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Articles
Title
Ludmila Ulitskaya and Elena Kostioukovitch in Venice at the Incroci di Civiltà festival
Vladislav Otroshenko in Venice at the Incroci di Civiltà festival
Alexei Makushinsky presents his Steamship to Argentina at the Salon du livre de Paris
JUST PUBLISHED: Auntie Mina by Maya Kucherskaya in Macedonia
JUST PUBLISHED: Why Italians Love to Talk about Food by Elena Kostioukovitch reedited in Italy
Presentation of Elena Kostioukovitch´s Sette Notti in Milan, Italy
JUST PUBLISHED: Boris Nossik's Anna and Amedeo in Italy
JUST PUBLISHED: Ulitskaya's Girls in Finland
JUST PUBLISHED: Ulitskaya's Discarded Relics in Germany
Elena Kostioukovitch in Jerusalem
L’écrivaine russe Ludmila Oulitskaïa décorée de la Légion d’honneur
JUST PUBLISHED: Third edition of Why Italians Love to Talk about Food by Elena Kostioukovitch in Russia
JUST PUBLISHED: Ulitskaya's Medea and her Children in Romania
JUST PUBLISHED: Zwinger by Elena Kostioukovitch in Italy
AD: Irina Sherbakova in Vienna. Austria

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Featured titles

  • Opens Inward, collected short stories by Ksenia Buksha

    Rights sold:  Russia - AST 

    Longlisted for the 2019 National Bestseller Award

    Ksenia Buksha's 2018 collection of short stories, Opens Inward, follows a transport route stretching from one end of her own Petersburg region to the other while interlocking its denizens in a poignant triptych of birth (“Orphanage”), life (“The Asylum”), and death (“Last Stop”).

    Buksha’s collection provides a fitting occasion for reviving old cliché: this is “a whole world packed under a single cover.” Dozens of stories,all true to life, weave together, intersect, and fall apart around the trajectory of Route 306. Characters drive along it, wait beside it, or watch it from their windows. Those who star as protagonists in one story make a brief cameos in others, flash in and out of the reader’s peripheral vision, and simply pop up in conversation, creating the illusion of a space that is both very dense and thoroughly inhabited. That space also feels practically infinite — it stretches far beyond the horizon.

    The book is divided into three parts. The first, titled “The Orphanage,” displays all the possible species and subspecies of parentlessness from all possible angles. Thirteen year-old Asya suspects that the woman who raised her is not her birth mother and takes great pains to construct the questions that might enable her to learn the truth about herself. On the way, she adopts three children from an orphanage: a tame young girl named Dasha who is still grieving her own recentlydeceased mother and two orphaned boys — the mischievous Roma and his brother, little Seryozha. In another story, terrible teen Angelica battles her adoptive mother “Aunt Lena,” a chess coach, without realizing what terrible cost Lena paid to save her from slavery in a children’s home. (The reader does realize this at the very end of the story, but only thanks to a brief aside tossed out by one of the characters.) Zhenya, a grown-up orphan who seems to have been entirely well-socialized, makes occasional trips to the city to meet her doppleganger, the person she could have been if her life had been just slightly different. Alisa, who takes drugs that have expanded her waistline to the point that she passes for pregnant, sits in the foyer of a swimming pool watching a strange, lonely boy in a ragged jacket.

    The book’s second part, “The Asylum,” unites stories of insanity, some of which are autonomous and some of which are connected to the orphans. It is here, for example, that we discover exactly what pills Alisa has been taking. The last part, “Finale,” features stories of death in which many of the book’s plots find their end or acquire a new beginning. This is where we learn how Dasha’s mother died and just what happened to the parents of the boy wearing rags.

    All that said, the borders between the parts of Opens Inward feel provisional, just like any attempt to dismember the variegated, fluid, morally ambiguous fabric of being. And it is that wholeness, that highly tragic amorality, that incredible ability to convey existential horror without falling into either sentimentality or despair, that is the greatest achievement of this brilliant — and that's not an exaggeration — collection by Ksenia Buksha. In a word, if anyone alive today can lay claim to the title of the Russian Alice Munro, it is undoubtedly she.

    Read more...
  • CASE OF ENGINEER TOWN, 2008

    Rights sold: Russia – Chronicler

    A nomad city of Karakorum, capital of the Mongol Empire (the map of which is just identical to a map of the Russian Empire), appears suddenly in the beginning of XVIII century in the area of Novocherkassk City in the Province of Don Cossack Voisko. The city does not fit into the picture of the real world; it moves every day a couple kilometers from the point it was seen before; Mongol Emperor Tughe, the ruler of the city, knows nothing about the existence of Russian Emperor Alexander (who in turn has never heard of Tughe).

    Otroshenko creates a reality in which the relation between incidents, characters, and setting could not be based upon or justified by laws of nature or their normal acceptance by human mentality.

    Read more...

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