Brian Garfield’s thriller Kolchak’s Gold takes on the mystery of what happened to the gold reserves of the Russian Empire after the revolution of 1917.
This is a made-for-fiction mystery. It is known that the gold —which had been transported to Siberia from St Petersburg during World War One to prevent it from falling into enemy hands— came under the control of the overall leader of the White movement in the Russian Civil War, Admiral Aleksander Kolchak.
In Firesong, noted writer of espionage novels Joseph Hone (1937-2016) tries his hand at the sprawling epic; 700 pages following Prince and Princess Rumovsky, members of the St Petersburg nobility, in the tumultuous 14 years between New Year 1906 and Christmas 1920.
Firesong is then a ‘Russia in the time of revolution’ novel. Like others of this sub-genre —Barnaby William’s Revolution (1994), James Meek’s The People’s Act of Love (2005), Charlotte Hobson’s The Vanishing Futurist (2016)— Firesong sets up the pre-revolutionary life of its central characters and then explores the impact of revolution and civil war on the same.
The epic is not Russia in Fiction’s favourite genre. That said, there is plenty here to fascinate and to enlighten from the Russia-in-fiction perspective. Not least, we learnt stuff about Harbin.
The People’s Act of Love, once read, forms impressions in the mind. Innovative in its setting, memorable in its characters, inventive in the slow-burning complexity of its plot, and deploying language with the savage precision of a cavalryman’s sword decapitating an enemy at full charge; James Meek’s novel delves into lives lived in extremis, as its characters act and love and seek to merge the two.
What is an act of love? Selfless? But selflessness is mediated through self. People do not act alone in an abstract world, be that the abstraction of Marxist ideology or of sectarian theology. Actions affect others, whether they are as close as a spouse or as distant as nameless, unborn, future generations.
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.
Part one of this review is here
Red Army tells the story of an imagined Soviet invasion of western Europe in the 1980s, and tells it entirely from the point of view of Soviet troops. This is no Clancy-esque overview of grand strategy and political manouevres, although Peters does, like Tom Clancy, tell his story through a select series of individuals.
That all of these individuals are in the Soviet armed forces is grist to the Russia-in-fiction mill.