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الاستماع والقراءة

Viktor Shklovsky

As time has proven, Theory of Prose still remains one of the twentieth century’s most significant works of literary theory.

It not only anticipates structuralism and poststructuralism, but poses questions about the nature of fiction that are as provocative today as they were in the 1920s. Founded on the concept of “making strange,” it lays bare the inner workings of fiction—especially the works of Cervantes, Tolstoy, Sterne, Dickens, Bely and Rozanov—and imparts a new way of seeing, of reading, and of interacting with the world.

Dalkey Archive Press

Russian Literature

On the Theory of Prose

Shushan Avagyan

Sergey Kuznetsov

From the man Arturo Pérez-Reverte has called “the most talented young Russian author” comes this extraordinary family saga, a journey into the depths of the human soul.

The Round-dance of Water is a detailed portrait of three generations of a large family, but in this story there is no division into primary and secondary characters: each individual fate carries its weight and runs into the bloody river of the twentieth century. The novel drifts between years, tones, and styles, and the range of its influences is overwhelming, ranging from Rudyard Kipling to Andrei Platonov and Daniil Kharms, from gangster movies to Japanese anime.

The Round-Dance of Water

Valeriya Yermishova

Vladimir Sorokin

In many respects, Their Four Hearts is a book of endings and final things. Vladimir Sorokin wrote it in the year the Soviet Union collapsed and then didn’t write fiction for ten years after completing it––his next book being the infamous Blue Lard, which he wrote in 1998. Without exaggerating too much, one might call it the last book of the Russian twentieth century and Blue Lard the first book of the Russian twenty-first century. It is a novel about the failure of the Soviet Union, about its metaphysical designs, and about the violence it produced, but presented as God might see it or Bataille might write it.

Their Four Hearts follows the violent and nonsensical missions carried out by a group of four characters who represent Socialist Realist archetypes: Seryozha, a naive and optimistic young boy; Olga, a dedicated female athlete; Shtaube, a wise old man; and Rebrov, a factory worker and a Stakhanovite embodying Soviet manhood. However, the degradation inflicted upon them is hardly a Socialist Realist trope. Are the acts of violence they carry out a more realistic vision of what the Soviet Union forced its “heroes” to live out? A corporealization and desacralization of self-sacrificing acts of Soviet heroism? How the Soviet Union truly looked if you were to strip away the ideological infrastructure? As we see in the long monologues Shtaube performs for his companions––some of which are scatological nonsense and some of which are accurate reproductions of Soviet language––Sorokin is interested in burrowing down to the libidinal impulses that fuel a totalitarian system and forcing the reader to take part in them in a way that isn’t entirely devoid of aesthetic pleasure.

As presented alongside Greg Klassen’s brilliant charcoal illustrations, which have been compared to the work of Bruno Schulz by Alexander Genis and the work of Ralph Steadman as filtered through Francis Bacon by several gallerists, this angular work of fiction becomes a scatological storybook-world that the reader is dared to immerse themselves in.

Their Four Hearts

Max Lawton

Serena Vitale

Shklovsky: Witness to an Era is a blend of riotous anecdote, personal history, and literary reflection, collecting interviews with Viktor Shklovsky conducted by scholar Serena Vitale in the '70s, toward the end of the great critic's life, and in the face of interference and even veiled threats of violence from the Soviet government. Shklovsky's answers are wonderfully intimate, focusing particularly on the years of the early Soviet avant-garde, and his relationships with such figures as Eisenstein and Mayakovsky. Bearing witness to a vanished age whose promise ended in despair, Shklovsky is in great form throughout, summing up a century of triumphs and disappointments, personal and historical.

Shklovsky: Witness to an Era

Jamie Richards

“Myths do not flow through the pipes of history, ” writes Viktor Shklovsky, “they change and splinter, they contrast and refute one another. The similar turns out to be dissimilar. ” Published in Moscow in 1970 and appearing in English translation for the first time, Bowstring is a seminal work, in which Shklovsky redefines estrangement (ostranenie) as a device of the literary comparatist—the “person out of place, ” who has turned up in a period where he does not belong and who must search for meaning with a strained sensibility. 

As Shklovsky experiments with different genres, employing a technique of textual montage, he mixes autobiography, biography, memoir, history, and literary criticism in a book that boldly refutes mechanical repetition, mediocrity, and cultural parochialism in the name of art that dares to be different and innovative. Bowstring is a brilliant and provocative book that spares no one in its unapologetic project to free art from conventionality.

Bowstring: On the Dissimilarity of the Similar