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DADDY WASSUP, a flow novel by Andrei Gelasimov
Rights sold: France - SYRTES, Germany - AUFBAU, Russia - GORODETZ, World Arabic - AL MADA
Winner of the 2021 Moscow Art Prize (Russia)
One day in 2016, a rap group from Russia and its leader Booster, aka Pistoletto, aka Tolya, got in troubles during a tour in Germany. First their rehearsal was interrupted by a police raid in search for drugs, then at their night concert one the crowd got killed in a fight, and one of the musicians got arrested and put in jail. Tolya-Booster meets with frau Steinbach who owns the venue of their show, only to find out that she is in fact his once-girlfriend Maya who immigrated to Germany a decade ago. Back in 1990s then 17-years-old Tolya and Maya both lived in Rostov, a city with a well-deserved reputation of Russia's criminal capital: armed gangs all around, corrupt government and police agents, sweeping poverty, drugs, and beyond that a real war in the nearby Chechnya.
Novel's plot develops during about twenty years, from the late 90s to the present. There's no political declarations in the novel: Tolya-Booster is strictly and deliberately apolitical. There is no social pathos in it as well: none of the protagonists give a damn about problems of the society they live in. However, Gelasimov's fictional characters mirror the reality of what's happening with Russians for last two decades: carelessness, fatalism, disregard of any existing rules and laws, pure logic of survival, amazing neglect of death, endless insecurity, and firm belief that there's nobody around to help. Gelasimov's heroes has been through terrible times; and realize what they've lost.
In his main hit song Samsara, Booster formulates the main belief of his generation: one day the world will inevitably be a better place, though they are destined to see it only through the eyes of their children. Gelasimov defines his new book as a flow-novel. In rap terminology, flow is a term referring to rhythms and rhymes of song's lyrics and how they interact, i.e. it is the correct speed of reading, an impeccable technique of writing and playing text under the swinging bit.
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Celestial Express, a novel by Kirill Kobrin, 2019
Rights sold: Russia - NLO
Shortlisted for the 2019 NOS Literary Award
Loosely modelled on Agatha Christie’s Murder on the Orient Express, the plot of this novel centres around a journey undertaken by a diverse group of figures and two deaths that take place among them within the first couple of days. The setting is the enclosed space of a train car on a solemnly inaugurated direct railroad connection between the Chinese city “X.” and London, but the narrator’s inclination for letting his mind wander freely takes the reader all over the world, jumping between China and Europe, the past and the present, etc. In fact, the story itself doesn’t map more than the first three days of the journey. The chief question of a detective story – who the murderer is – ceases to be important in the light of the musings that play and interweave as the train makes its way across the vast expanse of the continent.
The reader’s guided through most of the novel by the first-person narrative of one of the travellers, a well-read intellectual who enjoys hearing the sound of his inner voice and lets it take him into the farthest corners of his mind (and the world), while remaining slightly skeptical to the ideas it suggests. He presents the scene in a camera-like style, zooming in, describing details meticulously, often letting them distract and inspire him into a digression in which he combines what he knows with sometimes fantastic and far-fetched ideas, constructing a whole system of belief before returning to the narrative. The narrative itself is pushed to the background ever more as it provides merely a scheme for the narrator’s reflections and loosely flowing associations.
The subjects the narrator’s philosophical musings touch upon include: alcohol-drinking traditions around the world; the fact that China represents the future and Europe the past, making the train journey a return from the future into the past; the idea that at some point, apart from “the present”, the distant past will be the only thing that ever truly existed and everything between the distant past and the present will be lost with each new digital system replacing the old one, etc. Halfway through the book the reader is treated to an essay on hell and a thorough analysis of its various forms.
An “opera” performed by the characters appears towards the end, using excerpts from ancient Chinese poetry, which provides another artistic adaptation of the events on the train inserted in the adaptation that is the novel itself.
In the author’s own words, “it is a sort of late modernist (but not so-called ‘postmodernist’!) mixture of Agatha Christie and Alain Robbe-Grillet with a pinch of J. G. Ballard”. A year after its publication, the events of 2020 have imparted unexpected relevance to this novel, not only due to China being the starting point of the journey it describes, but chiefly thanks to its treatment of human isolation and its possible consequences, as well as toying with the grim and funny scenarios of the future of humankind.
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