Writing the Urals: Permanence and Ephemerality in Ol'ga Slavnikova’s 2017

dc.contributor.author	Sutcliffe, Benjamin	en_US
dc.date.accessioned	2011-05-04T19:22:45Z	en_US
dc.date.accessioned	2013-07-10T15:10:00Z
dc.date.available	2011-05-04T19:22:45Z	en_US
dc.date.available	2013-07-10T15:10:00Z
dc.date.issued	2011-05-04	en_US
dc.identifier.citation	New Zealand Slavonic Journal, vol. 41 (2007).	en_US
dc.identifier.uri
dc.identifier.uri	http://hdl.handle.net/2374.MIA/4421	en_US
dc.description.abstract	Ol'ga Slavnikova’s novel 2017 (Vagrius, 2006) made her the second woman to win Russia’s coveted Booker Prize, garnering conflicting critical responses in the process. Many hurried to label the narrative a dystopia: 2017’s last hundred pages depict the centenary of the November ‘revolution’, chronicling how crowds commemorate the event by dressing up as Reds or Whites and slaughtering their enemies (Chantsev 287; Eliseeva 14). Other critics, and Slavnikova herself, see dystopia as only one strand in the work (Slavnikova ‘Mne ne terpitsia’, 18; Basinskii 13).	en_US
dc.title	Writing the Urals: Permanence and Ephemerality in Ol'ga Slavnikova’s 2017	en_US
dc.type	Text	en_US
dc.date.published	2007	en_US

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