From Publishers Weekly
Kalfus's two well-received short story collections (Thirst and Pu-239 and Other Russian Fantasies) set a high standard for his first novel, a sweeping, quasihistorical fiction spanning two tumultuous decades in Russia. From the opening scenes at Leo Tolstoy's deathbed (and the surrounding media circus) to the rise of Stalin, the narrative unfolds with Kalfus's signature mix of carefully researched history, subtle social commentary and leaping, imaginative storytelling. Tolstoy's demise in 1910 presents a career-launching opportunity for a young cinematographer who's beginning to understand the power of film to change or create political reality. This knowledge comes in handy as Russia moves unsteadily from postrevolution chaos toward the Soviet state and its bureaucracies, one of which is the Commissariat of Enlightenment, the powerful agency in charge of propaganda. The cinematographer's fate merges with that of Comrade Astapov, director of the massive Red agitprop campaign. Those who resist the commissariat include a church congregation that refuses to give up its faith, an experimental theater director, and a resilient young woman who makes an abstract, pornographic film in the name of sexual education for women. Unforgettable re-creations of embalmer and scientist Vladimir Vorobev (who mummified Lenin), Joseph Stalin and Countess Tolstoy anchor the plethora of plot developments, which involve many minor-and major-characters with double identities and secret agendas that demand patience and close attention from the reader. Told in supple, witty and gritty prose, the story exhibits all the vigorous intelligence and vision readers have come to expect from Kalfus.
Copyright 2003 Reed Business Information, Inc.
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Kalfus' first novel--he's the author of two short-story collections--inverts a classic twentieth-century literary genre, Soviet realism, while at the same time employing Soviet methods of political and historical enlightenment (that is, propaganda). The first half of the novel deals with the celebrated deathwatch for Leo Tolstoy at the railway station in Astapovo in 1910. The protagonist, Gribshin, is a cinematographer for Pathe Brothers newsreels. Hovering on the edges of the media madhouse are Lenin, his wife Nadezhda Krupskaya, and Stalin. In Kalfus' skillful hands, Tolstoy's death is the perfect metaphor for the death of the written word in the twentieth century and the ascendance of the image, specifically newsreel footage edited to manipulate the truth. Later, during the Russian Civil War and after the Bolshevik success, Gribshin changes his name and enters the Commissariat of Enlightenment under Stalin's patronage, and the image becomes the preserved corpse of Lenin. While this is a novel of long ago, its themes have never been more pertinent and the story is first-rate.
Frank CasoCopyright © American Library Association. All rights reserved
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
