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Celestial Express, a novel by Kirill Kobrin, 2019
Rights sold: Russia - NLO
Shortlisted for the 2019 NOS Literary Award
Loosely modelled on Agatha Christie’s Murder on the Orient Express, the plot of this novel centres around a journey undertaken by a diverse group of figures and two deaths that take place among them within the first couple of days. The setting is the enclosed space of a train car on a solemnly inaugurated direct railroad connection between the Chinese city “X.” and London, but the narrator’s inclination for letting his mind wander freely takes the reader all over the world, jumping between China and Europe, the past and the present, etc. In fact, the story itself doesn’t map more than the first three days of the journey. The chief question of a detective story – who the murderer is – ceases to be important in the light of the musings that play and interweave as the train makes its way across the vast expanse of the continent.
The reader’s guided through most of the novel by the first-person narrative of one of the travellers, a well-read intellectual who enjoys hearing the sound of his inner voice and lets it take him into the farthest corners of his mind (and the world), while remaining slightly skeptical to the ideas it suggests. He presents the scene in a camera-like style, zooming in, describing details meticulously, often letting them distract and inspire him into a digression in which he combines what he knows with sometimes fantastic and far-fetched ideas, constructing a whole system of belief before returning to the narrative. The narrative itself is pushed to the background ever more as it provides merely a scheme for the narrator’s reflections and loosely flowing associations.
The subjects the narrator’s philosophical musings touch upon include: alcohol-drinking traditions around the world; the fact that China represents the future and Europe the past, making the train journey a return from the future into the past; the idea that at some point, apart from “the present”, the distant past will be the only thing that ever truly existed and everything between the distant past and the present will be lost with each new digital system replacing the old one, etc. Halfway through the book the reader is treated to an essay on hell and a thorough analysis of its various forms.
An “opera” performed by the characters appears towards the end, using excerpts from ancient Chinese poetry, which provides another artistic adaptation of the events on the train inserted in the adaptation that is the novel itself.
In the author’s own words, “it is a sort of late modernist (but not so-called ‘postmodernist’!) mixture of Agatha Christie and Alain Robbe-Grillet with a pinch of J. G. Ballard”. A year after its publication, the events of 2020 have imparted unexpected relevance to this novel, not only due to China being the starting point of the journey it describes, but chiefly thanks to its treatment of human isolation and its possible consequences, as well as toying with the grim and funny scenarios of the future of humankind.
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Hanuman’s Travels, a novel by Andrei Ivanov (2009)
Rights sold: Estonia - VARRAK, France - Le Tripode, Germany - Kunstmann, World English - Vagabond Voices
Winner of the 2009 Yuri Dolgoruky Foundation Prize
Shortlisted for the 2010 Russian Booker Prize
Hanuman’s Travels, which was shortlisted for the Russian Booker in 2010, translated into English, German and French, and put on the German stage, is the picaresque tale of two asylum seekers, one a Russian Estonian man (the narrator) and the other an Indian (the protagonist), and their daily lives in a Danish refugee camp and on the road in the late 1990s. While they are waiting to go to the Danish island of Lolland, which is said to be a paradise, the two companions in misfortune survive in any way they can.
Among scams, big and small disgraces, humiliations and lies, a map is gradually drawn – a detailed map of itineraries where the hopes and the fears of thousands of marginal people flounder and intertwine. Their struggle at times engenders dismissiveness and even intolerance, but also humanity, courage and the wisdom born of experience and resignation. Andrei Ivanov was inspired to write this novel by his own vicissitudes as a stateless person living in Denmark.
The title clearly refers to Ramayana, an epic tale of a prince forced into exile and his years-long journey with his faithful companion, the monkey king. In Hindu mythology, Rāma is an “ideal person”, an avatar of the god Vishnu, who has adopted the shape of a mortal in order to demonstrate dharma, the right and virtuous life. The same question is faced daily by the heroes of all Ivanov’s books: how to remain human in the world out of joint, which is anything but humane – a world that denies his humanity.
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