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Yakhina's novel named the best translated novel of the 2021 in France
NEW RELEASE: Yakhina's Children of the Volga in Serbia
NEW RELEASE: Buida's STALEN in France
NEW RELEASE: Shevelev's NOT RUSSIAN in France
Daniel Stein, Interpreter finalist of Kulturhuset Stadsteatern prize
NEW RELEASE: Yakhina's TRAIN TO SAMARKAND in Romania and Bosnia
Yakhina's novel is a finalist of the 2021 Prix Médicis
Yakhina's novel longlisted for the Prix Médicis
Guzel Yakhina longlisted for the 2021 European Literature Prize
Natalya Semenova wins the Art Newspaper Russia Prize
NEW RELEASE: My Father's Letters. Correspondence from the Soviet GULAG in English
NEW RELEASES: Ulitskaya's JUST THE PLAGUE in Russia, Hungary, Germany, and France
March 5, 2021: www.elkost.com is back
ELKOST website is off for maintenance
ELKOST agency at the 2019 Frankfurt book fair

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Featured titles

  • Women's Lies, a novel by Ludmila Ulitskaya (2003)

    Rights sold:  Albania – OMSKA, Denmark - GYLDENDAL, Finland – SILTALA, France - GALLIMARD, Germany - HANSER, Greece - KASTANIOTIS, Hungary - MAGVETO, Italy – FRASSINELLI, Japan – SHINCHOSHA, Lithuania - JOTEMA , The Netherlands  - DE GEUS, Poland - PHILIP WILSON, Portugal - RELOGIO D’AGUA, CAVALO DE FERRO, Romania - S.C HUMANITAS S.A, Russia - EKSMO, AST, Serbia – PAIDEIA, Spain – ANAGRAMA

    The novel is divided into chapters that seem short stories, but all fit into the same plotline and feature the same characters:
    1. Diana;
    2. Brother Yuri;
    3. Finish of the Plot;
    4. The Phenomenon of Nature;
    5. Good Luck;
    6. The Art of Living

    Read more...
  • Get Lost, Crocodile, a novel by Marina Vishneventskaya (2002)

    In Vishnevetskaya’s Came the Moon out of Mist and Get Lost, Crocodile! the search for female identity is formulated as a drama in the genre of lyric parable. The heroines question what it means to “be a woman” in the contradicting societal ideologies of the post-Soviet epoch. The distorted implementation of the laws of capitalist consumption often does not coincide with the patriarchal model of the family, which, in turn, is discredited by cynical views of the Soviet citizen. According to Vishnevetskaya, the heroine can be “freed from the spell,” in other words reveal her essence, or “extinguish”— erase that which is overly incomprehensible. These metaphysical operations either unearth the woman’s essence, or turn her into an automaton. Notably, revealing the trapped female essence or vice versa, repressing it is carried out not so much by the external world, not by the man whom she chose as a lover or who chose her, but by the woman herself.

    Read more...

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