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.
The Siberian Dilemma is the ninth of Martin Cruz Smith’s Arkady Renko novels, published nearly 40 years after the classic first in the series, Gorky Park (1981). Like the other more recent Renko novels, at least since Stalin’s Ghost (2007), The Siberian Dilemma is a relatively short, snappily written work.
It set me musing on two things in particular. It made me wonder what lies behind the shift amongst a number of long-established thriller writers from long and detailed to short and snappy? And, for entirely personal reasons, it reminded me of a meeting with the leader of the Russian Communist Party.
If you want your Russia-in-fiction tropes, Moscow at Midnight provides a collector’s cornucopia, and does so with style and originality.
As part one of this review observes, McGrane provides so many Moscow references that it might sound as if she reduces them to a passing mention, or, in one of her many memorable phrases, ‘a strange kind of Baedeker’.
Whilst there are occasional hints of that, Moscow at Midnight elevates its location with lyrical and evocative descriptions.