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Sin
Zakhar Prilepin’s novel-in-stories, Sin, has become a literary phenomenon in Russia, where it was published in 2007. It has been hailed as the epitome of the spirit of the opening decade of the 21st century, and was called “the book of the decade” by the prestigious Super Natsbest Award jury. Now available for the first time in English, it not only embodies the reality of post-perestroika Russia, but also shows that even in this reality, just like in any other, it is possible to maintain a positive attitude while remaining human. Zakharka is young, strong, in love with love and with life’s random, telling moments. In the episodes of his life, presented here in non-chronological order...
The Monastery
The late 1920s... Convicted of murdering his father, Artiom Goriainov is serving a sentence of several years on the Solovki Archipelago. Artiom is a strong young man who survives all facets of the hell that is the Soviet camps: hunger, cold, betrayal, the death of friends, a failed escape attempt and a love affair. Unlike the many political prisoners at Solovki, he has no strong convictions. He is an everyman who, like the Virgil of Solovki, simply narrates what is happening in front of his eyes. His only motivation is to survive. Founded in the 15th century on an archipelago in the White Sea, from 1923 the monastery became a “camp of special designation,” the foundation stone of the Soviet GULAG system. The novel describes a period when Solovki was being converted from a re-education camp for “socially damaging elements” into what eventually became a mass labor camp. The notion of a Utopia for “forging new human beings,” complete with a library, athletic events, and research laboratories, eventually mutated into a hell of despotism and brutality. Published with the support of the Institute for Literary Translation, Russia
Sankya
Sankya, Prilepin's first novel that is widely considered his best, draws on his own experiences to depict life among young political extremists. Sasha “Sankya” Tishin, and his friends are part of a generation stuck between eras. They don’t remember the Soviet Union, but they also don’t believe in the promise of opportunity for all in the corrupt, capitalistic new Russia. They belong to an extremist group that wants to build a better Russia by tearing down the existing one. When they go too far, Sasha finds himself testing the elemental force of the protest movement in Russia and in himself.
Sankya
Sasha "Sankya" Tishin, and his friends are part of a generation stuck between eras. They don't remember the Soviet Union, but they also don't believe in the promise of opportunity for all in the corrupt, capitalistic new Russia. They belong to an extremist group that wants to build a better Russia by tearing down the existing one. Sasha, alternately thoughtful and naive, violent and tender, dispassionate and romantic, hopeful and hopeless, is torn between the dying village of his youth and the soulless capital, where he and his friends stage rowdy protests and do battle with the police. When they go too far, Sasha finds himself testing the elemental force of the protest movement in Russia and in himself. Originally published in 2006, Sankya is a cult sensation in Russia, where it won the Yasnaya Polyana Award and was shortlisted for the Russian Booker and the National Bestseller Prize. Sankya is the basis for Kirill Serebrennikov's popular play Thugs.
My Moscow
Igor Moukhin (born 1961) works as an independent photographer since 1989. He started his career covering underground musicians' life in the Soviet Russia. This work developed into a more vast research of the Soviet and Post-Soviet space. His work has appeared in numerous Russian and international publications and have been exhibited at museums, festivals and galleries worldwide. Igor is reputed one of the most important contemporary Russian photographers. He is based in Moscow and besides continuing his practice as a photographer, he lectures at Rodchenko School of Photography. Using his individual and familiar style Moukhin reconstructs and explores reality of post-soviet society in his native city Moscow. The images expose public and private life of various strata of citizens, different kinds of political, public or artistic groups and subcultures. This way, the book covers the great epoch of changes and course of life of numerous generations of Moscovites that were faced with this twenty-five years period of changes and hope. The book also contains a very personal interview by Irina Meglinskaya with Igor Moukhin and an essay by the famous Russian modern writer Zakhar Prilepin.
Fardwor, Russia!
When a scientist experimenting on humans in a sanatorium near Moscow gives a growth serum to a dwarf oil mogul, the newly heightened businessman runs off with the experimenter’s wife, and a series of mysterious deaths and crimes commences. Fantastical and wonderfully strange, this political parable has an uncanny resonance with today’s Russia under Putin.
The Monastery
The late 1920s... Convicted of murdering his father, Artiom Goriainov is serving a sentence of several years on the Solovki Archipelago. Artiom is a strong young man who survives all facets of the hell that is the Soviet camps: hunger, cold, betrayal, the death of friends, a failed escape attempt and a love affair. Unlike the many political prisoners at Solovki, he has no strong convictions. He is an everyman who, like the Virgil of Solovki, simply narrates what is happening in front of his eyes. His only motivation is to survive. Founded in the 15th century on an archipelago in the White Sea, from 1923 the monastery became a "camp of special designation," the foundation stone of the Soviet GULAG system. The novel describes a period when Solovki was being converted from a re-education camp for "socially damaging elements" into what eventually became a mass labor camp. The notion of a Utopia for "forging new human beings," complete with a library, athletic events, and research laboratories, eventually mutated into a hell of despotism and brutality. Published with the support of the Institute for Literary Translation, Russia.
A Book Without Photographs
Sergei Shargunov’s A Book Without Photographs follows the young journalist and activist through selected snapshots from different periods of his remarkable life. Through memories both sharp and vague, we see scenes from Shargunov’s Soviet childhood, his upbringing in the family of a priest; his experience of growing up during the fall of empire and studying journalism at Moscow State University; his trip to war-torn Chechnya and Kyrgyzstan during the revolution; his first steps towards a fledgling political career. The book reflects the vast social and cultural transformations that colour Russia's recent history and mirrors the experience of an entire generation of Russians whose lives and feelings are inextricably intertwined with the fate of their homeland. Shortlisted for the National Bestseller Prize and a contender for The Big Book Award, A Book Without Photographs showcases the talents of one of the country’s brightest lights; a key player in a generation at the forefront of change in contemporary Russia.
Making Martyrs
Examines the ideology of sacrifice in Soviet and post-Soviet culture, analyzing a range of fictional and real-life figures who became part of a pantheon of heroes primarily because of their victimhood.
Carceral Geography
The ’punitive turn’ has brought about new ways of thinking about geography and the state, and has highlighted spaces of incarceration as a new terrain for exploration by geographers. Carceral geography offers a geographical perspective on incarceration, and this volume accordingly tracks the ideas, practices and engagements that have shaped the development of this new and vibrant subdiscipline, and scopes out future research directions. By conveying a sense of the debates, directions, and threads within the field of carceral geography, it traces the inner workings of this dynamic field, its synergies with criminology and prison sociology, and its likely future trajectories. Synthesizing existing work in carceral geography, and exploring the future directions it might take, the book develops a notion of the ’carceral’ as spatial, emplaced, mobile, embodied and affective.
