Böcker av Vladimir Sorokin

A puzzle of colorful, sardonic episodes that come together as a portrait of totalitarian society as a whole.Sugar Kremlin follows the near-future universe of Sorokin’s Day of the Oprichnik, crafting a set of 15 chapters that all return to the symbol of the title: The Sugar Kremlin. Thousands of these creations are being given away to citizens on the street, from lucky children to secret political dissidents, torture-obsessed civil servants, sex workers in a nearby bordello, and more.As Sorokin moves from story to story, he draws the reader through the dark streets of life in Russia, creating a metaphysical encyclopedia of the Russian soul through a deceptively sweet sugary treat. Presenting a wide variety of genres and tones, Sugar Kremlin lays out a frightening vision of speculative mercilessness and quirky political horror.

"ABOUT BLUE LARD The Russian master's most infamous novel, a dystopian fever dream about cloning, alternative histories, and world domination. Vladimir Sorokin's Blue Lard is the most iconic and iconoclastic Russian novel of the last forty years. Thanks in part to its depiction of Stalin and Khrushchev having sex, which inspired a Putinist youth group to throw shredded copies of the author's books into an enormous toilet erected in front of Moscow's Bolshoi Theater, Blue Lard is the novel that tore Sorokin out of the Moscow Conceptualist underground and into the headlines. The book begins in a futuristic laboratory where genetic scientists speak in a Joycean dialect of Russian mixed with Chinese-peppered with ample neologisms-and work to clone famous Russian writers, who are then made to produce texts in the style of their forebears. The goal of this "script-process" is not the texts themselves, but the blue lard that collects in the small of their backs as they write. This substance is to be used to power reactors on the moon-that is, until a sect of devout nationalists breaks in to steal the blue lard, planning to send it back in time to an alternate version of the Soviet Union, one that exists on the margins of a Europe conquered by a long-haired Hitler with the ability to shoot electricity from his hands. What will come of this blue lard? Who will finally make use of its mysterious powers? Blue Lard is a stylistically acrobatic book, translated by Max Lawton into an English idiom just as bizarre as the Russian original. Evoking both Pulp Fiction and the masterpieces of Marquis de Sade, Sorokin's novel is a brutal, heady trip that annihilates all of its twentieth- (and twenty-first-) century competition in the Russian canon-and that annihilates Russia itself in a resounding act of heavy-metal dissidence"--

"Provocative, hilarious, and tender stories about sex, violence, politics from one of the greatest Russian writers of the post-Soviet era. Red Pyramid is a sort of "greatest hits" collection of short stories from across Vladimir Sorokin's career, beginning with juvenilia like "The Pink Tuber," composed with no expectation of either publication or readership; moving on to scatological conceptual texts like "An Obelisk"; then plunging into the more even-tempered, but still quite uncanny, delights of his post-Soviet work. Stories like "A Month in Dachau" earn Sorokin his moniker as the "Russian De Sade," while others, like "Timka," are shockingly tender-despite their graphic depictions of mass shootings and anal sex. This collection also contains the infamous "Nastya," a story about a family cannibalizing its daughter on the eve of the twentieth century, for which Sorokin was nearly put on trial; "Horse Soup," which was the first translation from the Russian to win an O'Henry Prize; as well as stories published in Anglophone magazines such as The New Yorker, n+1, Harper's, and The Baffler to great acclaim. Translated by Max Lawton with equal attention to chewiness and pop flair, Red Pyramid is introduced brilliantly, brutally, and as always, unexpectedly by Will Self. Red Pyramid is perhaps the best place to begin a dive into Sorokin's arch detonation of Russian violence"--

Grotesque, deconstructive, and absolutely genius, Vladimir Sorokin's short story collectionDispatches from the District Committee is a revelatory, offbeat portrait of Soviet life beyond thepropaganda and state-sponsored realism.Celebrated-and censored-for its political satire, literary irreverence, and provocative themes,his work has been recognized across the world for its scathing, darkly humorous commentaryon political and cultural oppression in the Soviet Union and contemporary Russia. Dispatches from the District Committee brings together stories from Sorokin's incendiary 1992collection The First Subotnik/My First Working Saturday. Skillfully translated by Max Lawton,these stories remain subversive classics, and increasingly relevant in a post-truth informationage.

The novel that reportedly caused a walkout upon publication, this grotesque, absurdist work by Russia's de Sade follows four individuals set upon a common goal of destruction and violence.

In the warring, neo-feudal society of this cross-genre novel for fans of Cormac McCarthy and William Gibson, the greatest treasure is a dose of tellurium—a magical drug administered by a spike through the brain.Telluria is set in the future, when a devastating holy war between Europe and Islam has succeeded in returning the world to the torpor and disorganization of the Middle Ages. Europe, China, and Russia have all broken up. The people of the world now live in an array of little nations that are like puzzle pieces, each cultivating its own ideology or identity, a neo-feudal world of fads and feuds, in which no one power dominates. What does, however, travel everywhere is the appetite for the special substance tellurium. A spike of tellurium, driven into the brain by an expert hand, offers a transforming experience of bliss; incorrectly administered, it means death.The fifty chapters of Telluria map out this brave new world from fifty different angles, as Vladimir Sorokin, always a virtuoso of the word, introduces us to, among many other figures, partisans and princes, peasants and party leaders, a new Knights Templar, a harem of phalluses, and a dog-headed poet and philosopher who feasts on carrion from the battlefield. The book is an immense and sumptuous tapestry of the word, carnivalesque and cruel, and Max Lawton, Sorokin’s gifted translator, has captured it in an English that carries the charge of Cormac McCarthy and William Gibson.

A New York Review Books Original   In 1908, deep in Siberia, it fell to earth. THEIR ICE. A young man on a scientific expedition found it. It spoke to his heart, and his heart named him Bro. Bro felt the Ice. Bro knew its purpose. To bring together the 23,000 blond, blue-eyed Brothers and Sisters of the Light who were scattered on earth. To wake their sleeping hearts. To return to the Light. To destroy this world. And secretly, throughout the twentieth century and up to our own day, the Children of the Light have pursued their beloved goal.   Pulp fiction, science fiction, New Ageism, pornography, video-game mayhem, old-time Communist propaganda, and rampant commercial hype all collide, splinter, and splatter in Vladimir Sorokin’s virtuosic Ice Trilogy, a crazed joyride through modern times with the promise of a truly spectacular crash at the end. And the reader, as eager for the redemptive fix of a good story as the Children are for the Primordial Light, has no choice except to go along, caught up in a brilliant illusion from which only illusion escapes intact.