Predictable? That Russia in Fiction would follow a review of a Kingsley Amis novel with a review of a novel by his son Martin? May be so. But the authors’ shared surname is about all that these two books have in common.
Russian Hide and Seek (1980) was barely about Russia at all. House of Meetings essays a profound exploration of Russia; from the first page of Part One to the novel’s closing line.
This is a love story. All right, Russian love. But still love
Ralph Peters is a distinctive author when it comes to military novels written in English around the end of the Cold War era; he writes whole novels with Soviet characters only. As noted in our review of his stand-out Red Army (1989), Peters tends to focus in on a small range of characters, rather than panning out to the geopolitical level of strategy and national leadership.
Flames of Heaven is set in 1990 and depicts the violence of protest and uprising in the Soviet republics, as the writ of the Communist Party of the Soviet Union shrinks whilst anti-Russian feeling on the Soviet periphery grows.
All of which would have been touted by Russia in Fiction as to some degree prescient had Flames of Heaven been published in 1990 or 1991. What we had trouble getting our heads around was that the novel came out in 1993, by which time everyone knew that the Soviet Union had collapsed, and had done so with remarkably little bloodshed.
But when we did get our heads around the publication date question, Flames of Heaven grew in stature as a convincing portrayal of the pre-collapse Soviet Union, where the enormity of what was to come was not yet grasped even by those close to its unfolding.
G. D. (Garry) Abson’s first book is a cracking crime novel, set in contemporary St Petersburg and shaped around the character of a maverick female detective, Natalya Ivanova.
In Abson’s portrayal of Russia, for ‘maverick’, read ‘not corrupt’. Ivanova’s efforts to solve crime —in this case the disappearance of a young woman— are hindered as much by obstructive, careerist, regime-loyal colleagues as they are by the normal stuff such as lack of evidence and the deceptive nature of the criminal class.
One strap-line we have seen used for Motherland goes like this.
Future war books are a distinct sub-genre in Russia-in-fiction novels. Over the coming months this blog will review several. Others we will snub.
[Update — review of Red Metal (2019) posted 10 August 2021]
Russia in Fiction approaches such books with a couple of specific prejudices. We are not into military stuff per se; endless eye-glazing pages about high-tech weaponry, artillery placement, and military tactics. Yawn. And we are wary when such books —as sometimes—are more political manifesto than readable fiction.
Red Army side-steps both of these elephant traps with ease. Ralph Peters has written a superbly original account of a war that never was.
For the first —and no doubt only— time, Russia in Fiction is reviewing a book that does not mention Russia.
And its set-up cannot fail but bring to mind the 2006 Oscar-winning German movie Das Leben des Anderen (The Lives of Others).
In the basement of a block of flats in the capital of ‘an anonymous Iron Curtain country’ called Commitania, sits a man, headphones on, tape reels whirring, listening in on conversations throughout the apartment block.
And how do we know it is about Moscow in the 1960s? Regular readers of this blog might already have picked up the clues.
Are you familiar with the notion of nostalgia for a time or place that you have never known? Anemoia is the term.
Or perhaps, as we are dealing here with a novel translated from German into English, the German word Sehnsucht is appropriate; often simply translated as nostalgia, it has a sense of wistful vagueness that the more common German word Nostalgie does not have.
Ssshh, I’m sneaking this book into these ‘Russia in fiction’ reviews , despite the fact that Henry Porter’s Brandenburg is not about Russia or set in Russia.
So why am I mentioning it here? Two real reasons: first, it’s just a terrific book — one of my favourite political thrillers; second, whilst it might not really be ‘Russia in fiction’, it does feature —as a major character— a young Vladimir Putin, serving as a KGB Colonel in Dresden.