Produktdetaljer
Om bidragsyterne
Svetlana Alexievich was born in Ivano-Frankovsk in 1948 and has spent most of her life in the Soviet Union and present-day Belarus, with prolonged periods of exile in Western Europe. Starting out as a journalist, she developed her own non-fiction genre which brings together a chorus of voices to describe a specific historical moment. Her works include The Unwomanly Face of War (1985), Last Witnesses (1985), Boys in Zinc (1991), Chernobyl Prayer (1997) and Second-hand Time (2013). She has won many international awards, including the 2015 Nobel Prize in Literature for ‘her polyphonic writings, a monument to suffering and courage in our time’.<p>‘In this spellbinding book, Svetlana Alexievich orchestrates a rich symphony of Russian voices telling their stories of love and death, joy and sorrow, as they try to make sense of the twentieth century, so tragic for their country.’<br /> — J. M. Coetzee, winner of the 2003 Nobel Prize in Literature</p>
<p>‘Absolutely fantastic.’<br /> — Karl Ove Knausgaard</p>
<p>‘The non-fiction volume that has done the most to deepen the emotional understanding of Russia during and after the collapse of the Soviet Union of late is Svetlana Alexievich’s oral history <em>Second-hand Time</em>.’<br /> — David Remnick, <em>New Yorker</em></p>
<p>‘<em>Second-Hand Time</em> is [Alexievich’s] most ambitious work: many women and a few men talk about the loss of the Soviet idea, the post-Soviet ethnic wars, the legacy of the Gulag, and other aspects of the Soviet experience.... Through her books and her life itself, Alexievich has gained probably the world’s deepest, most eloquent understanding of the post-Soviet condition.’<br /> — Masha Gessen, <em>New Yorker</em></p>
<p>‘A series of monologues by people across the former Soviet empire, it is Tolstoyan in scope, driven by the idea that history is made not only by major players but also by ordinary people talking in their kitchens.’<br /> — Rachel Donadio, <em>New York Times</em></p>
<p>‘Alexievich’s work follows the strands of thought and emotion wherever her voices take her – through nightmares, but also flashes of joy … The work is unique in the intimacy of the experience transmitted through the writing: which is, after all, only the ability to have a human ear, to listen, and to publish.’<br /> — John Lloyd, <em>Financial Times</em></p>
<p>‘I am engrossed in Svetlana Alexievich’s extraordinary <em>Second-hand Time</em>, an oral tapestry of post-Soviet Russia.’<br /> — Julian Barnes, Guardian</p>