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Coming from a thoroughly secular Soviet background, the Russian-British novelist Zinovy Zinik became aware for the first time of his "Jewishness" when he emigrated to Israel in the 1970s. In this stylistically innovative autobiographical taleZinik describes how an unheimliche experience in Berlin--of seeing for real the house he dreamed about many years before in London-led him to investigate the chequered and enigmatic past of his Russian-born grandfather, who, while ostensibly practicing as a doctor in Lithuania, was building the Soviet empire from which Zinik tried to escape 50 years later. In the manner of the classic detective story, Zinik's meditation on "assumed identity" and "plagiarized past" culminates in the notion of recognition as a redeeming factor, suggesting that it is not only central to the twentieth-century Jewish experience or even the wider world of émigrés, exiles and migrants of all kinds, but to the human condition itself.
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London, a city of constant transition, transaction, translation. London does not exist; London is a language without a place and it is the aphasic city; it's the mother of all languages. Lucifer Over London is a new anthology nine narrative essays written by a host of international prize-winning authors including Chloe Aridjis, Viola di Grado, Xiaolu Guo, Joanna Walsh and Zinovy Zinik. First published in Italy by Humboldt Books, Lucifer Over London is now appearing in English for the first time. This is a version of London as seen from the immigrants of recent migrations, of deportations to come, from those who create London even as they contradict it.
Stories on the lot of an emigre, describing the simultaneous longing and rejection of a past that is gone forever. In one story, the emigre protagonist returns to Moscow and is gripped by nostalgia upon smelling garbage mixed with urine. By the author of The Mushroom Picker.
First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Fascinated by the myth of the Russian avant-garde and scornful of official art, the West has been selective in its engagement with Russian visual culture. Yet how do contemporary Russian scholars and critics themselves approach the history of visual culture in the former Soviet Union? Taking its title from a Russian word that can refer to the 'texture" of life, painting, or writing, this anthology assembles thirteen key essays in art history and cultural theory by Russian-language writers. The essays erase boundaries between high and low, official and dissident, avant-garde and socialist realism, art and everyday life. Everything visual is deemed worthy of analysis, whether painting or propa...
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Comedy and tragedy collide in stories of family life in Soviet Russia and the complexities of the immigrant experience “We can’t stop turning the pages of this book.” —Ilya Kaminsky, New York Times Book Review From the moment of its founding, the USSR was reviled and admired, demonized and idealized. Many Jews saw the new society ushered in by the Russian Revolution as their salvation from shtetl life with its deprivations and deadly pogroms. But Soviet Russia was rife with antisemitism, and a Jewish boy growing up in Leningrad learned early, harsh, and enduring lessons. Unsparing and poignant, Mikhail Iossel’s twenty stories of Soviet childhood and adulthood, dissidence and subsequent immigration, are filled with wit and humor even as they describe the daily absurdities of a fickle and often perilous reality.
The controversial British writer Ford Madox Ford (1873-1939) is increasingly recognized as a major presence in early twentieth-century literature. This series of International Ford Madox Ford Studies was founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme or issue; and relates aspects of Ford's work, life, and contacts, to broader concerns of his time. The present book is part of a large-scale reassessment of his roles in literary history. Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade's End, which Anthony Burgess described as 'the finest novel about the First World War...