One of the aims of the Russia in Fiction blog is to get a sense of how Russia is portrayed in English-language fiction over time. What are the themes that come to the fore in different periods? What are the constants? And how realistic is any of this stuff?
One thing that we didn’t expect to find when we started out was quite the number of ‘Chernenko-era’ books that there are. We have written about this before at some length, and don’t want to re-hash all of that here. (Have a look at the review of Russian Spring (1984) by Dennis Jones for more details).
Moscow Rules is another thriller set in the year of Konstantin Chernenko as leader of the Soviet Union (1984-85). It stands out because it recognised, ahead of the events, that the Soviet system was heading to a swift end.
Charles Cumming is at the forefront of contemporary British thriller writers, and is on a bit of a roll at the moment. JUDAS 62 is his eleventh novel. The majority of these —with The Trinity Six being one of three exceptions— are not really Russia-in-fiction territory. But JUDAS 62 most definitely is.
‘Big bad Russia’ is back as the main enemy, and a large part of JUDAS 62 is set in the Russian city of Voronezh in 1993.
Russia in Fiction has reminded readers often enough that the reviews on this blog ask two questions of every book. What is the book like? And how does it portray Russia?
Galina Petrovna’s Three-Legged Dog Story unquestionably knows its Russia. Andrea Bennett falls into the category of authors who lived in Russia in the unforgettable chaos of the 1990s. Just as did Sophia Creswell, Anna Blundy, and A.D. Miller, Andrea Bennett successfully draws on that experience in writing memorable fiction.
And as for what the book is like? Galina Petrovna’s Three-Legged Dog Story summons up the sometimes joyous, sometimes tragic disorder of the immediate post-Soviet years in a slightly surreal yet recognisably realistic comic tale.
On the Russia in Fiction blog, we categorise books according to their temporal setting. Shamim Sarif’s Despite the Falling Snow is set in Moscow in the Khrushchev years of the late 1950s and in Boston in the late 1990s. Yet somehow Russia in Fiction always thinks of it as being a novel about the Stalin era.
That this impression prevails is credit to Shamim Sarif. Thematically, Despite the Falling Snow could be summed up as an exploration of the way in which the inhuman brutality of Stalinism wreaks its deep emotional damage decade after decade, generation on generation, even following its victims halfway round the globe.
Elegance. Charm. Intelligence. Wit. Such words inhabit the reviews of A Gentleman in Moscow. They apply as much to its central character, Count Alexander Rostov, as to the novel itself. A truly appropriate book to mark the halfway point on Russia in Fiction’s path to 100 reviews.
The central premise of A Gentleman in Moscow is original and intriguing. Count Rostov, a rich young Russian aristocrat, is arrested in Moscow in 1922 as the Communist regime —whose Red Army has just secured Bolshevik hegemony in Russia’s vicious civil war— brings its class warfare to bear on the citizens of the new Soviet state. His guilt assured by his aristocratic status, the Count is sentenced to house arrest. He must remain indefinitely in his place of abode. That place happens to be Moscow’s grandest hotel, the Metropol.
As the proceedings of Rostov’s brief trial state, ‘should you ever set foot outside of the Metropol again, you will be shot.’
The chilling thriller that predicted the Soviet military coup; so says the front cover blurb. Not a bad strap line.
Though that line is a little post-hoc, given that The Last Defector was published in paperback after the military coup of August 1991. Cape did not predict the military coup, just a military coup. Bit picky on our part, after all precise prediction is too much to ask.
A novel of Russia. That is the subtitle of Barnaby Williams’s novel Revolution. A subtitle like that is catnip to a blog called ‘Russia in fiction’. But what does it mean?
The phrase ‘novel of Russia’ turns out to be a reliable marker of genre. Several other books of the past few decades carry this marker, and they are all of a type.
‘Novel of Russia’ denotes what might be termed an ‘epic’; a sprawling, multi-generational, hundreds of pages long saga. Revolution begins —predictably enough— in 1917, on the eve of the Communist seizure of power in Russia, and ends as the Communist era itself ends, in the early 1990s, with Boris Yeltsin becoming the first president of a newly independent Russia.
Fancy a little pre-Christmas quiz? This is one for lovers of Russia-in-fiction detective stories. There is only one question, and it is an absolute doddle.
If the first murder victim in a Russia-in-fiction detective thriller is killed with a sickle, how will the second murder victim meet their grisly end?
Of course, to give you the answer might be seen as a spoiler by some —but I am not really one for this fastidious fad for being horrified at minor plot points being revealed. So here goes, the answer is …
Jason Matthews comes to espionage fiction as a member of the ‘former spy’ school of writers. He is ex-CIA. The backcover blurb on Red Sparrow has veteran US thriller writer Nelson DeMille proclaiming that