’s book, which I’ve seen described as a “meta-novel” and which I also respect tremendously, is so different (previous post, from its Big Book win) that I’d probably describe it using words like “meditative” and “philosophical,” with a “meta-” thrown in somewhere for good measure.

Up Next: Petrushevskaya, Slavist conference trip report, and something else, we’ll see what.

Disclaimers: The usual. I received copies of several of the books mentioned in this post from the publisher and/or the Russian stand at the Frankfurt Book Fair.