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Maidenhair Paperback – 12 Jan 2013

4.6 out of 5 stars 5 customer reviews

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Product details

  • Paperback: 506 pages
  • Publisher: OPEN LETTER (12 Jan. 2013)
  • Language: English
  • ISBN-10: 1934824364
  • ISBN-13: 978-1934824368
  • Product Dimensions: 3.2 x 14 x 21.6 cm
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Bestsellers Rank: 626,629 in Books (See Top 100 in Books)
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Review


"The first reading of "Maidenhair" is like tipping the pieces of a 1000-piece jigsaw out of the box and turning them all picture-side up . . .""Slightly Booklist"
"[Shishkin] takes Nabokov s remarkable linguistic flexibility but none of his arrogance; like Chekhov, he looks on humanity with humor and compassion. Shishkin s Baroque turns of phrases seem written out of necessity and joy rather than pretention; he respects his readers, he delights in language, and he does not need to show off."Madeleine LaRue, "The Quarterly Conversation"
"Shishkin s work has been described as 'refined neo-modernism.' His dense, lyrical prose suggests the influence of 'Ulysses', but Shishkin objects that 'Joyce doesn t love his heroes'; in "Maidenhair" love is the crucial answer to most of the hundreds of questions."Pheobe Taplin, "Russia Beyond The Headlines"
"In short, "Maidenhair" is the best post-Soviet Russian novel I have read. Simply put, it is true literature, a phenomenon we encounter too rarely in any language."Daniel Kalder, "The Dallas Morning News"
"Shishkin is fascinated by the concept of the narratives we create for ourselves, whether entirely imagined, or based on what we think is memory and fact. Yet he doesn't ram that idea down readers' throats; he merely offers it here, in many variations, but also allows the stories themselves to be spun out. It makes for an unusual novel -- unusual in the sense that it is unlike what one has encountered before, and unlike what one has come to expect. It expands, in a small but significant way, our understanding of what the novel can be and do -- quite a remarkable achievement." Michael Orthofer, "Complete Review"
""Maidenhair" is likely a work of genius. . . . If Shishkin is right about the power of words to resurrect the dead, "Maidenhair" has all but secured his immortality."Christopher Tauchen, "Words Without Borders"
"


-The first reading of Maidenhair is like tipping the pieces of a 1000-piece jigsaw out of the box and turning them all picture-side up . . .---Slightly Booklist
-[Shishkin] takes Nabokov's remarkable linguistic flexibility but none of his arrogance; like Chekhov, he looks on humanity with humor and compassion. Shishkin's Baroque turns of phrases seem written out of necessity and joy rather than pretention; he respects his readers, he delights in language, and he does not need to show off.---Madeleine LaRue, The Quarterly Conversation
-Shishkin's work has been described as 'refined neo-modernism.' His dense, lyrical prose suggests the influence of 'Ulysses', but Shishkin objects that 'Joyce doesn't love his heroes'; in Maidenhair love is the crucial answer to most of the hundreds of questions.---Pheobe Taplin, Russia Beyond The Headlines
-In short, Maidenhair is the best post-Soviet Russian novel I have read. Simply put, it is true literature, a phenomenon we encounter too rarely in any language.---Daniel Kalder, The Dallas Morning News
-Shishkin is fascinated by the concept of the narratives we create for ourselves, whether entirely imagined, or based on what we think is memory and fact. Yet he doesn't ram that idea down readers' throats; he merely offers it here, in many variations, but also allows the stories themselves to be spun out. It makes for an unusual novel -- unusual in the sense that it is unlike what one has encountered before, and unlike what one has come to expect. It expands, in a small but significant way, our understanding of what the novel can be and do -- quite a remarkable achievement.--- Michael Orthofer, Complete Review
-Maidenhair is likely a work of genius. . . . If Shishkin is right about the power of words to resurrect the dead, Maidenhair has all but secured his immortality.---Christopher Tauchen, Words Without Borders



"The first reading of Maidenhair is like tipping the pieces of a 1000-piece jigsaw out of the box and turning them all picture-side up . . ."--Slightly Booklist

"[Shishkin] takes Nabokov's remarkable linguistic flexibility but none of his arrogance; like Chekhov, he looks on humanity with humor and compassion. Shishkin's Baroque turns of phrases seem written out of necessity and joy rather than pretention; he respects his readers, he delights in language, and he does not need to show off."--Madeleine LaRue, The Quarterly Conversation

"Shishkin's work has been described as 'refined neo-modernism.' His dense, lyrical prose suggests the influence of 'Ulysses', but Shishkin objects that 'Joyce doesn't love his heroes'; in Maidenhair love is the crucial answer to most of the hundreds of questions."--Pheobe Taplin, Russia Beyond The Headlines

"In short, Maidenhair is the best post-Soviet Russian novel I have read. Simply put, it is true literature, a phenomenon we encounter too rarely in any language."--Daniel Kalder, The Dallas Morning News

"Shishkin is fascinated by the concept of the narratives we create for ourselves, whether entirely imagined, or based on what we think is memory and fact. Yet he doesn't ram that idea down readers' throats; he merely offers it here, in many variations, but also allows the stories themselves to be spun out. It makes for an unusual novel -- unusual in the sense that it is unlike what one has encountered before, and unlike what one has come to expect. It expands, in a small but significant way, our understanding of what the novel can be and do -- quite a remarkable achievement."-- Michael Orthofer, Complete Review

"Maidenhair is likely a work of genius. . . . If Shishkin is right about the power of words to resurrect the dead, Maidenhair has all but secured his immortality."--Christopher Tauchen, Words Without Borders



"The first reading of Maidenhair is like tipping the pieces of a 1000-piece jigsaw out of the box and turning them all picture-side up . . ."--Slightly Booklist

"[Shishkin] takes Nabokov's remarkable linguistic flexibility but none of his arrogance; like Chekhov, he looks on humanity with humor and compassion. Shishkin's Baroque turns of phrases seem written out of necessity and joy rather than pretention; he respects his readers, he delights in language, and he does not need to show off."--Madeleine LaRue, The Quarterly Conversation

"Shishkin's work has been described as 'refined neo-modernism.' His dense, lyrical prose suggests the influence of 'Ulysses', but Shishkin objects that 'Joyce doesn't love his heroes'; in Maidenhair love is the crucial answer to most of the hundreds of questions."--Pheobe Taplin, Russia Beyond The Headlines

"In short, Maidenhair is the best post-Soviet Russian novel I have read. Simply put, it is true literature, a phenomenon we encounter too rarely in any language."--Daniel Kalder, The Dallas Morning News

"Shishkin is fascinated by the concept of the narratives we create for ourselves, whether entirely imagined, or based on what we think is memory and fact. Yet he doesn't ram that idea down readers' throats; he merely offers it here, in many variations, but also allows the stories themselves to be spun out. It makes for an unusual novel -- unusual in the sense that it is unlike what one has encountered before, and unlike what one has come to expect. It expands, in a small but significant way, our understanding of what the novel can be and do -- quite a remarkable achievement."-- Michael Orthofer, Complete Review

"Maidenhair is likely a work of genius. . . . If Shishkin is right about the power of words to resurrect the dead, Maidenhair has all but secured his immortality."--Christopher Tauchen, Words Without Borders

About the Author

Mikhail Shishkin is one of Russia's most prominent and respected contemporary writers. When Maidenhair was published in 2005, it was awarded both the National Bestseller Prize and the Big Book Prize.

Marian Schwartz is a prize-winning translator of Russian. The winner of a Translation Fellowship from the National Endowment for the Arts and the Heldt Translation Prize, Schwartz has translated classic literary works by Nina Berberova, Yuri Olesha, and Mikhail Bulgakov.


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Format: Paperback
Fully literary in nature and not by any means an "easy" read, MAIDENHAIR draws you in immediately. Between the asylum seekers' interviews and the journals of the opera singer, readings of the Persian war and Greek myths, the asylum interpreter's personal memories of his son and estranged ex-wife, Shishkin weaves a beautiful novel that is, in his words "about everything." This is not one of those books where you have to "get" something, there is no climax, no real resolution. It's perfect as a whole, has nothing extra and lacks nothing. Shishkin writes in a way that makes everything human, bringing love and innocence to the forefront to show that, even during times of war and chaos, there can be happiness and hope to help the world cope and move forward.

I can't say enough about this book, and at the same time it can't be put into words... Definitely not a book for everyone, or that everyone may love, but it's certainly a book everyone should read, or at least know about. Shishkin is a prime candidate for the Nobel Prize.
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Format: Paperback
I agree: this is a truly remarkable book, with that breadth and depth that we come to expect in the great Russians, from the sweep of history to the intimacy of a shattered personal relationship. In Europe we live in an age of displaced persons and misplaced cultures, and this book takes us on a riveting journey through that age. Highly recommended.
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Format: Paperback
While many readers are aware of all those 'big' Russian classics, modern Russian writing doesn't get much of a look in (in English). Hopefully, Mikhail Shishkin, a big name in his home country, can change that. 'Maidenhair' is a fantastic, ambitious novel, one which whisks the reader around in time and space, playing with genres and making the reader work hard at times - it is well worth it though.

Although it is ostensibly about an interpreter working with Chechen refugees in Switzerland, there is a lot more to it than that. Shishkin uses stories, diary entries, postcards and interviews to look at love, war, peace and freedom - the big things in life. Obviously, this is a Russian trait...

In my blog review, I compared it (unwisely?) to 'Cloud Atlas', but there are nods to many classic Russian writers, and there are definitely some Joycean bits there too. If that sounds like your kind of book...

If you're interested in my full review, have a look at my blog, Tony's Reading List :)
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By Lost John TOP 500 REVIEWERVINE VOICE on 7 Nov. 2013
Format: Paperback
This is an important book with pretensions to greatness. It tackles Russian history from before the 1917 Revolution almost to the present (though leaves out most politics). It recounts the life experiences of a woman, a child before the Revolution, who becomes a professional singer and ultimately outlives the Soviet state. It also tells stories derived from Shishkin's own experience working in Switzerland as an interpreter for Russian speaking asylum seekers. All is intermingled with tales from the Persian Wars, moving eventually to descriptions of modern Rome (which, of course, is in part also ancient Rome).

Why is the book important? Mikhail Shishkin is a prominent contemporary Russian novelist and Maidenhair in its original Russian won two major prizes. In this translation by Marian Schwartz (everything Marian translates is worthy of attention) it was shortlisted for the 2013 Best Translated Book Award. Maidenhair is serious literary fiction. It may not entirely qualify as 'experimental' (although somewhat unconventional in its story-telling, probably everything has been done before), and experiment is not entirely new to contemporary Russian fiction, but the novel may nevertheless serve as a pathfinder, encouraging other Russian authors to explore unconventional approaches.

The book opens with an intriguing account of the interview process for those seeking asylum in Switzerland. Entirely believably, Switzerland is not keen to take all comers and the interviews are designed to filter out all but the most clear-cut cases. That seems hard, but we soon learn that the stories told by some - perhaps many - would-be refugees, have been enhanced, borrowed, adapted, adopted from others, if they contain any truth at all.
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I've only just started this book, so I've no profound comments to make at this stage. However, I'm interested to know why a translator chooses to include a footnote on some occasions and not others. For example, 'Herr Fischer' is accorded the pretty redundant footnote 'Mr. Fischer. (Ger.)' , while 'Prioritätsfall' is not translated at all. Also, without knowing what a Russian guberniya is, how can an English reader be expected to understand 'gubernatorial'?
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