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Happy Moscow (Vintage Classsics) Paperback – 1 Aug 2013

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Product details

  • Paperback: 288 pages
  • Publisher: Vintage Classics (1 Aug. 2013)
  • Language: English
  • ISBN-10: 0099577259
  • ISBN-13: 978-0099577256
  • Product Dimensions: 12.9 x 1.8 x 19.7 cm
  • Amazon Bestsellers Rank: 730,881 in Books (See Top 100 in Books)

Product Description


"Happy Moscow is worth reading on countless scores. On the violence, often not physical, which a totalitarian system wreaks on the lives of those who exist within it, it is a vital counterpart to those works which deal with the more tangible horrors of the USSR, and a reminder of the unique, paradoxical power of literature to expose the mismatch between rhetoric and reality" (Spectator)

"In the Thirties Stalin proclaimed Moscow a paradise. This savage satire shows the truth through the eyes of the ebullient Moscow Chestnova. In Platonov’s hands she becomes a parody of a superwoman who leaves a career in aeronautics for lovers and life. Around her is a fascinating cast of characters and, even in translation, Platonov’s prose is extraordinary" (The Times)

"I squint back on our century and I see six writers I think it will be remembered for.They are Marcel Proust, Franz Kafka, Robert Musil, William Faulkner, Andrey Platonov and Samuel Beckett…They are summits in the literary landscape of our century" (Joseph Brodsky)

"Andrey Platonov is the most exciting Russian writer to be rediscovered since the end of the Soviet Union. Happy Moscow shows Platonov as a master of language, weaving out of official names, political speeches, ideological exhortations and popular philosophical hopes a reality equal to the gut feel of Soviet life in the 1930s… This is just what it felt like to be swept away by the Soviet ideal of a new humanity" (Independent)

"Andrei Platonov was an eloquent and brave voice in the Soviet era... the best Russian writer of the 20th century" (Frank Westerman Independent)

Book Description

An anarchic satire from one of Russia's greatest twentieth-century writers, long censored and forgotten

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Most Helpful Customer Reviews on (beta) 4.3 out of 5 stars 3 reviews
24 of 24 people found the following review helpful
4.0 out of 5 stars Wonderful, but Can be Difficult 17 Feb. 2002
By A Customer - Published on
Format: Paperback
Happy Moscow is a wonderful, though difficult, book. A cross between satire and the picaresque, it's loaded with symbolism. To get the most out of it, I think one must have at least a rudimentary knowledge of Stalinist Russia.
Happy Moscow, through its heroine, Moscow Chestnova, sets aside blithe idealism and explores the gulf that, in reality, existed between Stalin's "triumphant" socialism and the low living standards and bleak expectations of the people.
Moscow Chestnova, the heroine of Happy Moscow, was never meant to be seen as an individual. She's Every Citizen, the idea and the ideal of Stalinist Collectivity. More than anything, Moscow Chestnova cares; she embraces fully Dostoyevsky's mandate that "All are responsible for all." She cares about cleanliness, the proper heating of water, the driving of piles into the Moscow River. Following Stalinist ideology, she's the ideal every man desires and she gives of herself freely to anyone who asks. In Moscow Chestnova's world, as in Stalin's Moscow, there will always be room for "one more."
Just as Moscow Chestnova seeks to transcend the limits of individuality in favor of collectivity, so do the other characters in this book. One, in particular, buys a new passport and thus changes his identity. He goes on to acquire a new job, a new wife and a new family...all in the name of communist idealism.
Moscow Chestnova, of course, is eventually repelled by what she had, at first, embraced. She feels the isolation of the people, the lack of peace in their homes and in their lives and the oppressive sadness that covers the city like a blanket. Moscow finally comes to realize that even as individuals have been ignored, collectivity has gone to hell.
The language used in Happy Moscow ranges from the hilarious to the grotesque. Stylistically, the book is often absurd in its juxtapositions. Puns are rarely used for comic effect alone; they often contain important ideological or philosophical commentary. Platonov also has a unique ability of recontextualizing Stalin's rhetoric (drawn from his own speeches) in ludicrous parody and metaphor.
Happy Moscow is a gem of a book. It is a book, that, like the city of Moscow, herself, is, by turns, comic, creative, grotesque, and bizarre, yet ultimately crippled. It's a shame this book is not more widely read and better known.
10 of 10 people found the following review helpful
5.0 out of 5 stars More essential Andrey Platonov 27 Nov. 2012
By Penelope V. Burt - Published on
Format: Paperback
This is an easy book to recommend and a hard book to review. Happy Moscow is a relatively late and unfinished novel by Andrey Platonov, now considered one of the masters of twentieth-century Russian prose. This edition is a revised version of an earlier translation by Robert Chandler and his associates, now with introduction, annotations, and a number of other related works (the beautiful essay "On the First Socialist Tragedy" alone is almost worth the price of the book, warning about the consequences of "messing around" with nature). Happy Moscow is considerably less jaunty (though sometimes biting or funny-odd) than the title might indicate--the heroine (a parachutist) descends from the air to take on the job of building the Moscow metro, where she loses a leg. The other main protagonist, Sartorius, also moves from being a celebrated engineer to a man who in all humility goes in search of another identity. Moscow is the name of the heroine and the name of a city undergoing rapid change under Stalin: a fiddler plays by an decrepit apartment building, right next to where a rather alarming experimental medical institute is brightly under construction.

Reading Platonov can become almost addictive. Everything adds to and complicates your sense of this astonishing and elusive writer. The man is deeply sincere and truthful; he is on the side of the widows and the orphans and things that other people throw away. That being said, I would suggest that as a first approach to Platonov's world you might first read Soul: And Other Stories (New York Review Books Classics) (especially "The Return"--but really, the whole volume is wonderful) or The Foundation Pit (New York Review Books Classics). But any route will do. Just read him. Happy Moscow is another gift from Chandler and his co-translators in service of an indispensable author.
6 of 6 people found the following review helpful
4.0 out of 5 stars The Complete Moscow Kit 15 Feb. 2013
By Roger Brunyate - Published on
Format: Paperback
First, let's break down this book into its components. The longest section is HAPPY MOSCOW, a 110-page novella written by Platonov in the 1930s, but published posthumously only in 1991; more on this in a moment. The remaining 150 pages are essentially supportive materials, appendices, and footnotes. There are three essays by the principal translator, Robert Chandler, which are both scholarly and helpful. Then there are two short stories, an essay, and a screenplay, each of which explores similar themes to the novella, uses the same symbols, or features some of the same characters; the longest of them, "The Moscow Violin," is especially interesting in that it recycles almost identical passages, but in a different order and to different effect. The book ends with thirty pages of scholarly notes set in small type, and a bibliography. So rather than being a collection of stories, this is more like a complete kit for understanding the title novella and placing it in historical and scholarly context. While the novella itself is relatively approachable, the volume as a whole is not for the casual reader.

Reading HAPPY MOSCOW itself, I could only think of words beginning with the letter S: symbolic, surrealistic, satirical. None of these terms entirely fits, but in combination they do. Moscow, of course, is the name of the city; it is also the first name of the principal female character, Moscow Ivanova Chestnova. An orphan, brought up in a state children's home, she is sponsored by an idealistic apparatchik to train as a pilot and parachutist, reaching fame and notoriety when her parachute catches fire and she descends on the city like a sparkling firework. Numerous men fall in love with her, and the book follows her as she moves from one to the other, even as her own life symbolically descends from the skies to under the earth, when she becomes a construction worker on the new Moscow metro.

In a helpful stroke early in his introduction, the translator quotes a visitor to Moscow in 1935 complaining that the only maps available of the city portrayed either Moscow's past or its future, but not its present. There were maps from 1924, showing buildings that had since been torn down and roads rerouted. There were maps showing what the city would look like following the Ten Year Reconstruction Plan. But people were so intent on looking at the great leap forward that they had no interest in the temporary state of the city under their feet. Platonov's book is full of a similar idealism. This is most clearly shown by the men who help the heroine. We have the civil servant Bozhko, who uses Esperanto to correspond all over the world, in the hope of recruiting others to Socialist ideals. We have the engineer Sartorius, who is convinced that the problems of collectivization can be solved by the invention of a more perfect balance beam for weighing produce. We have the surgeon Sambikin, who has located the precise site of the soul in the large intestine, and claims to have found the essence of eternal life released in the bodies of the newly dead.

Symbolism, surrealism, satire. Moscow the person is clearly in part a symbol for Moscow the city, but not all her actions are easily translatable. Many of Platonov's descriptions verge on surrealism, but then I suspect that Soviet Russia had more than a little surrealism of its own. And while Platonov's writing seems satirical, Chandler suggests that he may initially have been trying to win the approval of his political masters, whose own propaganda was scarcely less fantastic. In short, this is a unique and often brilliant book, but a perplexing one -- and there is far more here that any but the most serious student could want.
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