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Russia - Corpus
For over three hundred years, from generation to generation, the Gomarteli family has handed down the recipe for an ointment with astonishing medicinal virtues. Under Stalin’s repressive regime, grandfather, interrogated by the Tcheka, gives up the recipe straight away, and repeats it over and over. It’s not that he’s afraid of dying, it’s that he wants to die as quickly as possible. Unexpectedly, grandfather is set free and sent home, only to discover that his wife has been arrested a few days earlier and that she’s being held in one of Stalin’s prisons. Grandfather will spend the rest of his life feeling a deep sense of guilt, of innocent guilt. Can a woman support all of that? Why did they keep her and not him?
Each member of the Gomarteli family—we meet several generations of them—goes through a period of self-doubt, sometimes so intense that it becomes unbearable. Who are these people of the Soviet era, these “Sovki”? Why are they so much like the nameless ingredients of an ointment. Who is Stalin? The devil? God? A perfect idiot! according to grandfather Gomarteli.
Elena Botchorichvili’s style has been compared to that of Agota Kristof and Nina Berberova, but with a touch of Gogol. Yet through her very personal, rhythmic and evocative prose, Elena Botchorichvili has created her own style, the “stenographic novel”, which is without equal in post-Soviet literature.
Each member of the Gomarteli family—we meet several generations of them—goes through a period of self-doubt, sometimes so intense that it becomes unbearable. Who are these people of the Soviet era, these “Sovki”? Why are they so much like the nameless ingredients of an ointment. Who is Stalin? The devil? God? A perfect idiot! according to grandfather Gomarteli.
Elena Botchorichvili’s style has been compared to that of Agota Kristof and Nina Berberova, but with a touch of Gogol. Yet through her very personal, rhythmic and evocative prose, Elena Botchorichvili has created her own style, the “stenographic novel”, which is without equal in post-Soviet literature.
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