Aleksei Fedyarov – Sfumato: Dead Birds are flying.
Welcome to Russia 2032. There is peace in the world. The world community has signed an agreement with Russia: in exchange for its own security, the West no longer cares how the Russian government treats its citizens under its isolated power. Russia is fenced and the borders are closed. The taiga is almost entirely cut down, the Chinese – Russia’s ‘fraternal allies’ – have founded productive farms on the permafrost. The whole country is divided into ‘clusters’: the more critical you are of the regime, the further away from Moscow you are banished.
This frightening dystopia, explicitly not post-apocalyptic, rather develops consistently from today’s political realities.
„An evil and sad dystopia – and the saddest part is that it’s probably true. The purity and power of its first part is in no way inferior to Orwell’s despair.“ VIKTOR SHENDEROVICH
Dmitry Zakharov – Middle Edda
New graffiti appears in Moscow week after week each representing a different member of the new bureaucratic nomenklatura – each of whom dies shortly afterwards. Spin doctors close to the Kremlin are frantically trying to reveal the identity of the anonymous artist. Other representatives of the corrupt vertical power are ready to pay huge sums for the next graffiti to show one of their opponents. A battle starts between those those really pulling the strings in the struggle for future power.
„Exactly the novel about here and now that we have been missing for so long. Chamber play and global epos at the same time; an emotional story about living people, an exciting thriller, a razor-sharp, socially critical drama.“ GALINA YUZEFOVICH
Olga Pogodina-Kuzmina – Uranium
1953, year of Stalin’s death. Soviet Estonia. The secret site, Combinat No. 7, is intended to ensure the uninterrupted supply of uranium for the Soviet nuclear project. A number of mysterious deaths suddenly puts everything in a different light. The external investigator sent from Leningrad encounters communist leaders engaging in cult and religious-orthodox occult practices, hypnosis and manipulation, sex and violence. The murders are brutal clues to who is really related to whom and how.
Like an exciting Netflix series, the plot of this historical novel, which is also a spy thriller, is told horizontally from the different perspectives.
“Nothing less than the exciting experience of fully immersing yourself into history, its reconstruction illuminating the mentalities of the time, but also trying to understand many of the central contradictions of that time.“ LITERATURNAYA GAZETA
Max Maximov – Gate to Heaven
Maximov’s short novels deliver science fiction in the best tradition of the Strugatski brothers. After a long predominance of purely entertaining genre literature such as fantasy, horror or post-apocalypse, in Russia his books are seen as an original revival of philosophical science fiction. They are also timely parables exploring guilt and innocence, hell and paradise, life and spirit, nothingness and the morality of algorithms.
GATE TO HEAVEN is a novel about consciousness, the soul and artificial intelligence.
Maximov has 3.14m YouTube followers and 100,000 downloads of his novels per year.
Aleksandr Fuflygin – God’s Plan. The interpretation of truth.
The task that the author has set himself is a bold one: to provide a reading with which all the mysteries of the Bible can be solved in a comprehensible way, not contradicting the latest scientific findings and leaving no ‘blank spots’ in his interpretation of the Bible.
The seemingly most incomprehensible things, phenomena, events or images in the Bible, such as the Garden of Eden, the Tree of Knowledge, the creation of Eve from Adam’s rib, the Flood and Noah’s Ark, the resurrection of Jesus and much more, suddenly take on a clear meaning in this reading.
For confirmed Orthodox believers the book might be a sacrilege. More open-minded spirits, whether religious or agnostic, will be more and more astonished with every further Bible verse. One often puts the book aside with a pounding heart and asks oneself, ‘This can’t be true!’