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The Orchard
Cover of The Orchard
The Orchard
A Novel
Borrow Borrow
Four teenagers grow inseparable in the last days of the Soviet Union—but not all of them will live to see the new world arrive in this powerful debut novel, loosely based on Anton Chekhov’s The Cherry Orchard.
“Spectacular . . . intensely evocative and gorgeously written . . . will fill readers’ eyes with tears and wonder.”—Minneapolis Star Tribune

ONE OF THE BEST BOOKS OF THE YEAR: New York Post
Coming of age in the USSR in the 1980s, best friends Anya and Milka try to envision a free and joyful future for themselves. They spend their summers at Anya’s dacha just outside of Moscow, lazing in the apple orchard, listening to Queen songs, and fantasizing about trips abroad and the lives of American teenagers. Meanwhile, Anya’s parents talk about World War II, the Blockade, and the hardships they have endured.
By the time Anya and Milka are fifteen, the Soviet Empire is on the verge of collapse. They pair up with classmates Trifonov and Lopatin, and the four friends share secrets and desires, argue about history and politics, and discuss forbidden books. But the world is changing, and the fleeting time they have together is cut short by a sudden tragedy.
Years later, Anya returns to Russia from America, where she has chosen a different kind of life, far from her family and childhood friends. When she meets Lopatin again, he is a smug businessman who wants to buy her parents’ dacha and cut down the apple orchard. Haunted by the ghosts of her youth, Anya comes to the stark realization that memory does not fade or disappear; rather, it moves us across time, connecting our past to our future, joys to sorrows.
Inspired by Anton Chekhov’s The Cherry Orchard, Kristina Gorcheva-Newberry’s The Orchard powerfully captures the lives of four Soviet teenagers who are about to lose their country and one another, and who struggle to survive, to save their friendship, to recover all that has been lost.
Four teenagers grow inseparable in the last days of the Soviet Union—but not all of them will live to see the new world arrive in this powerful debut novel, loosely based on Anton Chekhov’s The Cherry Orchard.
“Spectacular . . . intensely evocative and gorgeously written . . . will fill readers’ eyes with tears and wonder.”—Minneapolis Star Tribune

ONE OF THE BEST BOOKS OF THE YEAR: New York Post
Coming of age in the USSR in the 1980s, best friends Anya and Milka try to envision a free and joyful future for themselves. They spend their summers at Anya’s dacha just outside of Moscow, lazing in the apple orchard, listening to Queen songs, and fantasizing about trips abroad and the lives of American teenagers. Meanwhile, Anya’s parents talk about World War II, the Blockade, and the hardships they have endured.
By the time Anya and Milka are fifteen, the Soviet Empire is on the verge of collapse. They pair up with classmates Trifonov and Lopatin, and the four friends share secrets and desires, argue about history and politics, and discuss forbidden books. But the world is changing, and the fleeting time they have together is cut short by a sudden tragedy.
Years later, Anya returns to Russia from America, where she has chosen a different kind of life, far from her family and childhood friends. When she meets Lopatin again, he is a smug businessman who wants to buy her parents’ dacha and cut down the apple orchard. Haunted by the ghosts of her youth, Anya comes to the stark realization that memory does not fade or disappear; rather, it moves us across time, connecting our past to our future, joys to sorrows.
Inspired by Anton Chekhov’s The Cherry Orchard, Kristina Gorcheva-Newberry’s The Orchard powerfully captures the lives of four Soviet teenagers who are about to lose their country and one another, and who struggle to survive, to save their friendship, to recover all that has been lost.
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  • From the cover

    1

    Milka Putova and I had been friends since the first grade, which was pretty much for as long as I could remember. She was short and thin like a sprat, and every boy in our class called her exactly that—Sprat. She had small acorn-brown eyes, set too far apart and slanted—a result of one hundred and fifty years of the Tatar-Mongol yoke, as she often joked. Her face was broad and pale, her pulpy lips raspberry red, especially in winter, after we’d been sledding or building forts all afternoon, snow crusted on our knees and elbows, our bangs and eyelashes bleached with frost. We lived on the outskirts of Moscow and tramped to school together, across a vast virgin field sprawled around us like white satin. She’d walk first through knee-deep snow, wearing wool tights and felt boots, threading her legs in and out, and I’d trudge after her, stepping in her footprints. She’d halt and scribble our names in the snow with her gloved finger—Milka + Anya—and on the way back we’d rush to check whether the letters were still there.

    Milka’s hair was dark gold, straight and silky, cut in a neat bob around her jaw. She shampooed her hair every day, and I could smell it when we sat next to each other during classes, the delicate scent of apple blossoms resurrecting our summer months at my parents’ dacha. How we’d sauntered through a corn maze, the stalks three times taller than we were, fingering green husks, separating soft, luscious silk to check on the size and ripeness of ears. Or how we roamed birch and aspen groves and gathered mushrooms for soup, their fragile trunks buried in grass, their red and orange caps burning under the trees like gems. Or how we swam in the river, racing to the other side and back and then climbing a muddy bank and drying off on towels, motionless like sunbaked frogs—bellies up.

    At ten, we hadn’t yet begun wearing bikini tops or shying behind bushes while changing swimsuits. We touched each other’s faces, and shoulders, and nonexistent breasts, compared hands and feet, the length of our toes and fingers, noses, eyelashes, the color and shape of our nipples. We counted moles and freckles, mosquito bites and scratches, searching for hidden birthmarks, gray hairs, some sign of indisputable distinction. We lazed in a hammock, suspended between the porch railing and a single pine tree, or threaded wild strawberries on long straws and sucked them off in one ravaging movement, our tongues, our mouths magenta foam. We carved our names into birch trunks so fat, so mighty, our arms wouldn’t close when we hugged them. We trapped crickets in glass jars or matchboxes, which we placed under pillows for good luck, setting the bugs free in the morning; we made wishes while watching the full moon like an amber brooch pinned low in the sky. We longed for prettier dresses and Zolushka’s crystal shoes and a fairy godmother to turn our dingy flats into splendid castles. At the dacha, we opened the bedroom window and stared into the darkness coalescing around us. The apple trees were bearing their first tiny sour fruit. The trees swayed their branches and threw trembling shadows on the ground, and we would sprawl halfway out of the window to touch their young tender leaves.

     

    At eleven, we still played with dolls. Some were missing limbs; others had lost lashes and hair; all had patches of skin scraped and dulled by the years of dressing and undressing, incessant bathing. We owned no male dolls but a set of tin soldiers I begged my mother to buy. The soldiers were disproportionally small, which made perfect sense to us because most of the...

Reviews-
  • Publisher's Weekly

    Starred review from January 3, 2022
    Gorcheva-Newberry’s stunning debut novel (after the collection What Isn’t Remembered) follows two girls as they navigate the hardships of growing up in communist Russia. Anya Raneva’s and Milka Putova’s childhoods in the early 1980s are deeply impacted by the Cold War. They play war (and sex) games with limbless dolls, belittle their parents’ concerns about the toilet paper shortage and rationing, and dream about running away from Moscow and eloping in Paris. They reference Chekhov’s The Cherry Orchard repeatedly, in heated discussions with their other friends about social class, inequality, and change. (The play becomes something of a manifesto for Anya and her peers, even if they don’t relate specifically to its antiquated characters.) As the story progresses, the author builds a complicated and intense friendship between the independently minded Anya and Milka, who question tradition during a time when Russians tended to build close families in order to survive (“Could a woman be happy without a man? Could she be respected if she had no children? Could she ever be as free as a man?”). They spend their early teenage years longing for more freedom, but at 16, when the iron curtain falls, a cascading tragedy involving a pregnancy swiftly follows, and their dreams of seeing the world together and studying at a prestigious university turn bitter. Gorcheva-Newberry pulls off a tragic and nostalgic love letter to a much-tried generation. This is a winner. Agent: Jacqueline Ko, Wylie Agency.

  • AudioFile Magazine Julia Emelin's performance places listeners in the heart of the Soviet Union during the 1980s, a time of tumultuous change. Anya and her teenage friends are approaching the end of school and facing uncertain futures. They spend their days listening to contraband Western music and dreaming of love. Anton Chekhov's famous play THE CHERRY ORCHARD, echoed in the novel's title, is framed here as a family apple orchard that faces possible destruction by a developer. The coming-of-age plot may be familiar, but the inevitable Soviet collapse and its impact on the families' lives are consistently engaging. Emelin captures so much of the environment and the four young characters that listeners will feel the cold Moscow air, taste the borscht, and experience the rising tension. S.P.C. © AudioFile 2022, Portland, Maine
  • Library Journal

    Starred review from September 1, 2022

    Inspired by Chekhov's The Cherry Orchard, Gorcheva-Newberry's (What Isn't Remembered) magnificent saga showcases 1980s Russian life, history, and politics from the viewpoints of feisty, smart teenagers Anya and Milka. Their dissimilar homes and parents reflect the differences in Russian life. Anya's parents and grandmother are loving and prosperous, with both a dacha and an apple orchard. Milka's family is much less stable, and thus she spends time with Anya's family instead. The friends' sexual awakening is realistically depicted and often amusing. Anya's boyfriend is an intelligent reformer, while Milka's is a traditional Communist. Conversations and depictions of the city, countryside, and food are captivating. Eventually, Anya studies, marries, and settles in America, returning to the dacha 20 years later to save her family's lands from developers. Narrator Julia Emelin's accent enhances the text while making distinctions between characters, notably Anya's sage grandmother, and delightfully irreverent Milka. Emelin's engaging narration will draw listeners into the action. Read by Gorcheva-Newberry, the author's note reveals that the story is highly autobiographical. VERDICT This riveting saga, full of nostalgia, tumult, and bittersweet coming-of-age, will not disappoint.--Susan G. Baird

    Copyright 2022 Library Journal, LLC Used with permission.

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