By Sally Laird
Voices of Russian Literature provides in-depth interviews with ten of the main attention-grabbing figures writing in Russian at the present time. those figures variety from tested authors comparable to Andrei Bitov and Ludmilla Petrushevskaya, who started their careers within the post-Stalinist thaw of the Nineteen Fifties, to beginners like Viktor Pelevin, hailed as essentially the most unique writers of the current period. This assortment deals an insider's account of the destiny of Russian literature during the last 4 a long time.
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Voices of Russian Literature offers in-depth interviews with ten of the main attention-grabbing figures writing in Russian this present day. those figures diversity from demonstrated authors resembling Andrei Bitov and Ludmilla Petrushevskaya, who begun their careers within the post-Stalinist thaw of the Fifties, to novices like Viktor Pelevin, hailed as essentially the most unique writers of the current period.
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Extra resources for Voices of Russian Literature: Interviews with Ten Contemporary Writers
Yes, of course I felt it very keenly, but I was still very young in a literary sense at the time, and there wouldn’t have been any point in my making a move of protest even if I’d dared to do so. I suffered for Pasternak because I loved him very much as a poet; indeed, the Zhivago affair occurred at the crest, so to speak, of my love for him. Though I have to say that I was quite disappointed when I read Doctor Zhivago. It seemed to me that he’d somehow betrayed himself, taken a false turning.
At the time the censors ‘corrected’ only one phrase in the book, inadvertantly making it much funnier than the original. There’s a moment, if you remember, when the hero is walking round with the chairman of the collective farm, looking at the maize that’s been planted on the peasants’ private * The publishing house Moskovsky rabochy also published a 3-vol. edition of Sandro in 1989. Q2 1/20/1999 11:04 AM Page 17 Fazil Iskander 17 plots, and he notices that it looks different from the maize on the collective farm.
I don’t know ... Once a critic asked me: what are you going to write about when your childhood is over? I said that everything depended on one’s poetic relationship to a subject—and that may never be exhausted. When certain material inspires you poetically, you’ll use any means to write about it. I once wrote that there’s a certain principle in art—I can make an elephant out of a fly but the fly must be alive to start with. I always take as my starting-point something that really did happen—and then I let my fantasy work around it.
Voices of Russian Literature: Interviews with Ten Contemporary Writers by Sally Laird