Almost unknown during his lifetime, Sigizmund Krzhizhanovsky is now hailed as a master of Russian prose. His short stories and novels, unpublishable under Stalinism but rediscovered long after his death, have drawn comparisons to the works of Jorge Luis Borges for their distinctive blend of metafictional play and philosophical thought experiment. Like Borges, Krzhizhanovsky also wrote dazzlingly unconventional essayistic pieces as a slippery extension of his fictional project.
Countries That Don’t Exist showcases a selection of Krzhizhanovsky’s exceptional nonfiction, which spans a dizzying range of genres and voices. Playful fantasies dwelling in the borderlands between essay and fable, metaphysical conversations and probing literary criticism, philosophical essays and wartime memoirs—in all these modes Krzhizhanovsky’s writing bristles with idiosyncratic erudition and a starkly original vision of literary creation. Krzhizhanovsky comes across as a strange voice from another past, at once utterly novel yet unmistakably belonging to the high modernist 1920s and 1930s. Taken together, these works present to the English-speaking world a fresh aspect of a newly canonized author.
Countries That Don’t Exist also features critical commentary that places these texts in the context of Krzhizhanovsky’s other writings and illuminates their relationship to the philosophical and aesthetic ferment of Russian and European modernism.
The amount of care which has gone into the presentation of the book is impressive, with a marvellous array of translators featured . . . This volume is a real triumph.- Karen Langley, Kaggsy's Bookish Ramblings
Intriguing variety from a fascinating writer.- Michael Orthofer, The Complete Review
One more bit of evidence that the Russian Library is one of the best innovations in the publishing world in recent years.- Steve Dodson, Languagehat
The book gives a fair sampling of Krzhizhanovsky’s unique approach to literature, which is fractional, hyperbolic, and dramatically metaphysical . . . [These essays] exhibit an intelligence rarely seen in the history of Russian literature, as Krzhizhanovsky seems to be addressing the future generation rather than his Soviet contemporaries. We’re lucky to have intercepted this signal one hundred years later.- Feng Dong, Critical Inquiry
[A] thought-provoking collection. . . . With a playful blend of logic and fantasy, Krzhizhanovsky’s works defamiliarize everyday concepts. Readers interested in the crossover between art and philosophy will be rewarded.- Publishers Weekly
Offers persuasive evidence of Krzhizhanovsky’s erudition, wit, and style . . . It will delight Krzhizhanovsky fans, making him available for teaching, for discussion with colleagues who do not read Russian, and for quality citation in one’s own projects. This collection of non-fiction is a credit to everyone involved.- Sibelan Forrester, Slavic Review
Krzhizhanovsky is often compared to Borges, Swift, Poe, Gogol, Kafka, and Beckett, yet his fiction relies on its own special mixture of heresy and logic.- Natasha Randall, Bookforum
Krzhizhanovsky is one of the greatest Russian writers of the last century.- Robert Chandler, Financial Times
Editors' Preface
Introduction: Restoring the Balance
1. Love as a Method of Cognition
2. Idea and Word
3. Argo and Ergo
4. A Philosopheme of the Theater (Excerpt)
5. A Collection of Seconds
6. The Poetics of Titles
7. Countries That Don’t Exist
8. Edgar Allan Poe: Ninety Years After His Death
9. Shaw and the Bookshelf (Abridged)
10. The Dramaturgy of the Chessboard
11. Moscow in the First Years of the War: Physiological Sketches (Excerpts)
12. A History of Unwritten Literature: A Prospectus
13. A History of Hyperbole
14. Writer’s Notebooks
Notes
Contributors
Almost unknown during his lifetime, Sigizmund Krzhizhanovsky is now hailed as a master of Russian prose. His short stories and novels, unpublishable under Stalinism but rediscovered long after his death, have drawn comparisons to the works of Jorge Luis Borges for their distinctive blend of metafictional play and philosophical thought experiment. Like Borges, Krzhizhanovsky also wrote dazzlingly unconventional essayistic pieces as a slippery extension of his fictional project.
Countries That Don’t Exist showcases a selection of Krzhizhanovsky’s exceptional nonfiction, which spans a dizzying range of genres and voices. Playful fantasies dwelling in the borderlands between essay and fable, metaphysical conversations and probing literary criticism, philosophical essays and wartime memoirs—in all these modes Krzhizhanovsky’s writing bristles with idiosyncratic erudition and a starkly original vision of literary creation. Krzhizhanovsky comes across as a strange voice from another past, at once utterly novel yet unmistakably belonging to the high modernist 1920s and 1930s. Taken together, these works present to the English-speaking world a fresh aspect of a newly canonized author.
Countries That Don’t Exist also features critical commentary that places these texts in the context of Krzhizhanovsky’s other writings and illuminates their relationship to the philosophical and aesthetic ferment of Russian and European modernism.
The amount of care which has gone into the presentation of the book is impressive, with a marvellous array of translators featured . . . This volume is a real triumph.– Karen Langley, Kaggsy's Bookish Ramblings
Intriguing variety from a fascinating writer.– Michael Orthofer, The Complete Review
One more bit of evidence that the Russian Library is one of the best innovations in the publishing world in recent years.– Steve Dodson, Languagehat
The book gives a fair sampling of Krzhizhanovsky’s unique approach to literature, which is fractional, hyperbolic, and dramatically metaphysical . . . [These essays] exhibit an intelligence rarely seen in the history of Russian literature, as Krzhizhanovsky seems to be addressing the future generation rather than his Soviet contemporaries. We’re lucky to have intercepted this signal one hundred years later.– Feng Dong, Critical Inquiry
[A] thought-provoking collection. . . . With a playful blend of logic and fantasy, Krzhizhanovsky’s works defamiliarize everyday concepts. Readers interested in the crossover between art and philosophy will be rewarded.– Publishers Weekly
Offers persuasive evidence of Krzhizhanovsky’s erudition, wit, and style . . . It will delight Krzhizhanovsky fans, making him available for teaching, for discussion with colleagues who do not read Russian, and for quality citation in one’s own projects. This collection of non-fiction is a credit to everyone involved.– Sibelan Forrester, Slavic Review
Krzhizhanovsky is often compared to Borges, Swift, Poe, Gogol, Kafka, and Beckett, yet his fiction relies on its own special mixture of heresy and logic.– Natasha Randall, Bookforum
Krzhizhanovsky is one of the greatest Russian writers of the last century.– Robert Chandler, Financial Times
Editors' Preface
Introduction: Restoring the Balance
1. Love as a Method of Cognition
2. Idea and Word
3. Argo and Ergo
4. A Philosopheme of the Theater (Excerpt)
5. A Collection of Seconds
6. The Poetics of Titles
7. Countries That Don’t Exist
8. Edgar Allan Poe: Ninety Years After His Death
9. Shaw and the Bookshelf (Abridged)
10. The Dramaturgy of the Chessboard
11. Moscow in the First Years of the War: Physiological Sketches (Excerpts)
12. A History of Unwritten Literature: A Prospectus
13. A History of Hyperbole
14. Writer’s Notebooks
Notes
Contributors