Russia in Fiction has noted before that when you choose your reading based on whether a novel engages with Russia or not, you end up reading genres that might otherwise have passed you by.
Geoffrey Rose’s A Clear Road To Archangel sits on the edge of such a situation. It is a thriller and such are this blog’s staple diet, even as we endeavour to vary the menu with regularity. But beyond the thriller meta-genre, A Clear Road To Archangel fits into the so far neglected ‘man on the run’ sub-genre.
The book’s unnamed first person narrator is a British spy, caught up in the convulsions of revolutionary and Civil War Russia, and trying to find his way to Archangel (Arkhangelsk) in the far north. If he can get there, he is confident of rescue by British forces or their allies.
Michael Frayn — man of letters, leading British playwright, acclaimed novelist; also a renowned translator of Chekhov and, less well known, of ‘the Soviet Chekhov’ Yurii Trifonov.
Published in 1966, The Russian Interpreter came at the outset of Frayn’s literary career. His second novel, it appeared in the year that his first novel, The Tin Men, won the Somerset Maugham Award. Unusually for a writer from the West in that era, Frayn was able to draw on significant experience of living in the Soviet Union.
Here at the Russia in Fiction blog, we are interested in how Russia is portrayed in English-language fiction. Whether that fiction is any good comes into the reviewing too of course, but the tropes and plot devices and imagery and assumptions of a remaindered thriller can still fascinate as insights into popular perceptions of Russia at any given time.
James Steel’s December serves as a great example for taking the ‘how Russia is seen’ temperature. From title and front cover blurb, at the end of this century’s first decade, that temperature is low.