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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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Ulitskaya's new collection was subtitled by the author as 'borderline' short stories. In all cultures and religions, the very concept of borderline, of boundary, of some kind of restriction is inherent for one's consciousness and life experience. Over a lifetime, people constantly deal with multiple limitations, internal or external, real or imagined. These boundaries can “expand”, “be effaced”, “crossed”, “demand respect”, some of them we set for ourselves, and others are set by states, societies, or traditions. It is philosophical and humanistic interpretation of this concept that Ulitskaya writes about in her book.
The book feature two cycles of short stories. In the first one, My Lady-Friends, the key motive of Ulitskaya's narrative is love, perhaps the only device capable of effacing any boundaries between people. Protagonists of these stories recover missing part of their soul and gain strength necessary for life with a help of love manifesting itself in different forms and shapes: physical love, maternal love, late love, unexpected love, adoration, allegiance, sympathy, affection...
In the second cycle, On The Body Of The Soul, Ulitskaya approaches the innermost boundary - the boundary of life, or rather of physical existence of our bodies. Is there a line dividing life and death? Or is death the limit of life? And what is there, beyond our physical existence? Ulitskaya's protagonists are caught in those crucial moments of their lives when physical and metaphysical is almost inseparable.
We know much more about human body than about the soul. Indeed, no one can draw up a map of the soul. All we can is just somehow catch, to glimpse into a boundary strip, into that zone separating existence and non-existence. There, near the border as we approach it, such vibrations begin, such subtle details are revealed that it is almost impossible to give them a wording in our beautiful, but limited language. A risky, very dangerous approach. Still, that space attracts to itself the further you live, the stronger. -- Ludmila Ulitskaya
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