A scattered satire of contemporary Russia.
A wealthy Russian man loses his “tool.”
One day in 21st-century Moscow, Arseny Iratov, a wealthy and archmasculine architect, wakes up to find that his tool, aka his “member,” aka “the primary organ of the male body,” “was nowhere to be found.” Alarming as it would be on its own, this development is complicated by two facts: First, that Vera, Iratov’s beloved, has suddenly begun to yearn for motherhood; and second that, in Gogol’s grand tradition, Iratov’s member (now named Eugene) is at large in the world in the form of a beautiful young man set on seducing Vera. Had Lipskerov moved no wider with his story, the result might have been a cutting satire of the state of wealth and masculinity in post-Soviet Russia. But, alas, Lipskerov has grander plans. Rather than focusing on the Iratov-Vera-Eugene love triangle and/or the often fascinating depictions of Iratov’s Soviet-era dealings in the Russian black market, Lipskerov widens the phenomenon. Iratov’s doctor, too, loses his member, as do millions (then billions) of men the world over. (Though, strangely, only Eugene appears as an autonomous entity, which reduces his existence to a quasi-pointless Gogol reference.) Much of the story is related, meanwhile, by a nameless nonhuman narrator (he’s hundreds of years old and can regenerate wounds in his sleep) who is quite interested in the lives of Iratov’s illegitimate descendants (sired during his raucous Soviet-era youth), on whom the future of humanity may rest. Lipskerov’s novel—his first to be translated into English—suffers for its cosmic ambitions, sacrificing human characters and plots in favor of slapstick humor and a pan-historical narrative scope. Fans of Bulgakov and Gogol will find some chuckles while American readers may grimace at the racial insensitivities demonstrated by some characters and the degradingly sexualized caste of women. But in his descriptions of “firing-squad offense[s]” and communal apartments, Lipskerov does give us some powerful glimpses of a world that, though contemporaneous to our own, was forged from a different metal.
A scattered satire of contemporary Russia.Pub Date: Jan. 12, 2021
ISBN: 978-1-64605-039-0
Page Count: 384
Publisher: Deep Vellum
Review Posted Online: Nov. 17, 2020
Kirkus Reviews Issue: Dec. 1, 2020
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
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SEEN & HEARD
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