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Zuleikha Opens Her Eyes, a novel by Guzel Yakhina (2015)
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This email address is being protected from spambots. You need JavaScript enabled to view it. Rights sold: Armenia - ORACLE, Azerbaijan - QANUN, Bosnia - BUYBOOK, Bulgaria - COLIBRI, China - The People´s Literature, Croatia - HENA, Czech Republic - PROSTOR, Denmark - JP/POLITIKENS, Estonia - TANAPAEV, Finland - INTO, France - NOIR SUR BLANC, France (large print) - Éditions Voir de près, Germany - AUFBAU, Hungary - EUROPA, India - SHARDA (hindi), Italy - SALANI, Israel - CARMEL, Iran - NILOOFAR, Japan - HAKUSUISHA, Kazakhstan - FOLIANT, S.Korea - WALKER (Geodneunsaram), Latvia - ZVAIGZNE, Lithuania - ALMA LITTERA, Macedonia - ANTOLOG, Mongolia - MASH NUUTS MEDIA, Netherlands - QUERIDO, Norway - CAPPELEN DAMM, Poland - NOIR SUR BLANC, Portugal - BERTRAND, Romania - HUMANITAS, Russia - AST, Serbia - SAMIZDAT, Slovakia - SLOVART, Spain - Acantilado, Sweden - Ersatz, Tatar language – Tatar Publishing House, Turkey - TEAS, Ukraine - BookChef, Uzbekistan - ZABARJAD MEDIA (book edition), SUG'DIYONA (magazine rights), World English - ONEWORLD, World Arabic - ARAB SCIENTIFIC PUBLISHERS, World Esperanto - ARS LIBRI
Winner of the 2020 Giuseppe Tomasi di Lampedusa International Literary Award (Italy)
Finalist of the the 2020 EBRD Literature Prize (UK)
Winner of the 2018 Abolhassan Najafi Award for the best translated novel (Iran)
FInalist of the Prix Médicis award (2017, France)
Prix du magazine "Transfuge" (2017, France)
Winner of the 2015 Big Book literary award
Winner of the People's Choice open online voting for the 2015 Big Book literary award
Winner of the 2015 "Ticket to the Stars" prize
Winner of the 2015 Best Prosaic Work of the Year prize
Winner of the 2015 Yasnaya Polyana award
Winner of the People's Choice open online voting for the 2015 Yasnaya Polyana award
Finalist of the 2015 Russian Booker literary award
Finalist of the the 2015 NOS literary award
Guzel Yakhina’s debut novel Zuleikha Opens Her Eyes is an enjoyable and smooth novel, unpretentious mainstream historical fiction that covers a lot of cultural, ethnic, religious, and sociopolitical issues.
The novel begins in 1930 in a Tatar village, from which a kulak woman Zuleikha is quickly sent into exile after her husband is murdered by communists. Zuleikha’s own life — after seeing her husband killed, after a horrendous train trip to a spot on the Angara River where her group of exiles will settle, and after a difficult first winter that kills many — settles into a new routine with characters nothing like her village neighbors. The characters are many but distinct, and they include a rather dotty doctor, an artist who paints on the sly, and urbane city dwellers who remember past European travels, as well as Ignatov, Zuleikha’s husband’s killer. Ignatov is persuaded to remain in the settlement, as its commandant, and he stays because of his own political issues back in Kazan. Most important, there is Zuleikha’s son Yuzuf, born in the settlement, who develops an interest for art and learns to paint.
Yakhina’s writing is simple, albeit sprinkled with Tatar words (there’s a glossary). Yakhina herself has said that the novel is about how Zuleikha wakes up, opens her eyes to the world, and finds happiness, albeit a bitter one. Another is, again, Yakhina’s ability to use a simple structure and language to tell her story, all as she plants details that will have meaning later in the book.
Guzel Yakhina´s novel hits directly in the heart. It’s a powerful praise for love and tenderness in hell.
Ludmila Ulitskaya
There’s something that Guzel Yakhina succeeded to transmit with amazing, sharp exactness: women’s attitude towards love. Not towards the subject of love, but towards the love itself.
Anna Narinskaya, literary critic
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CROSS-POLLINATION (TIME, PLACE, PEOPLE), collected essays by Vladimir Sharov
Rights sold: Russia - ARSIS BOOKS
This volume, published posthumously, was compiled when Sharov already acutely sensed his own end. Of its thirteen entries, one is on literature (Platonov, “without whom and outside of whom our twentieth cen-tury will never be understood”) and four on Russian history; these final five entries supplement earlier themes. But the first half of the book is urgently new. The author is embedded in every word. It is autobiographical, however, only in Sharov’s modest and decentered sense of a memoir: not a Bildungsroman focused on his own coming-of-age, but horizontal, anecdotal, literally a cross-pollination at the level of small living things.
At the radiant center of these remembrances is his father, Aleksandr Izrailevich Sharov (né Nyurenberg), who began as a geneticist, switched to journalism in the late1930s, and finally took refuge in literature. The essays then spread outward in space and time to Sharov’s early neighborhood, school teachers, the provincial town of Voronezh, crucial friends and interlocutors (including an open letter to his friend Alexander Etkind), and a memoir on how he came to write The Rehearsals. Sharov admits that the entries in both volumes overlap. “After some hesitation,” he writes, “I finally decided to leave everything as it was, and simply beg the readers’ pardon for the repeats. With some goodwill, they can be considered in the nature of a refrain”.
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