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Yakov's Ladder, a novel by Ludmila Ulitskaya (2015)
2016 Big Book Award (3rd place) and Reader’s Choice Award
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This email address is being protected from spambots. You need JavaScript enabled to view it. Rights sold: Azerbaijan - TEAS, Brazil - Editora Estação Liberdade, China - People's Literature, Croatia - FRAKTURA, Czech Republic - PASEKA, France - GALLIMARD, Georgia - Palitra L, Italy - LA NAVE DI TESEO, Iran - HOUPAA, Germany - HANSER, Hungary - MAGVETO, Poland - WYDAWNICTWO LITERACKIE, Romania - HUMANITAS FICTION, Russia - AST, Serbia - ARHIPELAG, Slovakia - SLOVART, Sweden - ERSATZ, Ukraine - BookChef, World English - FSG
At first glance, Yacov’s Ladder perfectly embodies the generic definition of a “family saga.” The story of several generations of Osetskys, who were originally from Kiev and then transplanted to Moscow, spans an entire century, from 1911 to 2011. The family saga is, however, no more than a shell, a shapely vessel chosen by the author in her search for answers to the questions posed inexorably and unrelentingly by literature and philosophy since the beginning of human existence: to what degree is the human individual free or unfree? How do circumstances, DNA, or history combine to determine or condition the individual personality?
The novel revolves around two axes, Nora and her grandfather, Yakov Osetsky. Nora and Yakov have seen each other only once, in the mid-1950s, when Nora was just a child, and Yakov’s life was already nearing its end. The encounter was no more than a fleeting episode for both of them. A true meeting of minds and souls occurred only much later, in 2011, when Nora had already emerged from the commotion and tumult of everyday existence and the course of her life was winding down, and she read the diaries of her grandfather, as well as his family correspondence (which covered many decades), and the dossier of Yakov Osetsky from the KGB archives.
From the first page, the reader is thrust headlong into the masterfully depicted world of the main character, Nora Osetsky. Nearly all the people who play an important role in her life appear in the narrative in quick succession: her son Yorik, theater director Tengiz Kuziani, her mother Amalia, her father Henrik, her grandmother Marusya, and an “occasional” husband Victor. The people are enmeshed in themes and objects: theater, the career of a set designer, books, sugar tongs, an old blouse trimmed with an ancient Egyptian motif, and an osier chest holding the family archives.
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Two sisters and Kandinsky, a novel by Vladimir Makanin (2011)
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Makanin’s novel Two Sisters and Kandinsky (2011) is a special genre structure based on the sophisticated play of classical and modern hybrid forms. Besides the genre definition as “a novel” stated by the author and specifying it as “a scene of life” oriented to Balzac genre form, the reportage and essays inclusions are significant in the novel as well. Dramatic code is actualized there not only in its classical variant, but also in the form of puppet theatre, contemporary talk-show, and other genres of film and television.
In Makanin's previous novel about the Chechen War, Asan (2008), the concept of "betrayal" had a structure-forming function. His next novel Two Sisters and Kandinsky (2011) placed the concept of "betrayal" into the context of a story of an individual human being and of the Russian society of the 20th century, when a snitch (betrayer) was the most important figure in the state. In Makanin's prose, in contrast to the narrow political interpretation widespread in the society, almost all types and kinds of betrayal are present: starting from betrayal in personal relations between a man and a woman, betrayal of a friend, violation of a social contract, betrayal of a strata or a state, and coming to the most terrible in the opinion of the writer ego-betrayal, i.e. oblivion of one's ideals and principles (the most terrible in the opinion of the writer). We may affirm that the dyad "loyalty betrayal" is the core in Makanin's world view, and "loyalty" is almost of a sacred character, and "recovery" of the society is possible only if it returns to a new "sacrum".
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