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"These immersive linked stories grapple with Ukrainian history through the waning years of the USSR and birth pangs of democracy ... Reva's characters spark off the page as they confront a brutal bureaucratic past with the only tool they possess—hope."—O, The Oprah Magazine A brilliant and bitingly funny collection of stories united around a single crumbling apartment building in Ukraine, inspired by the author and her family's own experiences. A bureaucratic glitch omits an entire building, along with its residents, from municipal records. So begins Reva's "darkly hilarious" (Anthony Doerr) intertwined narratives, nine stories that span the chaotic years leading up to and immediately following the fall of the Soviet Union. But even as the benighted denizens of 1933 Ivansk Street weather the official neglect of the increasingly powerless authorities, they devise ingenious ways to survive. In "Bone Music," an agoraphobic recluse survives by selling contraband LPs, mapping the vinyl grooves of illegal Western records into stolen X-ray film. A delusional secret service agent in "Letter of Apology" becomes convinced he's being covertly recruited to guard Lenin's tomb, just as his parents, not seen since he was a small child, supposedly were. Weaving the narratives together is the unforgettable, chameleon-like Zaya: a cleft-lipped orphan in "Little Rabbit," a beauty-pageant crasher in "Miss USSR," a sadist-for-hire to the Eastern Bloc's newly minted oligarchs in "Homecoming." Good Citizens Need Not Fear tacks from moments of intense paranoia to surprising tenderness and back again, exploring what it is to be an individual amid the roiling forces of history. Reva brings the black absurdism of early Shteyngart and the sly interconnectedness of Anthony Marra's Tsar of Love and Techno to a "bang-on brilliant" (Miriam Toews) collection that is "fearless and thrilling" (Bret Anthony Johnston), and as clever as it is heartfelt.
"These immersive linked stories grapple with Ukrainian history through the waning years of the USSR and birth pangs of democracy ... Reva's characters spark off the page as they confront a brutal bureaucratic past with the only tool they possess—hope."—O, The Oprah Magazine A brilliant and bitingly funny collection of stories united around a single crumbling apartment building in Ukraine, inspired by the author and her family's own experiences. A bureaucratic glitch omits an entire building, along with its residents, from municipal records. So begins Reva's "darkly hilarious" (Anthony Doerr) intertwined narratives, nine stories that span the chaotic years leading up to and immediately following the fall of the Soviet Union. But even as the benighted denizens of 1933 Ivansk Street weather the official neglect of the increasingly powerless authorities, they devise ingenious ways to survive. In "Bone Music," an agoraphobic recluse survives by selling contraband LPs, mapping the vinyl grooves of illegal Western records into stolen X-ray film. A delusional secret service agent in "Letter of Apology" becomes convinced he's being covertly recruited to guard Lenin's tomb, just as his parents, not seen since he was a small child, supposedly were. Weaving the narratives together is the unforgettable, chameleon-like Zaya: a cleft-lipped orphan in "Little Rabbit," a beauty-pageant crasher in "Miss USSR," a sadist-for-hire to the Eastern Bloc's newly minted oligarchs in "Homecoming." Good Citizens Need Not Fear tacks from moments of intense paranoia to surprising tenderness and back again, exploring what it is to be an individual amid the roiling forces of history. Reva brings the black absurdism of early Shteyngart and the sly interconnectedness of Anthony Marra's Tsar of Love and Techno to a "bang-on brilliant" (Miriam Toews) collection that is "fearless and thrilling" (Bret Anthony Johnston), and as clever as it is heartfelt.
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En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
Extraits-
From the cover
BONE MUSIC
The first time Smena’s neighbor knocked on her door, she asked to borrow cloves. The woman stood in Smena’s doorway, clutching a canvas sack to her chest. Her diminutive frame barely reached the latch. “I’ll bring the cloves back,” she promised. “You can reuse them up to three times.”
This neighbor, Smena knew, associated with the building’s benchers. The woman never sat with them but did spend a good deal of time standing beside them, cracking sunflower seeds, no doubt gossiping, and Smena would often hear the metallic clang of her laughter through the bedroom window. Smena had placed the woman in her mid-sixties, around Smena’s age, but up close her wet lips and bright caramel eyes made her look younger. Her cropped hair, dyed bright red, reminded Smena of the state-made cherry jam she used to see in stores.
She did not let the neighbor in, but made sure to leave a crack between the door and its frame so as not to shut it in the woman’s face—word got around if you were rude, especially to a bencher or bencher affiliate. Smena rummaged in her kitchen drawers for the cloves, then continued the search in her bathroom cabinet, which contained the kitchen overflow. There, the cloves rattled inside a newspaper pouch; they’d lost their peppery tang.
Smena stepped out of the bathroom and blurted “Oi.” The neighbor was sitting in her kitchen. The woman had taken off her clogs, and a grayish middle toe poked through a hole in one of her socks.
Neighbors rarely visited each other, and if they did, it was to complain about a leak in the ceiling or to spy out who had better wallpaper and why. Smena tossed the pouch of cloves on the table, hoping the woman would take what she’d come for and leave.
“I’m Nika, from fifth,” the neighbor said. “Have a biscuit.” From her canvas sack she produced a small plastic bag, rolled down its rim, and Smena felt a pang of delight: inside were the same cheap biscuits Smena used to buy at the bazaar, the ones that had the shape and consistency of a fifty-kopek coin and had to be soaked in tea to save teeth from breaking. This gesture meant her guest wanted tea, which she, the host, should have offered long ago, upon greeting.
Nika craned her neck for a better view down the corridor. “Say, this a one-room or two-room?” Nika pronounced her words with a dawdling slur that was at odds with her quick movements. Smena wondered if the woman was recovering from a stroke.
“Two-room.”
“For one person?”
Smena tensed. Anything she said, already she could hear being repeated around the block. “My husband snored.” This was true: Smena had shared the sofa bed with her daughter, in the other room, until the girl had moved in with her fiancé’s family many towns away.
To occupy herself, Smena set the kettle on the stove. When she turned back to the woman, beside the biscuits lay a black plastic sheet. An X-ray scan. Smena recognized it instantly; she had a stack of them in the cupboard beside the refrigerator.
“I hear you make a nice ruble copying vinyl records onto X-rays,” said Nika.
Smena’s brows lifted in mock surprise. “Who told you that?”
“A friendly worm in the ground.”
“The friendly worm is mistaken.”
“I used to own a few bone albums myself, a long time ago,” Nika went on. “Only played them a couple times before they got worn through. Didn’t compare to vinyl, of course,...
Au sujet de l’auteur-
MARIA REVA was born in Ukraine and grew up in Canada. She holds an MFA from the Michener Center at the University of Texas. Her fiction has appeared in The Atlantic, McSweeney's, Best American Short Stories, and elsewhere, and has won a National Magazine Award. She also works as an opera librettist.
Starred review from January 20, 2020 Reva’s hilarious, absurdist debut collection lampoons the crumbling bureaucracy leading up to the fall of the Soviet Union. In “Novostroïka,” a young man discovers that, due to a clerical error, his entire building doesn’t exist in the eyes of the government, and he follows a vertiginous, Kafkaesque course to get his heat turned on. The vicious and vulnerable Zaya, born with a cleft lip and left to an orphanage, and a poet-turned-government official named Konstantyn Illych, are indelible recurring characters. In “Little Rabbit,” four-year-old Zaya manages to escape the orphanage after discovering the mummified corpse of another orphan who was buried under the linoleum, which she takes for a saint sent to guide her out. “Miss USSR” picks up with Zaya as a teenager, having been returned to the orphanage. Konstantyn recruits her to take part in a national beauty pageant, and she disappears after spitting on the judges during the show, leaving Konstantyn with the orphan corpse that she’d kept after her escape. Later, in “Lucky Toss,” the disgraced Konstantyn makes money by charging religious fanatics to see the corpse, or “saint.” Reva delights in the strange situations caused by political dysfunction, while offering surprising notes of tenderness as ordinary people learn to get by. The riotous set pieces and intelligent gaze make this an auspicious debut.
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This collection of stories centers on a cast of characters living in an apartment complex in Ukraine. Five talented narrators share the task of conveying the dry humor and surreal satirical atmosphere of author Maria Reva's five stories set before the fall of the USSR, and four that take place after. While the narrators alternate in performing the stories, they are all consistently well paced and occasionally sardonic in their delivery, some with a light accent. The stories range from "Novostr�ika" to "Homecoming," and include intermittent appearances by the enigmatic Zaya, who progresses from an orphan and beauty pageant crasher to a sadist for hire. This collection is an intriguing look at the USSR's sweeping impact on the lives of individuals. S.E.G. © AudioFile 2021, Portland, Maine
